Guide to Literary Agents

Perseverance and Encouragement: The Benefits of Contests
Posted by Chuck

“And the winner is” are four words that inspire anticipation whenever they are uttered. The heart beats a little bit faster, nostrils flare slightly, the eyes widen and pupils dilate as we await the name that follows the fateful phrase. In theory, the winner is the pageant contestant with the most poise, intelligence, talent and beauty; the horse that peaks at the proper moment in the race; the actor whose performance transcends imitation and takes us to a place where we can do more than simply imagine—we can believe. Getting it done at the optimal time seems to be the key to success. But having all the right stuff in place at the proper time can be a delicate process. And “right” can be very subjective—especially in writing.

Guest columnist Pamala Knight, a perennial
writing contest bridesmaid, is busy helping
Chicago North RWA plan Spring Fling 2010,
their upcoming writing conference. Attending
agents include Diana Fox, Laurie McLean,
Joanna Stampfel-Volpe and Paige Wheeler.
Dates are April 23-24.

A good gauge of whether or not your writing has reached the level where all those moving parts (POV, pace, characterizations, plot, etc.) are synchronized like two sixteen-year-olds wearing sequins and performing ballet in a pool, is to enter a writing contest.

CONTESTS = CRITIQUES

Think of the judges as a big group of anonymous critique partners and then consider the benefits of that arrangement—no one who’s married to, involved with or gave birth to you giving the straight scoop on how to get to where you want to be in your writing career. Critiques obtained through contests tell where your writing needs to be tweaked and tightened. All the good information needed before you can send your baby out into the business end of the publishing world.

One of the things I love best about contests (apart from winning, which I haven’t done yet) is that the comments are always so encouraging. No one will say “shred this manuscript at your earliest opportunity, donate that laptop and get back to your day job.” The comments are all about learning to make craft blend in perfectly with your creative abilities. "All inspiration all the time" is how I look at it.

TYPES OF CONTESTS

Contests ranging from RWA’s prestigious RITA’s and Golden Heart to the less-stringent-but-no-less-meaningful chapter contests offer excellent feedback and critique on where the foundation of a manuscript might need a few more yards of concrete before the house is ready to go up. If you’re looking to test the waters with your manuscript, contests are a good way to get advice. If you win, you get affirmation that you’re on the right path. There’s also name recognition, opportunities to have the professionals read your work and maybe even some chocolate. Personally, I check first to see if the winners get chocolate. But, if you don’t win, there’s the advice and encouragement. Bonus items all around, in my opinion.

CHICAGO NORTH RWA

My local RWA chapter, Chicago North, just published the finalists in our 12th annual Fire and Ice contest for unpublished writers. This year, we had a record number of entries. I judged a few entries and put myself into the shoes of each entrant as I formulated my comments. I wanted to give helpful feedback and praise where needed from both the perspective of a writer and as a reader. It’s my dearest wish that my words will supplement an existing desire to make their manuscripts as bright and shiny as possible. Since we’ll announce the winners at Spring Fling 2010, I’m especially excited to meet the writers who will be in attendance. I know I’ll be as breathless to meet them here at the start of their careers as I will be when they’ve been on the New York Times bestsellers list for years.

Want more on this subject?

Writer's Digest has contests all year round. The annual contest, for example, takes the winner to NYC for agent meetings and also gives them $3,000.

Should you start with plot or character?

Ten tips for a successful agent-author relationship.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Contests | Guest Columns

Friday, March 19, 2010 12:50:57 PM (Eastern Standard Time, UTC-05:00)

Comments [4]

Tuesday, March 16, 2010

New Media Rehab: Opportunities Through Blogs and More
Posted by Chuck

It’s no news that big print media considers new media a kind of onslaught, as though traditional print is the once-lustrous orchard, and bloggers and other independents are each a locust, which, one-at-a-time, are not normally threatening, but jillions of them at once is a different story.

Guest blogger Hollis Gillespie is a humor writer
and columnist for Atlanta magazine. She is also an
NPR commentator and guest on "The Tonight Show
with Jay Leno." Her blog is titled Inappropriate
Conversation. Her third book, Trailer Trashed: My
Dubious Attempts at Upward Mobility, was just
released. She is also the founder of the Shocking
Real-Life Media Continuing Education Academy,
which hosts writing, blogging and new-media workshops.

WRITERS HAVE THE POWER

But the plight of print media does not equal your plight. Because here is the fact: Writers have all the power now. They aren’t waiting to be deemed worthy of a platform by the Big Prints. Instead they are creating their own platforms by blogging, and because of that, advertisers have recognized a grassroots means to reach a massive audience by partnering directly with the writer. In short, advertisers have figured out a way to cut out the middleman. This is problematic for traditional media but not necessarily for you.

In fact, it’s a good thing for many writers, especially those who are still trying to make their mark. Because now you are able to plant your own sapling with a much better chance of seeing it grow. Because now the ground is level, and it’s fertile. Right now is when you need to plant your own tree, and I am talking directly to all of the out-of-work traditional-print writers out there who are wasting time bloviating about how no one’s paying them anymore.

BUILD YOUR IDEA

You need to build your boat right now, and, to do that, you need the basic equipment to compete in the new playing field. I am not even talking about equipment that costs money, I mean resources that are free. You simply need to learn to use them. What you need, in short, is a simple media rehab, the very basics of which consist of these components; a blog, an affiliate marketing account, Twitter and Facebook.

All of these are free to start and maintain. In the most elementary terms, it works like this: Your Twitter and Facebook accounts feed traffic to your blog, this traffic buys products advertised there and you receive a check for a percentage of those purchases. It’s no different from when you worked at a newspaper or magazine, except for all the difference in the world in that you are now your own publisher, and your income is directly related to the volume of the audience you are able to attract. This is freedom, people. Your product—your voice, your expression, your ability to write it—that hasn’t changed at all. That is still exactly where you left it, and there are still droves of people hungry to connect with it. What has changed is that Big Print can’t pay you for it anymore, so they are either taking away their platform or asking you to do it for free (now a depressingly common occurrence for writers).

THOSE WHO CAME BEFORE YOU

Enter your blog. Examples like peopleofwalmart.com should be very encouraging to you. This blog reportedly began garnering $1,000/day in revenue only three months after its inception. Another example is this brand-new twitter account that landed a TV deal just months after its inception, and a novice blog called regretsy.com that landed a book deal almost immediately after the first few posts hit the web. All of these blogs were started by people no different from you; people dealing with downsized income because of the economy so they created their own platforms to showcase their expression and the world responded.

IT'S A NEW WORLD

Writers, you have to stop kicking that dead horse hoping it will cough up another paycheck. And stop worrying about the travails of traditional media. History has proven that whenever a new media is introduced, it weeds out the weaker of the old media, but it doesn’t destroy it altogether. Radio didn’t destroy newspapers. Television didn’t destroy radio. And the internet won’t destroy all of the above. Just because some big trees in the orchard are dying, and making a lot of noise about it, doesn’t mean it’s a bad thing for you as a writer, even if you are one of the leaves that used to be attached to them.

Remember, you are the one with the power. Set up your own online platform and get your money directly from the advertisers who used to pay your former employer who, in turn, used to toss you your check. You are on your own now. Now is not the time to freak out or listen to the deafening (and often false) wailings of the dying meglomedia. You are not a leaf on a dying tree. You are a seed that has been set free.

Trailer Trashed: My Dubious
Attempts at Upward Mobility

Want more on this subject?

Literary agents talk blogging, Twitter, and more.

How to create a simple writer blog.

So you've set up a blog - now what?

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Social Networking and the Internet

Tuesday, March 16, 2010 8:42:29 AM (Eastern Standard Time, UTC-05:00)

Comments [5]

Saturday, March 13, 2010

Writing Tips From Max Lucado, Best-Selling Author
Posted by Chuck

It was his first time attending a writing conference. He is a best-selling author who has written more than 50 books and has sold 65 million copies of his work. Yet it was also his first time speaking at a conference. Although he was on unfamiliar territory, New York Times best-selling Christian author Max Lucado spoke of the tools writers have, at the Writing for the Soul conference in Denver in February 2010. Below, find his best tips on subject, discipline and clarity for writers.

Guest column by Audra Krell, published
freelance writer. Audra is also a vocalist,
and she and her son lead worship in
churches and at conferences across the country.

MAX SAYS: BE PASSIONATE

     • Your subject must be so worthwhile that it keeps you riveted to your chair.
     • Because of your passion, you write without ceasing until it's finished.
     • Strong topics and subjects cause writing to happen from the soul.
     • Desire to work your writing through, so the reader doesn't have to.

MAX SAYS: STEADY IS AS STEADY DOES

     • Make a date night with your notebook. If you sit long enough, you'll find something to write about.
     • With disciplined writing time, you'll grow to appreciate your work.
     • Good words are worth the work.
     • The only thing better than writing is when your words connect with the reader.

MAX SAYS: ON A CLEAR DAY

     • Get your book down to one sentence. Every paragraph must pay homage to that sentence, or it doesn't get to play.
     • Every word must earn its place on the page.
     • Write concise but not shallow.
     • Revise for as long as you can.

Good writing will go where we never can, and reroutes the trajectory of life. It seeps into the farthest corners of the world and the depths of a reader's soul. Readers let authors into their private moments by inviting the author to speak through their story. Although it's a challenging invitation, it's valuable and authors should accept. Clear thinking will deliver your words to their destination. Most places are far away, and require a long, long chair ride. Do not begrudge the hard work of getting it there, this generation needs the best books you can write.

For his final point, Max reminds the writer to let every part of the process work. "Sentences are like just caught fish. Spunky today, stinky tomorrow." Let editing do its job. That way, you will put forth good, passionate writing, which will reach readers where they live.

Want more on this subject?

Interview with Steve Laube, agent who seeks Christian works.

Tips from Cecil Murphey, author of 90 Minutes in Heaven.

Interview with Rachelle Gardner, agent who seeks Christian works.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Christian Agents | Guest Columns

Saturday, March 13, 2010 5:03:58 PM (Eastern Standard Time, UTC-05:00)

Comments [1]

Thursday, March 11, 2010

A Story of a Second Chance: How One Writer Fought to Have His Memoir Reissued
Posted by Chuck

Bertelsmann didn’t want to return my rights, even though my book, Heartbreaker, had lain dormant for over twenty years. Doubleday, the original publisher, had been swallowed by this German conglomerate, and of course they wanted to hang on to any book in their catalogue, even if it hadn’t sold a copy in years. But Oh, no no, they said, this book isn’t dormant; anyone who wants it can order it through print-on-demand. I finally had to enlist the help of a lawyer and then The Author’s Guild counsel, Kay Murray. Kay told Bertelsmann she would make my book, Heartbreaker, a test case of the issue for any author who wanted his/her rights back, and would pursue it all the way to the Supreme Court. (Go, Kay!) Threatened with this tough talk, Bertelsmann knuckled and sent a letter of release. Now I owned my book and was free to pursue a reissue.

This guest column by John Meyer,
author of Heartbreaker.

I spent a year querying agents. No one wanted it. But I knew I had something salable—a memoir of the time I tried to rescue Judy Garland from her demons, shortly before the end of her life. In 1968, I had been an idealistic young composer who met Garland to show her a song. Meeting her, I was entranced. Foolishly, I undertook to "save" her from her unhealthy lifestyle of pills and liquor. I thought I could succeed where everyone else had despaired. I was blinded with a Messianic fervor, and spent eight excruciating, emotionally draining weeks with her, acting as her manager, booker, escort, chauffeur, general factotum and boyfriend. I wore myself out with the effort and eventually fell, exhausted. But my obsession had granted me an up-close, detailed look at this amazing woman, with all her fascinating idiosyncrasies.

THE FIRST RELEASE

Finally, after years, I felt I’d gained enough objectivity to put down the story in a fashion the general reader would find palatable. In 1983, Lisa Drew, then an editor at Doubleday, snapped up the manuscript. Now, of course, the agents came flocking. It’s not hard to get an agent when you’ve already made the sale. (By the way, this is a good way to go; if you know an editor, you can place the book yourself—then have an agent negotiate terms. You don’t want to accept the publishing house’s first offer). In its initial release, the book sold eleven thousand copies. Not bad.

A SECOND LIFE

Now, in 2005, what made the book re-printable, I thought, was the CD that new technology now allowed to be bundled within the book, inside the back cover. It was a forty-minute rehearsal I’d taped with Judy around the piano, singing and telling stories, unself-conscious, impromptu. But even the promise of this rare window into the life of a legendary entertainer couldn’t convince the current crop of agents. Everyone was running scared—the publishing "climate" was getting more and more difficult to surmount. But I forced myself to remember: To Kill a Mockingbird went through fifty rejections.

After two years, discouraged, I was about to give up and go the self-publishing route. Ironically, this would have amounted virtually to Bertelsmann’s POD method. But an acquaintance offered to introduce me to June Clark, an agent at Peter Rubie (Now FinePrint Literary). June took the book to an editor named Bob Shuman, who was thrilled at the possibility of grabbing the new Heartbreaker for Kensington. He went to bat for the book in an editorial meeting, and Kensington reissued the book in 2006. It came out in a glamorous new edition, with the inclusion not only of the CD, but an eight-page photo section with shots of Sid Luft, Kay Thompson, and ... my parents! So, whaddaya know –a story with a happy ending.

Heartbreaker

Want more on this subject?

Tips on writing memoir.

An author's tale of how his memoir came to be.

"7 Things I've Learned So Far," by a memoir writer.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Memoir

Thursday, March 11, 2010 9:45:59 AM (Eastern Standard Time, UTC-05:00)

Comments [1]

Wednesday, March 10, 2010

So You’ve Set Up a Writer Blog—Now What?
Posted by Chuck

If you read my previous guest post on how to set up a blog, you know how easy the tech stuff can be. Once you’ve found your perfect theme and written up your contact info, there’s just one thing left: the first entry. Faced with the paralyzing task of finding something relevant to say, many new bloggers ditch their blog before they even get started. But blogging isn’t as hard as it seems—you just have to get a feel for it.

Guest post by Peta Jinnath Andersen,
freelance writer & editor. See her website,
*Insert Literary Blog Name Here*. She also
writes flash fiction and short fiction.

THE MISSION STATEMENT

Spend some time working out a sort of "mission statement." Think about why you want a blog, and the general focus (e.g. writing, rejections, book reviews, etc.) and scope. You don't have to stick to what you come up with, but it might help you get your head around the startup process.

Once you're feeling a bit more comfortable, write a little intro post/about page. Tell prospective readers about yourself. If it's easier, pretend you’re being interviewed by your best friend, and write it as a Q&A. Try and stay on topic. If you write animal-related fiction, talk about your dogs—or the time an alligator chased you at the zoo. Include a picture; readers like being able to put a face to the name, and are more likely to read your page if they can relate to you.

IDEAS, IDEAS, IDEAS!

Blogging is about more than writing—it's about reading. The most popular blogs are how-tos, or opinions and reactions to things the authors have read. For writers, there are a few places to get started—an article you read in PW, a post on the GLA blog, a review in The New Yorker, etc. Pick things that make you think, or that you find yourself talking about. One useful trick is to write your blog posts in a Word document (make sure you use the paste from Word tool if you do this) and treat them as articles or letters. Don’t go overboard—if your focus is too broad, you’ll have a hard time keeping readers interested. And remember, if you go the how-to route, make sure you research appropriately!

GETTING BUSY WITH THE BLOGOSPHERE

Bloggers like to talk, network, and generally get to know each other. Look for blog rings and blogfests (a quick Google search will get you started), take part in writing prompts and challenges on other blogs, and get involved in networks (try http://bookblogs.ning.com—book blogs on Ning).

Be honest in what you write, and write about things you're interested in or love. Post links to other pages you like; link posts are a great way to get to know other bloggers. Pull together your top five posts on any topic (top five descriptions of chocolate cake!), and write about why you love them and what the poster did well.

SCHEDULE IT!

Some people have no problem finding things to blog about—the rest of us need to plan ahead. Keep a file of post ideas (or even one file per idea) and paste useful links into it, along with any thoughts. Outlining posts, complete with subtitles and bullet points, can help you get a better idea of what you're trying to say.

KEEP IT APPROPRIATE

There are no hard and fast rules about blogging, but it’s important to remember that whatever hits the Internet stays on the Internet. As long as you don't post anything inappropriate for your line of work—say, you work in a Kosher butcher's shop then blog about how much you love bacon—you can't really go wrong. It takes a while for blogs to find their feet, and that’s okay.

Blogging is a great tool for promoting yourself. More importantly, though, it’s an excellent way to create connections and learn from other people. Now it's time to roll up your sleeves and get to work.

Want more on this subject?

Peta's first guest post: How to start a blog.

How royalties and advances (money) work.

Don't put all your eggs in one basket with just one book.

You have a contract but no literary agent - what to do.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Social Networking and the Internet

Wednesday, March 10, 2010 10:34:36 AM (Eastern Standard Time, UTC-05:00)

Comments [6]

Friday, March 05, 2010

Demystifying Contracts: What Every Writer Should Know
Posted by Chuck

At the SCBWI 2010 Winter Conference, agent Edward Necarsulmer IV (of McIntosh & Otis) gave a presentation called "The Real Deal about Contracts." At McIntosh & Otis, Necarsulmer handles his clients’ contracts with publishers. Other agencies have contracts departments. Either way, both agents and authors should understand the ins and outs of contracts and the process of negotiating rights with a publisher.

Donna Gambale blogs at the First Novels
Club and is the author of a mini kit,
Magnetic Kama Sutra. She’s currently
revising her young adult novel, Multiple Choice.

WHAT'S A CONTRACT?

At its most simple definition, a contract is a legal document saying what the publisher is going to say or do, and what you, the author, are going to say or do. It should be fair and clear on both ends.

Oftentimes, a publishing house will offer a basic contract to an author, and it’s the agent’s job to negotiate better (and more specific) terms. The agent explains everything to the author and discusses his/her options before continuing negotiations. With each revision, the agent goes through the contract with line-by-line vigilance, making sure the author has what he/she needs and what the publisher promised.

HOW MONEY WORKS

The most obvious part of a contract involves negotiating author advances and royalties. Of course! Check out this post for complete details.

PRIMARY RIGHTS

Primary rights include the original edition of the book and paperback reprint rights, but they may also cover foreign territories/translation rights. The standard grant of rights is for the publisher to print/publish/sell/distribute your book in the English language. Your agent would probably want to retain foreign rights, but that depends on a cost/benefit analysis. Meaning, is it worthwhile to attempt to sell your book to foreign markets?

SUBSIDIARY RIGHTS

Here's a post breaking down subsidiary rights. Necarsulmer believes that it’s preferable for the agency to retain as many subsidiary rights as possible in-house because then the writer only has to give 15-20% of earnings to the agent instead of also splitting 50% with the publisher.

These rights include the following:

     • Audio rights. Generally an agent also tries to retain these, but it depends on the earning potential for the author of the agency shopping the book versus the publisher.
     • Film/TV/dramatic rights. Should be retained in-house. These rights are important because of the possibilities to help boost the sales of your book.
     • Graphic novel rights. These should be negotiated as something entirely separate from your novel.
     • Commercial/merchandising rights. It’s also best for your agent to retain these rights. These include plush toys for picture books, Edward Cullen dolls, etc.
     • Electronic rights. Because this is ever-changing, Necarsulmer includes a clause to renegotiate the terms of electronic rights in one to three years, to keep it labeled as an ongoing discussion. Plus, he ensures that, as much as possible, he and his clients have the opportunity to approve electronic rights decisions before they’re made.

Other elements of a contract Necarsulmer mentioned include the following:

     • Publication timeframe. There’s also frequently a clause that a publisher must publish your book within a certain timeframe. With picture books, this can be slightly different because authors and illustrators have to be coordinated.
     • Author copies. Lists the number of free copies an author receives, plus discounted pricing for additional copies.
     • Warranty and indemnity clause. This covers the author under the publisher’s insurance (for libel, lawsuits, etc). Another clause under this includes bankruptcy—what happens if the publisher goes out of business?
     • The agency clause. This outlines the author’s and publisher’s relationship with the agent. For example, noting that all sums of money due goes through the agency (the author benefits when the agency’s accounting department double checks payments), or listing what percent of earnings goes to the agent. This clause possibly requires payment to the author from the agency within a certain number of days.

Necarsulmer’s presentation emphasized how an agent is a valuable ally who looks out for the author’s best interests during complex contract negotiations. A skilled agent keeps contracts from becoming intimidating so that the author can focus on what’s really important—writing.

Want more on this subject?

Check out Donna Gambale's other guest column, 7 Things I've Learned So Far.

See a successful nonfiction query here.

Nonfiction words of wisdom from agent Ted Weinstein.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Contracts and Copyrights and Money | Guest Columns

Friday, March 05, 2010 10:55:54 AM (Eastern Standard Time, UTC-05:00)

Comments [1]

Tuesday, March 02, 2010

Get Agents to Like Your Characters and Keep Reading
Posted by Chuck

If you've been reading my blog for a while, you know that one of my favorite books on writing is Save the Cat (and it's not even a WD book, so you know I'm telling the truth). Save the Cat is a modern-day look at structure and story, written by screenwriter Blake Snyder, a wonderful man who passed away recently at the much-too-young age of 52.

So why is the book called Save the Cat? One of Snyder's most basic points is that we (readers) must like the character we're following. If we see the protagonist do something kind or admirable in the first few minutes/pages, then we will like him. And if we like him, we follow his story and root for him to succeed in getting what he wants.

I recently read some pages from a novel-in-progress. I had some typical notes: "This is good ... this doesn't work ... cut, cut, cut." But the big point was that the protagonist was unlikable. When we first meet the main character, they seem annoyed, and in the middle of a frustrating relationship. We cannot be introduced to characters like this, because why would we keep following a character that is constantly agitated and generally unhappy? We need to root for them, and that's what the Save the Cat moment is all about. So let's look at some movies and identify early Save the Cat moments.

Miss Congeniality

Sandra Bullock is on a sting to catch a mobster. When agents ID themselves and hold the mobster at gunpoint, he starts to choke. But is he really choking, or is it a ruse? It's not clear. None of the male agents move, but Sandra scurries in to help the choking man. She cares; she has compassion. That's a perfect Save the Cat moment.

The Hangover

This movie is essentially about three guys trying to find a fourth guy who's lost just before his wedding day. So which one of the three is the main character? The answer: None. The main character is actually Doug, the groom-to-be who's lost. The Save the Cat moment is very early when he invites his new wacky stepbrother, Alan, to Vegas, even though he doesn't have to. This makes us like Doug. And if we like him, then we root for him to succeed. To succeed means to get married. To do that, we root for his friends to find him in time for his wedding. Save the Cat.

Nottingham

A few years ago, a screenwriter re-envisioned the Robin Hood legend as told from the Sheriff of Nottingham's point of view. In this (unproduced) screenplay, the story begins with a battle. Meanwhile, underground, an Army Leader (actually the sheriff: our protagonist) is leading troops through tunnels for some kind of surprise attack. He stops for a moment to address his men, only to see that instead of looking at him, they're all staring at something else. It's the bucket of water he's holding. It's clear that they're parched. He takes off his own helmet and pours some water in it, instructing them to pass the helmet around and take one sip a piece. The whole thing takes about 7 seconds, and it makes us like this man. Save the Cat.

Sea of Love

I've never seen this movie, but this is the film where Blake Snyder identifies a perfect Save the Cat moment. At the beginning, Al Pacino, a cop, is arresting New York criminals who arrive at a location thinking they're going to meet some Yankees. When Pacino sees that the next approaching criminal has his young son in tow, Pacino makes himself visible, showing his badge. The criminal sees this, and tells his son that there's been a change of plans, walking away. Pacino says "... Catch you later." This is great. It shows Pacino is a tough cop but willing to give this criminal a break because of the kid, but the criminal is not off the hook. Save the Cat.

Recognize other Save the Cat moments in film or books? Let me know.

Craft and Story Beginnings | Guest Columns

Tuesday, March 02, 2010 10:08:12 AM (Eastern Standard Time, UTC-05:00)

Comments [16]

Wednesday, February 24, 2010

How to Create a Simple Writer Blog
Posted by Chuck

Writing is hard work. First, you have to write the story. Then you have to revise it, workshop it, revise it some more, write a query letter, do query research, then mail your baby out. While many writers think the work ends the moment they sign a contract, pros know otherwise. Being a successful author is an awful lot of work, not the least of which is promotion. A blog is an easy way to get started—all you need is a computer and an Internet connection.

Guest post by Peta Jinnath Andersen,
freelance writer & editor. See her website,
*Insert Literary Blog Name Here*. She also
writes flash fiction and short fiction.

There are lots of great blogging platforms out there, each with good points and bad points. But most die-hard bloggers and social media tweeple swear by Wordpress.

Why Wordpress? Unlike most services, even the free Wordpress.com platform offers users a lot of templates and customization. Although this may seem unimportant, the Internet is blog central—making your blog stand out can help keep you up front in your readers’ minds. (And really, why pick vanilla when you could have mint choc chip with hot fudge sauce?) Another perk: Wordpress can be setup much like a website (more on this below). It’s also easy to move to self-hosting later on.

WHAT DO YOU BLOG ABOUT?

Not sure what to write or blog about? Start with whatever interests you—the book you loved/hated/roasted on a spit, the latest update from Publishers Weekly, things you’re struggling with in your novel. Blogging is a useful way to keep readers updated on your professional life, show off your writing chops, and show agents and publishers that you’re interested in going the extra mile.

Keep it professional, though—it’s easy to fall into the trap of regular personal updates, such as what you ate for breakfast and how many times Baby has spat-up (twice in the last hour, if you’re wondering). Some details are okay—in fact, you’re more likely to connect with readers by giving them some idea of who you are—just don’t go overboard. And remember, if it’s something you’d be embarrassed to talk about down at the local coffee house, don’t put it on the Internet! Ready to get started? Here’s what you need to know.

SETTING UP

1. Head over to Wordpress and sign up. Think carefully about your domain name—you can’t change it later. (Your username and blog title can be changed in settings at any time.)
2. Follow the prompts and update your profile. Don’t just skip the “about yourself” section—take every opportunity to connect with your readers.
3. Check your inbox for the activation e-mail. Give the link a little love. (E-mail didn’t arrive? Check the update profile page to ensure your e-mail addy is correct. Scroll to the bottom of the page to change it.)
4. Log in at the top of the page.
5. Click on “My Dashboard” in the menu bar at the top of the page.

POSTS, PAGES, CATEGORIES & TAGS

Pages: Pages are exactly what they sound like—static pages with your content. You can have as many pages as you like, and they can be called whatever you like—on *Insert Literary Blog Name Here* I have eight pages (Home, About, Upcoming Publications, the NRI, SFWP.org, Books, and Contact). To make a page, scroll to the Pages drop down on the left menu, and click “add.”

Posts: These are blog entries. Let’s say you want to put some writing samples on your new site (a good idea, by the way). Find the posts menu then click “add new.” Type or paste your content into the text box. (Use the "Paste From Word" function if you’re pasting from a word processor.) Don’t forget a title! Scroll down the right menu, and select the categories your post fits—say, writing samples—then hit save (for a draft) or publish to go live. Voila!

Categories: Categories are like folders in a filing cabinet.They give you an easy way to sort posts and, in some theme,s create a handy menu bar. Since I use my website as both a blog and a freelance portfolio, I chose categories that reflect the areas I work in the most. You can use more than one category per post (only posts can be categorized), and create subcategories. Subcategories can be useful if you have a lot of similar content (say writing) but isn’t all directly related.

Tags. This is geek-speak for keywords. Tags are used in site searches, and are often listed somewhere on the post. Many themes also have tag clouds—a quick and easy way to show what you post about most.

Want more on this subject?

How royalties and advances (money) work.

Don't put all your eggs in one basket with just one book.

You have a contract but no literary agent - what to do.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Social Networking and the Internet

Wednesday, February 24, 2010 9:29:44 AM (Eastern Standard Time, UTC-05:00)

Comments [8]

Tuesday, February 23, 2010

Secrets of Superb Writing: 8 Tips From Cecil Murphey, co-author of 90 Minutes in Heaven
Posted by Chuck

When Cecil Murphey (co-author of the best-seller 90 Minutes in Heaven: A True Story of Death and Life) became an author, he promised God two things: that he’d never stop learning, and that he would always give back to other writers. 114 (!) books later, Cec has made good on that promise by offering numerous scholarships to writing conferences, mentoring aspiring writers, and speaking to large groups of writers each year. I recently had the privilege of hearing Cec at the Hill Country Evangelical Free Church in Fredericksburg, Texas, where he led a session called “Secrets of Superb Writing.”

Guest column from Dena Dyer, author, speaker,
and entertainer from Texas. Her fifth book,
Let the Crow's Feet & Laugh Lines Come (Barbour)
will release in June 2010. For more info, visit her
website or her “Mother Inferior” blog.

With humor and honesty, Cecil touched on many mistakes beginning writers make—and gave us tips on how to avoid them.

1. Avoid “purple prose.” This refers to writing in which the author strains to sound dramatic and powerful. Usually, the result is melodramatic and strained. Examples: "When she saw his visage, her heart leaped into her throat. His feet flashed through the stripes of the late afternoon sun. The trees moved their limbs like an abstract artist piecing his design in the sky. Her dad’s mouth slammed shut like a bank vault a minute after closing." Write like you talk, Cecil advised us. That led to his second tip:

2. Be yourself. “People worry about others stealing their stuff,” he said. “But if you really write well and sound like yourself, no one can copy you.”

3. Be revealing. “If you don’t want to be self-revealing, don’t become a writer,” he said. “After all, I’d rather be disliked for who I am than be liked for who I’m not!”

4. Avoid clichés. “If it’s something you’ve heard before, don’t use it.”

5. To write good dialogue, listen to the way people really talk. “We don’t go around using other people’s names all the time,” Cecil explained. “But many writers use their characters’ names repeatedly in dialogue. It’s distracting.” ("CSI: Miami," are you listening? David Caruso needs to quit saying everyone’s name all the time!)

6. Let your sentences average no more than 20 words. “Years ago, short sentences were seen as choppy, but it’s simply the way people read now,” he explained. Similarly, he advised us:

7. Don’t be afraid to change with the times. “Words change and usages change,” Cecil said. “Don’t get hung up on that. It’s okay!”

8. End sentences with your strongest word. Instead of “Richard rattled the bushes with a stick he broke loose from a tree on the way in,” try: “With a stick he had broken loose from a tree on the way in, he rattled the bushes.” Bushes is stronger than the preposition in.

And finally, Cecil encouraged his audience to be true to themselves, follow their calling, be persistent, and keep growing and learning. “If you do these things, you will succeed,” he said. Great stuff, from an icon of the publishing world. For more of Cecil’s writing tips, visit his new blog.

Christian Agents | Guest Columns

Tuesday, February 23, 2010 10:20:35 AM (Eastern Standard Time, UTC-05:00)

Comments [0]

Thursday, February 18, 2010

Tax Tips for Writers
Posted by Chuck

Working for yourself as a freelance writer can be a nickel-and-dime business, but come tax time, reporting self-employment income means all sorts of things related to your business are eligible for deduction. Consider this: before self-employment deductions, I owed $266; after the deductions, my refund was $238. I consulted H&R Block tax specialist Sharon Burton on how to maximize your savings for 2009 and what to consider in 2010.

Guest column by contributor
Jessica Monday, published freelancer
and aspiring novelist. She lives in Wyoming.
E-mail her at jemonday[at]gmail.com.

HOME OFFICE

Some of the biggest deductions are tied into whether you can claim a home office. The IRS says a home office “is a room or other space in your home” used regularly and exclusively for business. As long as your work area is a separately identifiable space, that portion of the room is deductible even if you don’t use the entire room for your business, Burton said.

The key to this is not so much how much space you use, but rather how you use it. If you consistently write and sell your writing each month, that constitutes "regular use." The trickier part is you must use the area only for business. So if you generally write at the kitchen table (which is not a station used only for business), find a cheap desk at a garage sale, move it into a corner and voilá - you can claim the area as your home office. But remember: No paying bills or letting the kids do their homework in your work space (which is a nice way to create a little solitude for your art too!).

Now you may think, a desk tucked away in a 5,000 square foot house is not going to amount to much—and it’s not. But if you have a large desk in a more modest abode, the savings do add up. For instance, I have a desk, computer and filing cabinets set up in a shared office room with my fiancé. I measured how much of the room they occupied and approximated the total square footage of our apartment. Since my home office equals 5% of my total home, I’m able to claim 5% of the rent (same thing goes for a mortgage), utilities, renter’s (or homeowner’s) insurance and Internet connectivity fees. (If you file your taxes online, the computer will figure the percentage for you given the square footages.)

Tip for 2010: If you're trying to sell your home, deductions on the mortgage for a home office may have tax consequences after the sale. You may still be able to write off a portion of the utilities without a penalty, but be sure to talk with a tax professional before filing your return.

VEHICLE

If you use a personal vehicle for freelance work, a portion of the mileage is deductible. You can choose one of two methods, standard or actual, to report vehicle expenses, but “it’s always better to do standard miles,” Burton advised. “That way you don’t have to keep receipts, you only have to record your mileage.” This year, the IRS gives 55 cents for each business mile you drove, as well as itemized deductions for license plates, registration, interest on a vehicle loan, parking fees and tolls.

Tip for 2010: Keep a small clipboard in your glove box to write down business mileage, as well as the odometer reading on Jan. 1 and Dec. 31.

CELL PHONE

Cell phones and monthly bills are deductible even if their main purpose is for personal calls. Unless you have a separate cell phone used exclusively for your business, Burton advised keeping track of the number of calls rather than adding up minutes. Normally people spend between 10-20% of their minutes on business calls, Burton said.

Tip for 2010: Track your cell phone usage for a month (or one week if you make a lot of calls). Find the average minutes used for business calls and compare the portion to your total monthly minutes. Use your average to figure the percentage use at the end of the year.

HEALTH INSURANCE

If you pay your own health insurance, monthly premiums are deductible. (At least that’s some relief until they figure things out Washington, right?)

BIG, LITTLE THINGS

More costly equipment like a computer, printer and fax are deductible, but don’t forget about office supplies including stamps, pens, printer paper and ink. Small purchases add up after 12 months. Other deductible items include business membership dues, magazine and newspaper subscriptions, conferences fees, hotel rooms and associated meals, and bus and cab fares. Remember, all expenses must be related to your self-employment. If you’re not sure an item qualifies, seek professional advice—and keep all of your receipts. “That’s the big thing, just keep track of everything,” Burton said. “The flow in and flow out.”

Tip for 2010: Start a new file for the year and collect your receipts, tax forms and any other paperwork useful come tax time.

Want more on this subject?

How royalties and advances (money) work.

Don't put all your eggs in one basket with just one book.

You have a contract but no literary agent - what to do.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Contracts and Copyrights and Money | Guest Columns

Thursday, February 18, 2010 10:12:43 AM (Eastern Standard Time, UTC-05:00)

Comments [6]

Saturday, February 13, 2010

How I Got My Agent: Mark Lee Gardner
Posted by Chuck

"How I Got My Agent" is a recurring feature on the GLA blog. I find it fascinating to see the exact road people took that landed them with a rep. Seeing the things people did right vs. what they did wrong (highs and the lows) can help other scribes who are on the same journey. Some tales are of long roads and many setbacks, while others are of good luck and quick signings.

To see the previous installments of this column, click here.

If you have a literary agent and would be interested in writing a short guest column for this GLA blog, e-mail me at literaryagent@fwmedia.com and we'll talk specifics.

Mark Lee Gardner's latest book was released on
Feb. 9. It's called To Hell on a Fast Horse:
Billy the Kid, Pat Garrett, and the Epic
Chase to Justice in the Old West.

FINALLY, A LUCKY BREAK

I had been fed so much misinformation about literary agents over the years that it wasn’t funny. To begin with, it seemed like an agent was nearly impossible to get. The very few writers I knew who had agents were not forthcoming about sharing names. No one ever said, “Mark, you should contact my agent. He’s looking for some talented writers.” Getting an agent seemed a lot like winning the lottery. A very few authors somehow just got lucky.

Then one day, ten years ago, the esteemed Western historian and author Robert M. Utley sent me an e-mail encouraging me to contact a relatively new literary agent he had met from Dallas named Jim Donovan. Now this was exciting. Finally, I thought, here was my lucky break. I did contact Jim, and we discussed a couple of ideas of mine, and he felt they had potential. Jim sent me a guideline he had written about putting together a good book proposal.

BRIDGER OVER TROUBLED WATERS

This is where I screwed up. I was used to getting paid for my writing—albeit very modest sums—and here was this agent talking about a multi-page book proposal. At the time, that seemed like an awful lot of work without any guarantee of compensation or even a contract. I had other writing projects that were keeping me busy, and although I promised to write something up for Jim when time permitted, my e-mails to him became less and less frequent until they finally stopped altogether.

Five years passed. My family grew. I needed to make more money. If I was going to continue as a freelance historian and writer, it was obvious that I had to move beyond writing books for university presses and the National Park Service and get a trade book deal. I went back through my old e-mails and got in touch with Jim. Surprisingly, he was still interested in doing something with me, and we subsequently got together at a history conference in South Dakota, where we settled on an idea for a book.

I bit the bullet and, with Jim’s helpful suggestions and encouragement, produced a 40-page proposal for a biography of the famed American mountain man Jim Bridger. It was a very good proposal (well, at least several editors told us it was a good proposal), but it was a complete bust with the New York trade houses. It turns out Jim Bridger was not so famous after all. One New York editor had never heard of him. The other editors thought he was “too small” a subject. So, no trade book deal.

A DUAL BIOGRAPHY

But Jim did not give up on me, and I did not give up on getting a book contract. I perused my library of Western history books for another idea and settled on a biography of Pat Garrett, the lawman who ended Billy the Kid’s outlaw career. When I suggested this to Jim, he thought a more interesting—and salable—book would be a dual biography of Garrett and the Kid. The more I thought about it, the more I liked Jim's suggestion. No one had ever written a dual biography of these two Westerners, and Billy the Kid was an iconic figure whom every New York editor was sure to have heard of.

After considerable research into the topic, I completed yet another big book proposal and titled it To Hell on a Fast Horse. Jim carefully went over the proposal, I made changes, and then he sent it out. This time, the response from the New York editors was like night and day compared to our Bridger foray. Jim had immediate interest from several editors. It came down to two publishers, and I went with William Morrow, mostly because the editor at Morrow, Henry Ferris, took the time to call me and tell me how much he liked my proposal. I signed a contract in January of 2007 and Morrow released To Hell on a Fast Horse on February 9 of this year.

A good agent, I now know, is not just valuable for the contacts he or she has in New York, but for their insights and understanding of what makes a superior proposal, and, in turn, a great book. They are patient, excellent sounding boards, and they are there for you every step of the way. A good agent, then, is also a good friend. And, by the way, Jim Donovan is looking for some talented writers.

Mark Lee Gardner is a historian, writer, and
musician of the Western experience. He
writes for both popular and scholarly audiences,
having published with several university
presses and periodicals such as New Mexico
Magazine and Living History Magazine. See his
personal website or buy To Hell on a Fast Horse here.

Want more on this subject?

I interviewed Mark's agent, Jim Donovan. See the interview here.

Want to write a guest column? Write me at literaryagent@fwmedia.com.

Ann Collette of Helen Rees Lit is looking for good Western fiction.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | How I Got My Agent Columns

Saturday, February 13, 2010 6:47:40 PM (Eastern Standard Time, UTC-05:00)

Comments [3]

Wednesday, February 10, 2010

How To Pitch to an Agent at a Writers Conference
Posted by Chuck

Writers attend conferences for many reasons, but one of the biggest draws is the literary agent pitch sessions. Writers get face-to-face time with those in the industry who often appear unreachable. If done correctly, these three to ten minutes sessions can land an author an agent and eventually a book contract. From my experience as the director of the Northern Colorado Writers Conference for the past 4 years, I’ve had the opportunity to interact with literary agents on a different level. They have shared with me their take on pitch sessions and what they like, don’t like and what drives them crazy.

This guest column by Kerrie Flanagan,
director of Northern Colorado Writers. Register
now for the 5th annual Northern Colorado
Writers Conference (March 26-27 2010)
featuring literary agents as well as
author and producer Stephen Cannell.

ARE YOU READY TO PITCH?

Most agents only want to hear pitches from authors who have a finished product. For fiction (including memoirs), that is a completed novel and for nonfiction, that is a completed book proposal. Agents don’t like it when an author gets them excited about a book and then drops the bomb that it isn’t done yet.

Kristin Nelson with Nelson Literary said, "Writers with ‘ideas’ for a great novel are a dime a dozen. It’s that one-in-a-hundred writer who actually has the perseverance and stamina to sit down and write the entire thing (which is a huge achievement all in itself since the majority of aspiring writers never even make it that far)."

DO YOUR HOMEWORK

Before signing up for a pitch session, read up on each of the agents. What books do they currently represent? Are any similar to yours? Don't waste their time pitching to them if you know your project isn't a good fit. Your goal is to become an expert on this person. Then when you sit down for the pitch session, you will feel like you know the agent. You can break the ice by commenting on something you learned, “I read on your blog that you are re-reading War and Peace. What page are you on?”

GIVE 'EM A ONE-LINER

Every author should be prepared to explain their story in one sentence, whether it is at your pitch session or at the evening mixer. No one wants to hear a 20-minute monologue detailing every twist and turn in your plot. “A lot of authors get too hung up on telling me the synopsis of their book,” said Jessica Regal of Jean V. Naggar Literary Agency, “I don't need to know every plot point—and it doesn't make for a very interesting pitch. It should feel more authentic than that, as if you were talking to your best friend.”

“In the end, I know all good writers aren't great speakers,” said Jon Sternfeld, agent with the Irene Goodman Agency, “but an ability to distill information is a part of being a writer and it's usually a turn-off if a writer says way too much (or way too little) about what I need to know about his/her project.”

ELEMENTS OF A GOOD PITCH

Jessica Regel shared what she likes to see in a good pitch, “They need to be able to succinctly tell me what their book is about. What makes it stand out from every other book that's on the market? Who are the characters? What's the conflict? What are the major themes? What other writers/books would they compare themselves to as far as style? If it's nonfiction, why are they the exact person who should write this book? Why is it a topic that I should read about now?"

PRACTICE

The trick to a good pitch is to practice it so you are familiar with the content, but to present it in a way that is more conversational. Practice your pitch with friends, family and your writers group. Get some feedback and try to get rid of that nervousness.

Jon Sternfeld said, “I wish writers would see the agents more as an equal—when there's too much desperation in the writer's eyes, agents tend to de-value them. If a writer is confident, I know that they don't need me so much as we need each other.”

PROFESSIONALISM COUNTS

One agent told me that she wished writers would dress more professionally. She didn't want to see business suits, but she wanted to see clean cut, job-interview type attire. For her, it set the tone—it let her know the writer understands that publishing is a business and is serious about being a professional writer.

GAMETIME: THE PITCH

When you pitch, all you need is confidence and maybe one note card with a few key points on it. You do not need to bring your manuscript. Ken Sherman, with Ken Sherman and Associates said, “Just take a deep breath and get into it and don't worry. If the story and characters are alive and original in approach we'll pick up on it, especially if you're a good storyteller. That's what it's all about.”

After hearing about your book, an agent has to decide if it is a good fit for her. If it is you will be asked to submit chapters, usually via e-mail. If the agent doesn’t think your book is a good fit for her, don’t fret. All agents are different—so try to move on and start thinking about that next pitch.

Want more on this subject?

It's not too late to sign up for WD's Intensive Workshop (March 13-14, 2010). Attendees get pages critiqued and have one-on-one time with editors.

Check out this guest column by Han Vance on Networking at Writers Conferences.

Read more about the dos and don'ts of pitching agents at conferences.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Writers' Conferences

Wednesday, February 10, 2010 9:59:09 AM (Eastern Standard Time, UTC-05:00)

Comments [4]

Wednesday, February 03, 2010

How to Trim Your Query to 250 Words (or Fewer): Advice from Agent Janet Reid
Posted by Chuck

Agent Janet Reid of FinePrint Literary Management, aka the Query Shark, gave this information at a query workshop for the Greater Lehigh Valley Writers Group.

This guest post by Donna Gambale and
Frankie Diane Mallis, critique partners
who blog at www.FirstNovelsClub.com
when they’re not writing young adult
novels. (Donna, author of "Magnetic Kama
Sutra," also previously guest blogged here)

Your ability to write a query that does your novel justice can make or break your chances of landing an agent. Reid recommends spending two months perfecting this 250-word marvel.

Your query encompasses three sections:
      1. 100 words answering the question “What is the book about?”
      2. A brief summary of your writing credits, if you have them.
      3. Miscellaneous information on how you found the agent or why you chose him/her.

THINGS TO CUT FROM EACH SECTION

Section One:
     1. Back story.
     2. World building.
     3. Character roll call.
     4. Telling.
     5. A synopsis.

Section Two:
     1. Academia – classes, teachers, degrees, dissertations.
     2. Conferences you’ve attended.
     3. Self-published novels, or traditionally published novels with poor sales.
     4. Personal information.

Section Three:
     1. Begging, flattery.
     2. Arrogance or self-deprecation.
     3. Offer of an exclusive.
     4. Your marketing plan.
     5. Quotes from rejection letters, paid editors, critique groups, your mom.

TWO THINGS TO KEEP

Section One:
     1. Title, genre, word count.
     2. The essentials of your novel. (Every time you think you know, ask yourself “So what? And then?” until you’re left with your main character, conflict, and consequences.)

Section Two:
     1. Published short stories or novels.
     2. Published magazine or newspaper articles.

Section Three:
     1. Why you chose this agent.
     2. A connection you have from a conference/workshop.

Start from the bare bones and build from there. Infuse each section with your book’s personality. Consider every word. Don’t forget your contact information. And close with “Thank you for your time and consideration.” Now get trimming!

Want more tips and posts?

Query letter tips.

10 Query Letter Questions Answered.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today

Guest Columns | Queries and Synopses and Proposals | Writers' Conferences

Wednesday, February 03, 2010 10:56:55 AM (Eastern Standard Time, UTC-05:00)

Comments [4]

Tuesday, February 02, 2010

Author Platform and the Debut of Your Book
Posted by Chuck

A writer who has ever done any research on her intended occupation has heard the term author platform. Author platform describes all the ways in which you can gain visibility among readers. It refers to your web presence, public speaking and classes taught, media contacts or previous publishing credits such as articles written for magazines, newspapers or websites as well as your networking skills. Your platform is the difference between a reader passing your book up or her giving it a chance by flipping the cover open to read the inside flap.

Guest blog by Lindsey Edwards, writer
of paranormal, fantasy and historical
romance. See her website here.

Going about establishing a platform is different for writers of fiction and nonfiction books. For one, nonfiction authors need to create a trustworthy name for themselves before seeking representation or publication, whereas fiction authors need to focus their efforts more on reaching the masses once they’ve signed a book deal with a publishing house.

NONFICTION PLATFORM TIPS

Create a name for yourself. Before an agent will agree to represent your book, you first need to create a name for yourself. For nonfiction, it’s very important to have testimonials to back you when trying to sell a piece of work you claim to be intimately knowledgeable of.

Target your readers and cater to them. A book is never going to be met with unanimous approval. Meet with your audience by speaking at colleges, libraries, businesses or with whomever else your book could find a home. Even online classes, advertised to the right audience, can bring in potential readers.

Join professional organizations—where you can participate in events and meet with other experts in your field who could later endorse your book.

Write articles—for websites, magazines or newspapers on your topic.

Volunteer. Many friendships or offers are achieved through shared interest and goodwill.

Don’t forget the power of the Internet. Blogs and websites, networking sites and forums are all ways to identify yourself with readers as an expert in your field.

FICTION PLATFORM TIPS

With fiction, agents are more interested in previous publishing credits, but once you sign on the dotted line with a publishing house and have a release date it’s very important to do your share of publicizing yourself and your novel.

Get in touch with the publicity department of your publishing house to see what they will do to help spread the word and strategize a plan offering up ideas of your own. Publishing houses only reserve so much money toward authors, and even fewer dollars are spent on publicizing new novels so you may want to consider putting some of your advance towards the exposure of your novel, it will be well worth it on your next advance if you do this right.

Create a professional looking website with information on yourself, links to any networking sites, a list of your appearances, a guestbook to sign, and perhaps if you have any to share, information on coming attractions.

Obtain a blurb from a well-known author who writes books similar to yours, endorsing your novel.

Locate all the influential book reviewers and make sure they receive an ARC (advanced reading copy) of your novel.

Generate good word of mouth. Now more than ever, word of mouth is done over the Internet. Good news for you because it broadens your circle of readers to those who may tweet to their friends (a Twitter term) good tidings of your book.

Market yourself online so people start to become familiar with your name. When you have a release date for your novel you can do a blog tour where you visit several blogs that compliment the type of book you are marketing and do interviews.

Giveaways. Set aside a few books from the ARCs you receive and use them to create a stir by hosting a giveaway for a signed copy of your book.

Video tape yourself reading an enticing summary or scene excerpt from your book and post it on your networking sites, YouTube and even websites or blogs of friends.

Radio, newspaper and television interviews can help spread the word about a book signing. Remember to have a freebie to hand out to your readers like a bumper sticker, bookmark, postcard, magnet or what have you with your name and the name of your book, along with your web address for further exposure.

Ask for reviews. One more tip for authors of either type of book is to ask anyone who’s said they loved your book to write a review of it on Amazon or on the Barnes & Noble website.

To see how well you’ve done at getting the word out about yourself and your book, sign up for alerts on the search of your name or book. Go to google.com/alerts. Good luck!

Want more on this topic?

What is an author platform?

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Platform

Tuesday, February 02, 2010 12:54:22 PM (Eastern Standard Time, UTC-05:00)

Comments [5]

Wednesday, January 27, 2010

Everything You Always Wanted to Know About Writing Erotica (But Were Afraid to Ask)
Posted by Chuck

As an erotica author, I’ve found that many people have preconceived notions about the art of writing erotica and erotic romance. Before I became well versed in writing the genre, I had misconceptions of my own, and that led to much trial and error as I worked to refine my craft and learn how better to please my audience. Following are 10 tips I’ve accrued for those curious about writing erotica:

Lisa Lane is an eclectic writer who works in
multiple genres and formats; she writes
novels, original screenplays, short stories
and essays. Four of her erotica novels and
six erotic romance short stories are published
through Ravenous Romance. She also has one
“sweet” romance published. See her website here.

1. It’s not all about the sex—really. While sex does play a key role in erotica, the sex itself is secondary to the development of the characters and plot. A good erotica writer knows that, no matter how great the sex is, there still needs to be a good, solid story if one wants to hold a reader’s interest.

2. Dynamics sell. Flat characters never go far, but in erotica, you really do have your work cut out for you when it comes to creating believable and entertaining character dynamics. Dashing heroes make for great romance and passionate love-making, but they won’t keep the story going. Think about the characteristics that you find most entertaining, and then brainstorm: Readers like characters who use fun dialog, have a good sense of humor, and make interesting choices. What types of hobbies, beliefs or interests might help to develop your characters--and give them something in common? The hero must be worth pursuing, and the heroine must be worthy of her hero.

3. Perspective is pivotal. Most readers prefer erotica shown from the female perspective, unless the work is written specifically for readers of M/M (man on man). If you have an idea for a heterosexual erotic story with the hero taking full lead, consider ways you might revise it to focus more on the female’s point of view. Some (very limited) authors have found success in shifting through both points of view, and it works well in some circumstances, but many editors will frown on the “head hopping” of internal dialog.

4. Mixed-genre erotica and erotic romance are all the rage. While many readers still enjoy straight erotica, mixed-genre erotica is a great avenue to take for writers looking for their niche. Use your literary interests to your advantage and write what you like, letting the erotic aspects work as an added feature to your work. You’ll have more fun writing, and that will shine through to your readers.

5. Know your target audience and make sure you brand your work accordingly. Are you writing for fans of erotic romance or other subgenres? Make sure that romance is a strong part of your plot if you’re planning on marketing to erotic romance readers, and make sure you’re clear about your subgenres. Let your audience know what they’re in for before they read your work: if you are including kinky or gay/lesbian aspects to your story, or if you are incorporating audience-specific subgenres such as horror, steampunk, or hard science fiction, be clear about those aspects in your marketing. Readers do not respond well to these types of surprises.

Buy "Love in Space" Buy "Lust in Space"

6. Don’t be afraid to take chances. One point that I cannot stress enough is the importance to be innovative and unique in your erotica. There are only so many ways to write a traditional sex scene, and they can become repetitive and boring. Use your subgenres to your advantage. What is it about your characters or their circumstances that you can use to make your erotica different? What limits can you break, without crossing the line?

7. Don’t be too quick to relieve your audience of the romantic and/or sexual tension. Let it build, let it fall, let a heart or two break, and then give the readers what they’ve been waiting for.

8. Great sex doesn’t always have to include love. While erotic romance is a hot market right now, don’t underestimate the power of pure, raw, primal sex. It can be fun and interesting to develop characters that make their moves based on pure attraction, the love/hate dichotomy, and revenge or rebound.

9. Don’t forget the foreplay. Just as it is important to build sexual tension, it is also important to make sure your characters don’t jump into the act of lovemaking too quickly. Foreplay helps to add to the sexual tension you’ve already built between your characters, and it makes that final “climactic” release all the more satisfying.

10. Be tactful about your ending. Like romance, erotica and erotic romance readers tend to expect a “happily ever after” or “happy for now” ending. Don’t let your audience down by offering them a great story, only to leave them hanging or disappointed by the characters’ outcomes. Even cliffhangers in series need to give the readers hope that all is well, if at least for the time being. If the main couple does not end up together, make sure there is a good reason for it, and that they are better off going their separate ways.

Writing erotica can be a fun and rewarding venture, but as with any genre there are rules to which the author must adhere. While rules can sometimes be stretched or even broken, knowing your audience and your market will go a long way in helping you to promote your work. Have fun, write what you like, but make sure that you’re also writing with your target audience in mind. Good luck!

Want more on this topic?

5 Articles on Romance Writing.
Agent Scott Eagan explains the difference between women's fiction and romance.
Confused about formatting? Check out Formatting & Submitting Your Manuscript.
Read about What Agents Hate: Chapter 1 Pet Peeves.
Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Romance

Wednesday, January 27, 2010 10:34:26 AM (Eastern Standard Time, UTC-05:00)

Comments [5]

7 Things I've Learned So Far, by Alexis Grant
Posted by Chuck

This is a new recurring column I'm calling "7 Things I've Learned So Far," where writers at any stage of their career can talk about seven things they've learned along their writing journey that they wish they knew at the beginning. This installment is from Alexis Grant, journalist and memoir writer.

Alexis Grant is a journalist writing her
first book, a travel memoir about backpacking
solo through Africa. See her website here.

1. No story’s about the author. A memoir revolves around the author’s experiences and ideas—and so can fiction and nonfiction. But the story is never really about the author. It’s about something larger than one person, a theme readers can relate to, one that makes them reflect on their own life. My memoir, for example, is my story of backpacking through French-speaking Africa. What’s it really about? Why each of us should take a leap in life, and the value of traveling solo. I’m an important piece of that. But the story’s not solely about me.

2. Artist’s colonies are worth jumping into. I consider myself a journalist, not an artist. But during my first artist’s residency this year, when I spent five weeks in the woods of northern Georgia, I learned that I really do write more and better in a quiet setting with no distractions. I also met other creative types who opened my eyes to new ideas and fed my writing fire. Finding the time—and sometimes the money—to go to a colony can be difficult, but you’ll be glad you did.

3. Writing a memoir is a lot like writing fiction. It’s nonfiction, of course. All my stories are true. But they have to be told with dialogue, description, scene-setting, pace, characters—the same tools I’d use to write a novel. (These skills do not come naturally to someone who has used direct quotes and right-to-the-point leads for most of her writing career.) Writing this way takes practice. It helps sometimes to remind myself that my true story should read like a novel.

4. Exercise has more than physical benefits. Stuck on a scene? Sick of a chapter? Taking a break to go for a run or walk the dog isn’t wasted time. It’s a chance to think about the story without the pressure of having to put words on paper. Your brain is still working but in a different way, which may benefit you and your story in the long run (pun intended). I do my best thinking when I don’t mean to—while running.

5. A problem can be solved by writing through it. Not sure where the story’s going or whether there’s a bigger lesson behind a scene? You’ll never know if you don’t start writing. Put words to paper—any words—and sometimes the muse works her magic, bringing the story to a place you didn’t expect. Other times that scene should go right into the trash. But even knowing where the story’s not going can help. And often the best way to figure that out is to write through it.

6. My favorite parts aren’t necessarily important to the story. I loved watching the sun set over the Niger River—but that memory, however important to me, might not help my book. For every scene, we must ask ourselves: What’s the reason for including it? Does it propel the story forward? How does it benefit the reader? When it comes to your favorite parts, ask yourself these questions twice. Just because it’s good for you doesn’t mean it’s good for the story.

7. If it’s embarrassing, it’s probably a keeper. Details that feel the most revealing tend to be the ones that let the reader into my head and help them understand me as a person—and that’s what memoir is all about. Whenever I’m tempted to cut an embarrassing paragraph,* I remind myself that those are usually the parts my readers enjoy most. Of course, this rule of thumb can be taken too far—a memoir is not, after all, a diary. But most of our face-reddening habits or thoughts serve a vital purpose in our stories: they make us more human. If it helps the reader relate to you, it’s worth keeping.

Want more on this topic?

Want to pen a guest column? Write me at literaryagent@fwmedia.com.

Free tips on writing book-length memoirs.

A great resource for memoir writing is Writing Life Stories.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

7 Things I've Learned So Far | Guest Columns | Memoir

Wednesday, January 27, 2010 10:08:31 AM (Eastern Standard Time, UTC-05:00)

Comments [4]

Monday, January 25, 2010

10 Questions About the Query Process...
Posted by Chuck

I recently did a guest post on the blog of Hartline Literary (called "From the Heart" - talking about "10 Smart Questions About the Query Process." You can see the entire post on the Hartline blog and see a quick excerpt below.

1. Can you re-query an agent after she rejects you?

You can, though I’d say you have about a 50/50 shot of getting your work read. Some agents seem to be more than open to reviewing a work if it’s been overhauled or undergone serious edits. Other agents, meanwhile, believe that a no is a no—period. So, in other words, you really don’t know, so you might as well just query away and hope for the best.

2. Should I mention that my work is copyrighted or has had professional editing?

No. All work is copyrighted the moment you write it down in any medium, so saying something that’s obvious only comes off as amateurish. On the same note, all work should be edited, so saying that the work is edited (even by a professional editor) also comes off as amateurish.

See the entire column on the Hartline blog.

Want more tips and posts?

Query letter tips.

Five signs a literary is a good match for you.

What are the BEST writers' conferences in the country?

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Queries and Synopses and Proposals

Monday, January 25, 2010 9:02:21 PM (Eastern Standard Time, UTC-05:00)

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Thursday, January 21, 2010

Best of the Quest: One Author's Tale of How His Memoir of Movie-watching Came to Be
Posted by Chuck

It came like a bolt from the blue. I wasn’t looking for it. Didn’t need it. But there it was. Shocking, electric—the question that wouldn’t go away. “What is the worst movie ever made?”

Buy Michael Adams's book "Showgirls,
Teen Wolves & Astro Zombies: A Film Critic's
Year-Long Quest to Find the Worst Movie Ever Made"

LIGHT BULB! ... THEN ACTION

When the “Eureka!” moment happened I was supposed to be concentrating on a lot of other things: getting an American agent interested in my screenplays; working as a full-time film critic and doing freelance on the side to help pay the rent; being a good partner to Clare and a dad to our 14-month-old daughter Ava. But once I saw an egregious little tween comedy called Material Girls and then discovered it was at that very moment the user-voted “worst movie ever” on the Internet Movie Database, the question wouldn’t let me be: What really was the worst movie ever made?

Material Girls sucked, definitely, but I’d seen worse—hell, I’d sat through Santa With Muscles starring Hulk Hogan just in the course of doing my day job. The question then that spurred my quest felt right. It was something I had some experience in and was passionate about but one I couldn’t readily answer. Above all, it was an answer I had to have. No doubt you have a bunch of such questions that relate to where you’ve been and what you’ve done, or what you’ve read and thought and wondered. Imagine one of ‘em grabbing you and not letting go.

But you have to rise to the call. Here’s the thing: rather than just think on it, I acted. I jumped in the deep end—buying hundreds of bad movies on DVD and VHS so I could spend a year watching one really terrible film a day until I found the worst one. Financially committed, I couldn’t back out. I don’t suggest you need to go as far or spend as much, much less on crappy videos, but making it real to yourself—committing—means you can’t then dismiss it as a flight of fancy and back out. I’m thankful I didn’t. Setting a date and doing it pegs the mind, heart and soul on something external. It becomes a narrative, a spine to which you attach experiences and recollections.

CRAFTING THE ONE-YEAR MEMOIR STORY

It’s a segmented memoir—you don’t need to trace your grandparents’ hometown—and a prism through which you view and record events as the quest continues. This memoir form bridges the disciplines of journalism, investigation and analysis while allowing you to present a portrait of yourself in a specific time. In our post-modern culture, it also allows for a lot of jokes and references and subversive asides as you traipse your merry way to quest fulfillment.

Happily, it’ll never be a field of pretenders because you have to be genuinely passionate and curious about your question, but also realistic for yourself and your readers. Can you really become a brain surgeon? Is your struggle not to eat chocolate for a week really that harrowing? But if you decide to build a house with your bare hands or volunteer at the local thrift shop or climb the fourth-highest mountain on each continent, then you might have a bit of fun.

As you progress, take notes. You’re not going to remember all of this stuff and the beauty of such a memoir is in the details. The passengers on the bus, the song on the radio, the color of the sky, the comment your other half made last night and how you feel about this in relation to your quest: this is what will make your memoir vivid. You’ll be writing this backwards to some extent later but you’ll be surprised how much of the first-draft thoughts matter. And make it to the printed page.
The thing is, and I can’t emphasize this enough: Get started.

IS YOUR IDEA/QUEST BOOK-WORTHY?

The ultimate test of whether what you want to do is worthy of a quest memoir is this: Is it something you really want to do and, moreover, something you’d read about? If the answer to both of those is yes, then do it. Once you’ve done it, of course, comes the really tough bit—writing your quest into book form, finding an agent and getting published. If you think your quest is hard, whether it’s hugging 100 dolphins or becoming the world champion at rock-paper-scissors, be prepared for a secondary slog that’s equally challenging.

I was lucky enough to get a recommendation from an Australian friend which landed me with Hannah Brown Gordon of Foundry Literary + Media in New York City. She loved my idea, liked the two rambling chapters I’d written and saw something in the similarly discursive pitch I’d cobbled together. She and the Foundry team helped me hone those chapters and craft a proposal that was also a chapter-by-chapter plan.

Your quest will be your own journey. But just as you’ll need family and friends as your support team along the way, you’ll need a terrific agent and editor to help you turn your experiences into a book. But that’s for down the road. Maybe four weeks from now. Maybe four months. Of four years.
For now, getting started is where you begin. As my novelist friend Mic Looby told me twenty years ago: “Don’t agonize.” It’s possibly the best writing advice I’ve ever heard. Think about it, talk about it but most of all, get on with it. Get on with your wonderful, tiring, frustrating, rewarding and illuminating journey. All else will follow from that first step.

This is guest blogger Michael Adams on set
of George A. Romero’s Survival Of The Dead,
"playing"—what else?—a zombie. Besides
writing a book on finding the worst movie
ever made, Michael is a magazine contributor
to publications such as Empire and Rolling
Stone. And, for a brief shining moment, he
was co-host of The Movie Show.

Want more on this subject?

Want to pen a guest column? Write me at literaryagent@fwmedia.com

Writing memoir? Check out tips on writing and selling the book-length memoir.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Memoir

Thursday, January 21, 2010 11:09:12 AM (Eastern Standard Time, UTC-05:00)

Comments [6]

Monday, January 18, 2010

Tips for Writing and Selling the Book-Length Memoir (Part 2 of 2)
Posted by Chuck

"Is my life fascinating enough?" That's the question raised today in a special guest column by journalist and memoir writer Ethan Gilsdorf, author of Fantasy Freaks and Gaming Geeks. (This column is Part 2 of 2. See Part 1 here.) If you're interested in writing life stories and memoir, check out Ethan's Boston-based, eight-week intensive memoir class (next class begins Jan 26, 2010).

Ethan Gilsdorf is a memoir writer, journalist, critic,
editor and teacher. He has contributed to The New
York Times, Boston Globe, National Geographic
Traveler, Psychology Today and more. Win a copy of
his book online, see check out his personal website.

2. Start small -- master the essay, the article, the chapter before you take on the entire book. Think of chapters as potential articles first. Strategize to turn a series of related articles into a full-fledged book idea.

3. Publish widely to establish a track record as proven writer and prove you have the writing chops. Agents are more likely to take chance on you if you’ve already published on topic in magazines, newspapers. If you haven’t published short pieces yet, get to work!

4. Document as you experience – make a record of dialogue and thoughts (and keep receipts for tax purposes). If you can’t remember your life or experiences, is it OK to make stuff up? Remember to be truthful to the spirit of the scene in any recreations. In addition to memory, use your reporting skills: interviewing, researching, field work.

5. Pitching the proposal: Take classes, read books, seek expertise on writing a book proposal. Understand what a nonfiction book proposal contains: synopsis; methodology, style and approach; target audiences; promotion and marketing strategies; similar books;
format and delivery; chapter outline; author bio.

6. Network, go to conferences, to gauge interest in your idea, meet editors and agents.

Want more on this subject?

See all the posted stories of writers finding agents.
Do you have a good story about how you found your agent? E-mail me at literaryagent@fwmedia.com and we'll start a dialogue.
Check out my tips on writing memoir: Part I, and also Part II.

Guest Columns | Memoir

Monday, January 18, 2010 9:51:00 PM (Eastern Standard Time, UTC-05:00)

Comments [0]

Wednesday, January 13, 2010

Everything You Would’ve Asked About Steampunk, Had You Known It Existed
Posted by Chuck

Steampunk is a subgenre of science fiction that, as the name suggests, comes from the idea that technology never developed beyond steampunk. The science can deviate a bit from there, but that’s generally where it all starts. It’s a look into what could have happened had science and industry taken a different turn, but didn’t.

Guest column by Matt Betts, spec fiction
writer and poet. He runs a critique group
and has a website here.

It can take place in the “modern” year or back when steam power was, in fact, the most important source of energy at the time. Many early steampunk stories were set in Victorian England, which may be the reason for the lasting use of Victorian sensibilities in the stories. More and more of the tales are now set in other countries and even other worlds, with the style of the late 19th century remaining, right down the bowlers, brass fittings and waistcoats.

Author Cherie Priest, whose steampunk novel Boneshaker made it on Publishers Weekly’s best of 2009 list, suggests that one of the tough parts about writing steampunk is keeping that world straight for both yourself and the reader. “Steampunk is almost by necessity (but not exclusively so) an exercise in alternate history, so the question becomes one of which events to tweak, how to present them, and how to extrapolate their consequences," she says. "It's a fine line to walk—you want to change history in a credible way that makes sense; but you can't be afraid to break the timeline and really make a mess of things.”

WHERE DID STEAMPUNK COME FROM?

At its core, steampunk uses steam power as the jumping off point to attempt to create some of the advances we have today through various means. Computers, rocket ships and robots have made appearances in their steam-driven or alternative-technology forms at various times and there’s always room for more inspired adaptations.

Some of the literary inspiration for steampunk comes from early authors like Jules Verne and his fabulous tales of the submarine Nautilus, the Time Machine from H.G. Wells, Bram Stoker’s Dracula and Mary Shelley’s Frankenstein. Alan Moore would later take these ideas (and some of the characters) and use them in his graphic novels about The League of Extraordinary Gentlemen.

DO AGENTS SEEK STEAMPUNK?

Joanna Stampfel-Volpe of Nancy Coffey Literary & Media Representation says she enjoys steampunk for the ideas it presents: “It's not just magic with things just appearing out of thin air, but it's people inventing things—even if these steam-powered/clockwork run machines are ultimately too fantastical to ever actually exist in real life, it feels like...well maybe they really can. That's probably the kid in me wishing for that, but who cares, right? Stories are supposed to make you feel like anything's possible!” Having said that, Stampfel-Volpe says not a lot of the subgenre comes her way.

Nathan Bransford of Curtis Brown Ltd. is one agent who doesn't expressly seek out steampunk novels or make a huge announcement for submissions, but he's willing to consider the category. "If it’s good it’s good!" he says. "I’m sure some publishers want it at the moment and some don’t, but I’m always on the lookout for a great story, and that includes steampunk."

Stampfel-Volpe agrees that the quality of the story is what matters most, even when delving into the world of steampunk. "I don't feel it's any harder or easier to sell than regular fantasy," she says. "As long as the voice and plot are captivating, it doesn't really make a difference that it's considered steampunk."

GLOSSARY OF COMMON STEAMPUNK TERMS

     Analog Computer: A common example of the “What if” or alternate nature of things that happen in steampunk.
     Automotan: Steampunk term for a robot or mechanical man. The word construct can also refer to an automotan.
     Clockpunk: A similar subgenre based on the technology that runs watches: springs, gears, cogs, etc.
     Corset: Item of clothing that makes frequent appearances in steampunk stories. Usually worn by women.
     Cyberpunk: Another subgenre that deals more with the super high-tech world, as opposed to the more low-tech one in steampunk.
     Goggles: You’d think they would fog up, what with all the steam, but people wear goggles quite a bit in steampunk stories.
     Victorian Era: Common setting and source for steampunk stories.
     Zeppelins: These airships are a staple of steampunk travel. Also referred to as airships or dirigibles.

Want more on this subject?

If fantasy writing is your thing, check out The Writer's Complete Fantasy Reference.

If you want to write sci-fi or fantasy and are looking for some guidance, check out WD's online course on writing for these genres.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Definitions | Guest Columns | Science Fiction and Fantasy

Wednesday, January 13, 2010 10:19:54 AM (Eastern Standard Time, UTC-05:00)

Comments [10]

Monday, January 11, 2010

Tips for Writing and Selling the Book-Length Memoir (Part 1 of 2)
Posted by Chuck

"Is my life fascinating enough?" That's the question raised today in a special guest column by journalist and memoir writer Ethan Gilsdorf, author of Fantasy Freaks and Gaming Geeks. (This column is Part 1 of 2. See Part II here.) If you're interested in writing life stories and memoir, check out Ethan's Boston-based, eight-week intensive memoir class (next class begins Jan 26, 2010).

Many memoirs plumb the depths of childhood, coming of age, trauma and family. But what if your life story alone doesn't seem all that memorable? You can still write a book-length "not all me" memoir (or series of connected essays) that combines the personal with travel, pop culture, some quirky interest, passion or quest. Here are some considerations the tips that will help you adapt your personal history and life experiences in memoir, establish your expertise and turn articles into a full-fledged book idea, and shape a raw idea into a real story and find a structure for telling the story. (And by the way, a thank you to Emily Franklin for her contributions to these lists.)

1. Think of what kind of memoir yours might be -- triumph over personal tragedy? Cool thing I did for a year? Once you know, see how it fits in with current memoirs being published today. Does it aim for the Bill Bryson or David Sedaris target audience? Is yours Eat Pray Love for men? Liar's Club meets Running with Scissors? Is it sincere, funny, harrowing or inspirational? Try to encapsulate the idea in a thirty-second elevator pitch.

2. Is my life fascinating enough? How do I find the heart of an interesting story? A memoir is a story -- you have to tell a story. You need to find the narrative and your unique voice. It can’t be just be the random and disorganized (or chronologically-arranged) events of an interesting life. The book needs a focus, a theme and an angle.

3. You need a framework for your idea, even if you are an expert. This could be a timeframe (one month of projects, two years in the Deep South, etc) or it could be project-related (my time in the Peace Corps).

(Note: Some memoirs cross genres. For example, one can be overcoming a Crystal Meth addiction and also be an expert in that field. You can even write a memoir of someone else’s problems! But you have to make them your own in some way. If it's memoir, it has to be about you.)

4. What sets you apart from others who do what you do? (For example, "I’m a mom who cooks." So what? Lots of parents cook. What makes you different?) Get to know the competition; research how your book differs from others similar to it on the market. Make sure yours brings a new angle/twist to the subject area.

5. Be an expert in your field or legitimize your experiences. Create a platform (articles, blogs, speaking engagements, etc) to establish expertise in your area: New Zealand backpacking, parenting autistic children, Tuscan cuisine. A platform and established audience are also attractive to agents and publishers.

6. Strike a chord! Think of a group who would be your built-in book-buying audience (dog lovers, gamers, foodies, Italy-groupies, parents who had drug-addicted kids, parents who are glad they didn’t have drug-addicted kids, slutty girls, girls slutty who weren’t slutty but wished they were, moms who pray their daughters won’t be, etc.).

Want more on this subject?

See all the posted stories of writers finding agents.
Do you have a good story about how you found your agent? E-mail me at literaryagent@fwmedia.com and we'll start a dialogue.
Check out my tips on writing memoir: Part I, and also Part II.

Guest Columns | Memoir

Monday, January 11, 2010 1:28:40 PM (Eastern Standard Time, UTC-05:00)

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Saturday, January 09, 2010

Never Giving Up: My Tale of One Novel, Two Agents and Three Continents
Posted by Chuck

There’s no greater fun than being born excitable. That’s me. You can never get me down. I get excited even with failure and I try, and I try, even at the cost of being laughed at. No worries; jump around, I say, and time will come when you will see yourself out of that godforsaken slushpit.

Guest blog by Abhijit Dasgupta, executive editor
of India Today magazine, the subcontinent's
biggest English weekly. See his blog here.
He is repped by Patricia Moosbrugger.

To begin with (how many times do you have to say this to make your opening line work, I wonder), I have, I think, a good tale to tell you about agent hunting. I wrote my two-book 110,000-word Indian reincarnation-romance-historical novel, Three, in 2006 and went shopping for a literary agent in London. I found a big-time rep almost immediately. She was enthusiastic; nay, ecstatic with the ms. I felt like an author and started behaving like one. Even when I was signing sundry cheques, I was looking around for a copy of my published book to hand over along with them.

"HANG IN THERE, MATE"

She submitted to editors and I carried on being an author, smug in the confidence that she couldn’t fail. Middle 2008: I had finished Book 2 and she wanted revisions on Book 1. No worries; they all wanted revisions, said Google. But spirits were high - she was still most enthused (not ecstatic any longer, though). Months went by, and from ecstatic, she had slowly moved to being enthusiastic and finally, she was clearly egg-on-the-face. E-mails remained unanswered and it was obvious: She could not sell my book.

No, I did not press the panic button. I merely jumped. This was jumping done bad, jumping slowly going berserk. Eyesight blurred. Getting glasses changed and stuff like that. My peers told me that with what was happening in the West, India and China were soon to be world publishing powers. I found a few literary agents who had, I guess, upon similar foresight, opened shop. I mailed. They replied. Out went the attachments. I still haven’t heard from them. I thought again about how my London agent had been entranced, so I shot her e-mail after e-mail, asking what to do. There was just one reply to all of them, “Hang in there, mate … we are in bad times." I was upside down without a clue to what would happen next, so I decided to sack her. In retrospect, I feel sad; traumatized is the word, that I could have acted in the way I did. She was the One who had believed in the ms turning from frog to prince. But why wasn’t she replying to my emails and how long would I have to wait?

STARTING ALL OVER

I Googled three words: historical, multicultural, romance. And sent the same query letter at random to agents whose names were thrown up by Google first and the various other online databases later. If there was one agent who matched even one of the criteria, she or he would be queried. That was a promise I made to myself and I delivered spot on. Between October and November, I do not remember anything else. Things became so hectic that even when I was supposed to be enjoying the next best thing to the sheer pleasure of living itself, I was hunting for the Send button to let go.

33 of them requested partials and fulls. I was overwhelmed! These were big names in the US and UK. Some had rejected me years before; others remembered me from previously submitting. Why the new interest? The revisions, I told myself; all of them wanted to see what London had suggested and whether it was any better this time. And something else dawned on me. This talk of the Downturn in the West was exaggerated. Agents were, as they came, happy to read.

THE MIDNIGHT KNOCK ON THE DOOR

Then one night (always late, very late night, or early morning … I live in India, you see), there was a knock at the computer door. The midnight knock, as we call it . You guessed it right. It was an offer of representation. Date? December 15. Time when it hit my computer? 3:32 am, Indian time. Sent from? London. Me doing what at that precise moment in history? Sending.

Following that mail, I got three more offers, two from the US and one more from the UK. There was so much of the sun at the top of the well now. I actually hummed Lennon. Finally, I fell for Patricia - Patricia Moosbrugger from Colorado. Someone who allows me to jump as much as I want to. Best, she loves historicals, my genre. Also, Google and all those trackers tell you she does not accept e-mail queries. She does. She accepted mine and is now “thrilled” to represent my magnum so-many-times-rejected opus.

So let me tell you: Yes, make querying an addiction. Break the goddamned rules. Send a lot of queries. One will stick. Or at least, if you are pretty unlucky with a problem of plenty, four will.

Want more on this topic?

Want to pen a guest column? Write me at literaryagent@fwmedia.com.

See all posted stories of writers finding their agents.

Agent Janet Reid provides 20 Query Letter Tips.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | How I Got My Agent Columns

Saturday, January 09, 2010 12:22:06 PM (Eastern Standard Time, UTC-05:00)

Comments [2]

Thursday, January 07, 2010

New Adult: What Is It?
Posted by Chuck

“Home” is such a simple word, at least on the surface. But where is home to a modern 24 year old? Is it the tiny apartment that she lovingly decorated with IKEA furniture and inexpensive trinkets from Target? Is it the two-story Victorian that he grew up in, where his parents still welcome him with open arms (and wallets)? Or is it that fuzzy future house he and she keep thinking about? The one they’re going to buy together a few years from now, with a big backyard for the Beagle they recently adopted and the little boy they both want someday.

Guest column by Kristan Hoffman,
freelance writer and designer. She's a
published columnist and aspiring YA
novelist. See her website here.

These are the kinds of questions my friends and I are wrestling with as we transition out of school and into the Real World. It’s a strange time, because we’re technically adults, but most of us feel more like overgrown kids.

And that’s exactly the unique life period that New Adult fiction is intended to address.

“New Adult” is a term coined by Dan Weiss and his editorial assistant S. Jae-Jones (known as JJ). They are on a mission to discover and develop New Adult voices for St. Martin’s Press. To that end, they recently ran a contest for writers of New Adult fiction and ended up selecting 18 winners. Now they are reading partials of those 18 manuscripts, and one of them, happily, is mine.

While I calmly (hah!) sit and wait to find out if the St. Martin’s team is interested in reading more of my work, I find myself searching for the best way to explain New Adults and our fiction. It’s more difficult than I would have expected. In the end, I decided that the clearest explanation might be a composite. Here are a few quotes about the nuances of “New Adult,” accompanied by my thoughts as a New Adult person writing New Adult fiction.

THE CONCEPT

In the words of JJ at St. Martin’s, “New Adult is about young adulthood, when you are an adult but have not established your life as one (career, family, what-have-you).”

So, it’s about transition. The transformation from child to adult doesn’t happen overnight—just ask as anyone who is or has been (or is a parent to) a teenager. But the transition from teen to adult doesn’t happen overnight either. There’s a period of time where adulthood feels like a new pair of shoes. The expectations of independence and self-sufficiency are still new, still being broken in. New Adults are the people who have just begun to walk in those shoes; New Adult fiction is about their blisters and aches.

THE PROTAGONISTS

Writer and actress Adrienne Kress describes New Adult as “work that isn't quite adult and isn't really YA”—i.e., “college-age stories, or stories with individuals just out of high school.”

That puts New Adult protagonists in the range of 18 to 26 years old. (Earlier in history, adulthood may have started as early as 15 or 16, but I think you get the idea.) College, first jobs, first relationships, or marriage… There’s a lot that can happen when you’re 18-26, but the fact is, those same events feel very different at that age than they do at 12 or at 40. Because kids and teens focus on the present, while adults draw on their past experience to inform their present and future decisions. New Adults are somewhere in between. As the saying goes: old enough to know better, but still too young to care. That distinction might seem subtle, but it comes through loud and clear in the voice of New Adult fiction.

Now, obviously there have been protagonists aged 18-26 before. New Adult as a concept is not new, but recognizing and promoting it as a separate category is.

THE READERS

Agent Kristin Nelson explains that New Adult stories “will speak to older teens and twenty-somethings.” But then “where [do we] put these books so they can be found by the target audience. Does it go in the teen section or in the general fiction?”

The answer is that there is no answer yet. In an ideal world, New Adult fiction would go on a New Adult shelf, but that doesn’t exist in mainstream bookstores yet. Part of St. Martin’s mission is to help interested readers find these books, regardless of where they end up. The fact that these interested readers might hail from all different age groups makes the task more challenging, but perhaps also more rewarding.

St. Martin’s Weiss is an industry veteran, responsible for successful ventures such as the Sweet Valley High series and SparkNotes. He’s got a knack for understanding what niches are not being filled, which consumers aren’t being satisfied. If he believes New Adult fiction will have an audience, then I’m inclined to agree.

Especially since New Adult could offer a variety of “flavors.” Sci-fi, fantasy, romance, historical, thriller, literary … Just like the Young Adult umbrella, New Adult can (and probably will) cover all these genres and more.

THE BIG PICTURE

Finally, and my personal favorite, St. Martin’s Press VP Matthew Shear sums up New Adults—both its readers and protagonists—as “emerging adults who are navigating career, love and family in a 24/7 connected world.”

Exactly. In fact, that’s what I had in mind while writing Twenty-Somewhere, my New Adult manuscript currently under consideration by St. Martin’s. In Twenty-Somewhere, three best friends (Sophie, MJ, and Claudia) graduate from college, scatter across the globe, and begin their own careers and relationships. Despite their great differences and even greater distances, all three struggle through similar issues, and they struggle through them together. Because in this day and age, being close doesn’t require being nearby.

That brings us back to my original question: Where is home? For New Adults like me, I think the answer is again a composite. Home is the new apartment, the childhood residence, and the future house. For New Adult fiction, the only home right now is St. Martin’s Press. But if Weiss and JJ are successful, it’s only a matter of time before other publishing houses follow their lead. And when they do, I have no doubt that New Adult will find a home on a bookshelf of its very own.

Want more on this topic?

5 Signs a Literary Agent is a Good Match For You.

See examples of Successful Queries that agents liked.

Check out The Writer's Digest Guide to Query Letters.

How to Write a Synopsis for a Novel.

Facebook, Twitter and Literary Agents.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Definitions | Guest Columns

Thursday, January 07, 2010 10:15:35 AM (Eastern Standard Time, UTC-05:00)

Comments [9]

Monday, January 04, 2010

Agent Scott Eagan on Romance vs. Women's Fiction
Posted by Chuck

When I first opened Greyhaus Literary Agency in 2003, I decided to focus simply on romance and women’s fiction. Since that time, I honestly don’t know how many times I have been asked “What is the difference between romance and women’s fiction?” It seems that, in my humble opinion, the line has really been blurred between these two genres. There is fiction with romantic elements. There is literary fiction told from a female perspective … the list goes on and on. Considering Greyhaus focuses exclusively on romance and women’s fiction, I felt it was necessary to really define the two genres and make it clear to both myself, as I looked at new proposals, and to the readers that submit to me.

This guest column by agent
Scott Eagan of Greyhaus Literary

I do have to say, however, that I have received a lot of criticism from writers that claim you really can’t categorize writing. Often, I am electronically screamed at by writers who claim writing can’t be categorized like this. I laugh at this comment. My undergraduate work was in Literature and anyone who remembers anything from any literature class they took will remember that we do indeed divide writing into stylistic differences. There is a huge difference between the writings of Coleridge and Wordsworth and the writings of Locke and Jefferson. One is from the romantic period and one is from the Age of Reason. In both cases, the writing met certain criteria, other than simply being written during a time period. There are stylistic elements.

For those of you that might not be on board with literature, let’s try music? Baroque, Classical, Romantic? Get the idea. I could go on an on with this but I think you understand where I am coming from. Writing is going to do the same thing.

LET'S BEGIN WITH ROMANCE

At Greyhaus, I really like to stick to a traditional definition of the romance genre. In this genre, the writing will have two key traditional elements.

• The relationship is the central plot arc of the story.
• There is a happily-ever-after.

In romance, a writer needs to see the growing relationship of the hero and the heroine. There may be other elements going on in the story but the romance is still the central focus of the story. We want to see the two characters come together through whatever adventures they may be dealing with. Romance, of course, can be written in a variety of sub-genres (paranormal, historical, suspense and mystery) but the relationship has to be the central focus of the story. This is easy to spot. If you tell someone what your story is about, and the focus is only on the characters and their growing attraction toward one another, then you are likely in that romance. Please understand that if your story doesn’t revolve around that, it does not necessarily mean that you have women’s fiction. We will get to that later. This genre also has a second element. There is a happily-ever-after. And yes, the same rule applies here as did with the prior point. If a story doesn’t have that happily-ever-after, it does not mean it's suddenly women’s fiction.

Remember that the goal of romance is to show a growing and developing relationship. We want that “fantasy” world. While the real world may have pain and hardship, we want to escape to that “better” world every now and then. We can have tears, anger and pain along the way, but the readers want to know, that when they close the book in the end, we know the characters are going on with their lives, happy and content.

I do get a lot of writers that say their story is really set during a romantic period, or they have added a romance to the story, but I think you can see that doesn’t quite meet the genre. Yes, it is a fine line, but there is still a line.

BUT WHAT ABOUT WOMEN'S FICTION?

In women's fiction, is there no happily-ever-after? Does this mean there is no romance? No. Women’s fiction is about something much more. I have always tried to define this genre as a story that shows the female journey. The goal and the intent of this genre is to be able to relate to the character and understand her own life. We want to know what it is to be a woman. Like romance, this can occur in any time period, but the goal is still the same – to understand the female psyche. The story can be multicultural, like Amy Tan, or historical, like Philippa Gregory. It really doesn’t matter other than making the heroine the central focus of the story. It may be contemporary. One of my favorite stories that I believe fits this the best is A Summer All Her Own by Rosanne Keller.

I often think about these stories as the type women will sit around and talk about. The stories that allow women to say, “Hey, I’ve gone through that.” Readers are learning they are not alone, and hopefully, through that story, they can learn new ways to cope with struggles that seep to be daunting at the present time.

For those of you submitting to Greyhaus, you can now see where I am coming from when dealing with submissions. I'm accepting queries again, so check my website for exact submission guidelines.

Want more on this subject?

Previously I interviewed Scott on the blog.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Interested in romance? Dorchester editor Leah Hultenschmidt gace a great interview on this blog. See Part I and Part II.

Guest Columns | Romance | Women's Fiction

Monday, January 04, 2010 7:52:38 PM (Eastern Standard Time, UTC-05:00)

Comments [5]

Saturday, December 26, 2009

Writing for Love, Writing for Money, and What Superman IV Has To Do With Being a Professional Writer
Posted by Chuck

You ever see Superman IV? It was the one where Lex Luthor creates a "Nuclear Man" who fights with Superman. Mariel Hemingway is in it and she's awful. The plot is awful. The whole thing is just a terrible drive down Awful Street.

But as awful as it is, I think it has a connection to the world of writing. Let me explain. Perhaps you remember Superman III with Richard Pryor? That one was awful, too. Richard Pryor had no business being in that movie, yet there he was - squeezed into the plot in an attempt to attract box office dollars. Anyway, after the disappointment of Superman III, actor Christopher Reeve wasn't interested in another Superman film. Producers came to him and talked about a fourth installment, but he wasn't biting. Why? Because he knew it would suck (and suck it did). So if he knew Superman IV would suck, and he didn't want to do it in the first place, how on Earth did that movie ever get made?

Two words: Street Smart.

Street Smart was a nice little drama script that Reeve had been trying to get off the ground for years. He loved the project but nobody would finance the picture. The producers who owned the Superman movie rights told Reeve they would bankroll any picture of his choosing in exchange for doing Superman IV. He couldn't resist, and he signed the papers. Street Smart was released in 1987 and kinda came and went without much hurrah. Morgan Freeman played a nasty pimp in it and got his first Oscar nomination. You can see clips of him online, being the man. He totally stole that whole movie. But the point here is not to praise Morgan Freeman and his soothing voice. The point is to show that, like Christopher Reeve in the mid-80s, we writers sometimes do things for love and sometimes we do things for money. And that's normal; that's perfectly fine.

David Morrell, the thriller writer, once told me that only about 250 people in the country make their living soling writing novels. All the other writers must do other writerly tasks to bring in money. They teach; they write press releases; they write radio copy; they pen articles. Think about the movie Jay and Silent Bob Strike Back, when Matt Damon and Ben Affleck (playing themselves) talk to one another about alternating with "a safe movie" and then "an arthouse movie."

And they're pretty much right (in my mind, at least). You have to take on some projects for love - projects that might fail. This usually refers to fiction. And you will need to take on writing that doesn't inspire you but pays the bills. Perhaps that's travel articles for the local paper or running a newsletter of some kind. Just know that it's normal, and we're all doing the same thing.

Guest Columns

Saturday, December 26, 2009 1:22:58 AM (Eastern Standard Time, UTC-05:00)

Comments [2]

Thursday, December 24, 2009

Should You Start With Plot or Character(s)?
Posted by Chuck

Whether plot or character comes first when composing a novel is sort of like the chicken and egg thing. It greatly depends on the author’s point of view. Plot and character are so entwined that it’s often hard to even separate the two. Like all elements of a novel-dialogue, exposition, description, pacing-plot and character are woven throughout. I think writing can be compared to weaving, where the threads are blurred within the composition of the overall pattern.

Guest blog by Kathryne Kennedy, author of the
Relics of Merlin series; she is best known
for her historical paranormal romances. She
has also written a fantasy romance and
a new Victorian historical romance,
titled My Unfair Lady.

After several books I’ve found that, although there are guidelines to writing, there are no hard and fast rules. That’s why the best authors appear to break them. So I would hesitate to give a definitive answer to that question, and can only offer what I personally do as a writer when starting a new novel.

I start with plot. I’m probably breaking the romance guidelines, as romances are known for their character driven stories. But then again, most of my books are a mix of fantasy and romance, so they’re a bit different anyway.

For me, I have to know where I’m going before I create my characters, even if it’s only a general idea of the plot. Once I have my external conflict (plot) I can then create the characters who would suffer the worst internal conflict within the story. So, if I have a storyline where the heroine must leave her village to find her missing father, who is tangled up in all sorts of political intrigue, I will create a character who is not an adventuress at heart. She’d prefer a cozy, quiet life of knitting and cooking and raising babies. The last thing she would want is to leave her peaceful home and go wandering about the dangerous countryside, eventually becoming tangled up in the same intrigues that cost her father his life. Her internal conflict will be so much greater than creating a character who longs for adventure and excitement. And her growth would be much more rewarding and life-altering.

And then this is where it gets interesting. Because once I create the characters, and plunk them into the story, they will take over, sometimes changing the plot drastically from what I’d first envisioned. And I let them. Because isn’t that the magic of writing, when the words aren’t coming from you, but the characters that you’ve created?

My upcoming release, My Unfair Lady, is a Victorian romance, and probably more character driven than any other book I’ve written. Inspired by Shaw’s Pygmalion, I knew the plot would involve a brash American who comes to London and hires an impoverished duke to turn her into a lady. I knew that someone would be trying to kill the duke, and why. And then I created the characters. The heroine’s reasons for wanting her transformation seemed obvious at first, but then I gave her a secret, one that made her want the things she did, without knowing why, at least at first. When I created my hero I gave him a superficially glamorous life, and a boredom with it that would make my heroine seem like a breath of fresh air-that would make his desire to change her conflict with his growing attraction for her just the way she was. And then the magic happened. The internal conflict became so pronounced that it overwhelmed the external conflict, and I let them loose to figure out each other’s secrets. However, the external plot continued to throw them together time and again to give them a chance to do so. And it was pure joy to watch these two characters discover the truth about themselves, and fall in love with each other while doing so.

So should you start with plot or character? That’s all up to you, and the story you envision writing. But if you’re not quite sure, try starting with a general plot outline or idea, and create characters who would hate to be put into the situation you’ve created. And see where the magic takes you.

My Unfair Lady by Kathryne Kennedy,
a Library Journal Editors pick, and
a Starred Review from Publishers Weekly.

Craft and Story Beginnings | Guest Columns | Romance

Thursday, December 24, 2009 2:59:45 PM (Eastern Standard Time, UTC-05:00)

Comments [6]

Friday, December 18, 2009

Agents at a Conference Talk Queries, Short Stories, the State of the Industry & More
Posted by Chuck

This is a "Blast From the

Past" post. To celebrate the

GLA Blog's 2nd birthday, I am

re-posting some of the best

"older" content that writers

likely missed.

------

In 2009, I presented at Muse & the Marketplace, which is a writers' conference held in downtown Boston. The event seemed to be a big success and I gave two presentations—one on query letters to agents, and another on nonfiction book proposals.

Also—I sat in on an agent panel and listened to four agents share all kinds of good tips and secrets. The four reps were:

      1. Mollie Glick of Foundry Literary + Media
      2. Rob McQuilkin of Lippencott Massie McQuilkin
      3. Elisabeth Weed of Weed Literary
      4. Lane Zachary of Zachary Shuster Harmsworth

Here is what they shared. Everything
below is paraphrased.

ON SUBMISSIONS & QUERIES:

MG: When you contact an agent with a query, if you can mention other books that the agent has repped (for example, because you repped X, I think you will like my Y).

LZ: Mentioning that you have an MFA is impressive and can help, but doesn’t make too much of a difference in the long run, because it’s all a matter of whether the writer can write.

MG: When looking at a query, agents are looking for something that helps them pull your letter out of the pile and say “This person has some legitimacy.”

LZ: The query letter is “a couple of sparkling paragraphs about what you’re writing.” She often sees query letters with superfluous detail in them—namely about the author’s life (“I ski … I hunt.”) If she sees superfluous detail in the letter, she assumes that the manuscript will have too much fat on it, as well.

RM: Simultaneous submissions are normal and assumed. In other words, it is safe and healthy to submit your work to several agents at once.

MG: Submitting to agents and editors at the same time is counter productive because if you were to get an agent, she won’t know who you’ve submitted to and received rejections from. This makes her job harder.

LZ: If she passes on an idea but thinks another agent at the agency will find it interesting, she will always pass it on.

ON SHORT STORIES:

RM: One of the best and most common ways to sell a collection of short stories is to repurpose them into a novel, or sell the collection as one part of a two-part deal, with the second book being an actual novel.

LZ: Short story collections do sell, but they do so very rarely.

ON CHOOSING AN AGENT:

RM: There are distinct benefits to working with a young & hungry agent. Namely, they will be able to spend more time helping you polish your work before it gets sent out. A younger agent may have more time to help you.

EW: It makes no difference whether you go with a big or small agency. She’s worked at both, and finds very little difference. It's all about the agent's ability, not the size of the agency.

ON OTHER TOPICS:

MG: The state of the publishing industry has meant that the market is surprising. By that, she means that she will have an expectation regarding what a publisher will pay for a book, but the publisher is usually not offering the expected number. They’re either offering higher or lowering than first expected. In other words, the down economy is throwing things into a shift, but it's not always bad.

LZ: Agents are always on the hunt for new great writers and they read lots of publications. They read literary journals to find amazing talent. But they also ready magazines. She recently took on an author after reading a piece by the writer in Backpacker Magazine. The lesson here is that building credits is a good idea.

MG: She handles more clients than people may think. It’s because fiction takes so long to write and polish that it’s often 2-3 years between projects. It’s her job to keep track of what’s in progress, what needs a little more work before making the editor rounds, and what is good to go out right now.

MG: Finding an agent is like looking for a job. Writers should be professional. Both sides should ask questions of one another before contracts are signed.

Editor's Note: The agents were asked if they read Scribd, a site where people can post their writing. (Questions about these sites can up now and again at conferences.) All four agents said no, and then seemed to have somewhat negative opinions of posting stuff online. Rob said he doesn’t want to find secondhand material. Mollie said she is wary of anyone who has posted too much of the work online.

Me teaching at the conference. I gave
two presentations - one on queries to
agents, and another on nonfiction
book proposals.

Want more on this subject?

Word Count Guidelines for Novels and Children's Books.

Check out agent Don Maass's popular book, The Fire in Fiction.

20 Tips on Writing a Query Letter

How Money Works: Book Royalties, Advances and Flat Fees.

What are the BEST writers' conferences in the country?

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Short Stories | Writers' Conferences

Friday, December 18, 2009 2:07:49 PM (Eastern Standard Time, UTC-05:00)

Comments [3]

Sunday, December 13, 2009

10 Tips on Writing Picture Books
Posted by Chuck

And now: a great guest column from picture book writer Jean Reidy, and her thoughts on the Top 10 Picture Book Takeaways from the Rocky Mountain SCBWI Conference. The panel she's writing about was led by kids book editor Allyn Johnston and kids book illustrator Marla Frazee.

Jean Reidy is a freelance writer and
children's author. Her first children's
book, Too Purpley! comes out in Jan.
2010 (Bloomsbury) and will be followed
by Too Pickley! and two other books.

10. Beware of dialogue-heavy picture book manuscripts.

9. The only beef editors and agents have against rhyming picture books is that they're so often poorly written.

8. Manuscripts need to be more perfect than ever before they're ready for submission.

7. While marketing yourself is certainly important, a writer's most important job is to make his/her book amazing.

6. Perfect picture books are like a dance between text and illustrations.

5. Adding just one word - the perfect word - to a picture book text, can carry layers of emotion like wistfulness, uncertainty or imperfection.

4. Picture book pacing is a combination of text on the page, text-free pages, punctuation, page turns, timing and breathing.

3. Even humorous picture books carry an emotional truth and strike an emotional and harmonic chord at the end.

2. Picture book endings should disarm us. They must have a touch of mystery, a touch of magic, and space for the reader to fill in the ending or ponder it.

1. If you ever have a chance to see Allyn Johnston and Marla Frazee present together, don't miss it. You'll leave with inspiration (and laughter!) for a lifetime.

Buy "Too Purpley!"

Want more on this topic?

How I Got My Agent: Picture book writer Kristyn Crow.

Interview: Kids agent Mary Kole.

5 articles on writing picture books.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Children's Writing | Guest Columns

Sunday, December 13, 2009 3:18:44 PM (Eastern Standard Time, UTC-05:00)

Comments [2]

Tuesday, December 01, 2009

Page 1: How to Start Your Romance Novel
Posted by Chuck

Here on the blog, I don't spend too much time talking about craft, simply because it's a huge subject I can't really do justice to; however, I do like to talk about how best to start your story right and have a compelling Page 1 and Chapter 1, and that's where this guest column comes in, from romance writer Leigh Michaels.

STARTING TO WRITE YOUR STORY

Figuring out where to start telling your story is one of the bigger challenges you face. You have limited time and space—a few pages, at most—to seize your readers' interest. If you start too slowly and include too much of the characters' history, readers may get tired of waiting for the interesting stuff to start. If you start too fast, with too much action, they may get confused. Either miscalculation can make a reader put the book down and never pick it up again.

This column excerpted from
On Writing Romance by
Leigh Michaels.

Page One: Where to Start

You should be able to convincingly answer the question, Why does page one pick up the story at the moment it does? The best beginnings show—within the first few pages or even paragraphs—the main characters under pressure and facing a challenge, a change in circumstances, or a threat that will significantly alter the rest of her life.

There are no hard and fast rules for exactly how to begin your book, but certain starting setups have proven successful over time. When you're deciding where and when to begin, keep the following options in mind:

1. Start with one of your two main characters. Readers expect the first character they meet in the story to be either the hero or the heroine (and most often it is the heroine), and they're immediately prepared to care about this person. In this opening paragraph from her historical novella, The Rake's Bride, Nicola Cornick introduces her hero and gives us a pretty good idea why we'll be rooting for this war veteran to find love: as a reward for the hell he's been through:

     The April sunlight was as blinding as a flash of gunpowder and the rattle of the bed curtains sounded like distant artillery fire. For a moment, Jack, Marquis of Merlin, wondered if he had gone to hell and ended back in the Peninsula War.

2. Start with action. A good option is to show the main character at the
point when that character's life is disrupted by some kind of danger or
threat. The danger doesn't have to be life-threatening, and it's better if
it isn't complex and doesn't require lengthy explanation. Starting with
action is particularly effective when the situation is easily understood or
the peril is something the readers can relate to—as in this example from
Liz Fielding's sweet traditional, The Billionaire Takes a Bride:

     This was a mistake ... Every cell in Ginny's body was slamming on the brakes, digging in its heels, trying to claw its way back behind the safety of the rain-soaked hedge that divided her roof top terrace from the raked perfection of Richard Mallory's Japanese garden ...
     Her boots left deep impressions in the damp gravel. So much for stealth.
     She was not cut out for burglary.

3. Start with an attention-getting statement. When the readers are presented with something they don't expect, as in Maureen Child's single title Some Kind of Wonderful, they will read on to find out what the heck's happening:

     Baby Jesus moved.
     Carol Baker blinked and shook her head. "Okay, Carol. When you start
seeing statues move, it's either a miracle or you've got problems." She
stared hard at the brightly-lit, life-sized Nativity scene that filled one
corner of the town square ...
     "Okay, Baby Jesus is definitely moving."

Within a few paragraphs, we find out that "Baby Jesus" is actually an
abandoned infant, and the heroine finds her life taking a dramatic turn.

Want more on this subject?

Buy Leigh's book: On Writing Romance.

Check out an interview with romance expert and Dorchester editor Leah Hultenschmidt.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Craft and Story Beginnings | Excerpts | Guest Columns | Romance

Tuesday, December 01, 2009 10:16:46 AM (Eastern Standard Time, UTC-05:00)

Comments [2]

Tuesday, November 24, 2009

When Can You Query Agents? How Do You Know if Your Project is Ready?
Posted by Chuck

I just saw a great post on this over on the KidLit blog (run by agent Mary Kole) and wanted to address the question: "How Do You Know if Your Project is Ready to Send Out?"

The common answer is something about how each project is different and it all depends, yadda yadda yadda—but that answer doesn't help you. The next thing people say is that you don't want to send it out before it's ready, meaning that it's much better to work on it longer and refine it rather than send it out too early just because you're sick of looking at it. (As one playwriting agent once said: "No play ever got produced too late.") This is damn good advice—one of the most important tips you can heed—but it still doesn't answer the question as specific to your manuscript.

The best answer I can give on the subject is this: If you think the story has a problem, it does. When I have edited full-length manuscripts in the past (some for SCBWI friends and others on a freelance editor basis), a lot of time, when I am addressing a problem in the book, the writer will nod before I even finish the sentence. What this means is that they knew about the problem and I just confirmed what they already knew.

For example, some typical concerns were stuff like this:

"This part where he gets beat up—it doesn't seem believable that so many kids just took off school like that."
"If the main character is so stealth, then how come he gets caught by the bad guys here?"
"It starts too slow."

These are garden variety problems with a manuscript, and writers all seem to know many of their problematic issues before anyone even tells them. So this all brings me back to Point #1: If you think your work has a problem, then it more than likely does—and any manuscript with a problem is not ready for agent eyes.

This shows the importance of beta readers—friends who will review the work once it's written. They will come back to you with concerns, both big and small. You address the concerns in a revision and send the work to more readers. Once readers stop coming back with concerns, you're starting to get somewhere. If you think you have issues, or multiple critiquers agree on a problem, then you're not ready for Querytime. If you're not sure the beginning starts fast enough, it probably doesn't. When you and your readers can look at a book and say that all concerns are adequately addressed, then you're ready.

Want more on this subject?

Have some questions on your road to landing a literary agent? Ask me! Join me for my "How to Get a Literary Agent" webinar on Thursday, Dec. 17, 2009 - and learn about queries, proposals, synopses, submissions, research and much more.

Google Alerts and Agents.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Craft and Story Beginnings | Guest Columns

Tuesday, November 24, 2009 2:55:42 PM (Eastern Standard Time, UTC-05:00)

Comments [1]

Monday, November 23, 2009

7 Reasons Agents Stop Reading Your First Chapter
Posted by Chuck

I recently attended the Writer Idol Event at Boston Book Fest. It was not for the faint of heart, but for those willing to brave public ridicule, it was a great way to get helpful feedback.

This is how it worked: An actress picked manuscripts at random and read the first 250 words out loud for the panel and the audience. If at any point a panelist felt he would stop reading, he raised his hand. The actress read until two or more panelists raised their hands, at which point the panel discussed the reasons they stopped, or in cases where the actress read to the end, they discussed what worked. Helene Atwan (Director of Beacon Press) and agents Esmond Harmsworth, Eve Bridburg, and Janet Silver (all from Zachary Shuster Harmsworth) served on the panel.

This guest column by Livia Blackburne.
Livia is a graduate student at MIT.
She describes her blog as "A Brain Scientist's
Take on Creative Writing."

These panelists were tough! I'd say less than 25% made it to the end of the passage. Here are some of the common reasons panelists stopped reading.

1. Generic beginnings: Stories that opened with the date or the weather didn’t really inspire interest. According to Harmsworth, you are only allowed to start with the weather if you're writing a book about meteorologists. Otherwise, pick something more creative.

2. Slow beginnings: Some manuscripts started with too much pedestrian detail (characters washing dishes, etc) or unnecessary background information.

3. Trying too hard: Sometimes it seemed like a writer was using big words or flowery prose in an attempt to sound more sophisticated. In several cases, the writer used big words incorrectly. Awkward or forced imagery was also a turnoff. At one point, the panelists raised their hands when a character's eyes were described as “little lubricated balls moving back and forth.”

4. TMI (Too Much Information): Overly detailed description of bodily functions or medical examinations had the panelists begging for mercy.

5. Clichés: "The buildings were ramrod straight." "The morning air was raw." "Character X blossomed into Y." "A young woman looks into the mirror and tells us what she sees." Clichés are hard to avoid, but when you revise, go through and try to remove them.

6. Loss of Focus: Some manuscripts didn't have a clear narrative and hopped disjointedly from one theme to the next.

7. Unrealistic internal narrative: Make sure a character's internal narrative—what the character is thinking or feeling—matches up with reality. For example, you wouldn't want a long eloquent narration of what getting strangled feels like—the character would be too busy gasping for breath and passing out. Also, avoid having the character think about things just for the sake of letting the reader know about them.

Hope these tips are helpful. Do you see any of these mistakes in your writing?

Want more on this subject?

Want to write a guest column? E-mail me at literaryagent@fwmedia.com.

How can you improve your query letter?

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Craft and Story Beginnings | Guest Columns

Monday, November 23, 2009 12:24:51 PM (Eastern Standard Time, UTC-05:00)

Comments [12]

Friday, November 20, 2009

Three Ways to Identify the Literary Agent of Any Book
Posted by Chuck

If you want to know who agented a particular book, there are a variety of ways how to discover the individual literary rep who made the deal. Here are three ideas for starters:

1. Simply check the book's acknowledgements. Sometimes, it will be as simple as a writer saying, "And a special thanks to my agent, Randy Masterson."

2. Use search engines. Try Googling the book's title (or author) and the word "agent," and see what you come up with.
Also, lots of times, authors will have their representation listed online. So if you want to know who the agent was for Joe Smith's book, The Neptune Paradox, find Joe Smith's official Web site. Check the bottom of the home page, and then the "Contact" page. The site may say, "Joe is represented by Randy Masterson Literary Agency, 245 Manhattan Road, New York, NY."

3. Worse case scenario, you can call the publisher. If you see that Knopf published the book, for example, call Knopf's main line and speak to the operator. Ask for the editorial department; better yet, if you can, explain your goal and request to speak with the editor who worked on The Neptune Paradox. The operator will say, "Oh, that's Judy Smith. I'll transfer you." You won't talk to Judy, but rather her assistant. No matter. Ask the assistant if Judy did indeed edit The Neptune Paradox. When the assistant confirms Judy's involvement, kindly request to know who the book's acting literary agent was. She'll be happy to tell you.

Want more on this subject?

Word count guidelines for novels and children's books.

Networking at writers' conferences.

20 Tips on Query Letters.

Need some help finding the best literary agent for your work? Sign up for my webinar, "How to Land a Literary Agent," on Dec. 17, 2009. You can ask questions and hear me discuss queries, proposals, submissions, copyright and more.

Guest Columns

Friday, November 20, 2009 8:24:17 PM (Eastern Standard Time, UTC-05:00)

Comments [2]

Monday, November 16, 2009

Agent Paige Wheeler on Her 10 Pieces of Advice for a Successful Agent-Author Relationship
Posted by Chuck

A little while ago, I received an invitation to the graduation of one of my author’s daughters. This author has been with me for eleven years when her daughter was only seven years old. It’s amazing how time flies. It’s even more amazing the relationship that I’ve developed not only with my author, but with her family as well. We have shared personal ups and downs over the years, I’ve watched her family grow and I’ve guided her career as well.

It’s the same for the majority of my clients. They start off as clients but they become friends. It’s important to nurture this relationship from both sides, because it is going to be a long term relationship. Once the agent sells the book, you’re working with that agent for the life of the book contract. Even if the two of you part ways, royalties still have be paid out, correspondence exchanged, and foreign rights have to be sold. It behooves both sides to follow some simple guidelines to ensure good communication between agent and author. I’m going to outline some of them below.

This guest column by
agent Paige Wheeler
of Folio Literary Management.

1. Make sure both of you agree how you like to communicate. If it’s by e-mail, confirm that you have the best address (many people have multiple addresses). If you change your e-mail address, make sure this is communicated as well. Also, keep your agent updated on all of your points of contact. That means your phone number, e-mail, and mailing address. This is even true once you part ways. Your agent must continue to send you royalty statements, 1099s, and other important information for the life of the book contract.

2. You may want to casually inquire how frequently you should expect to be in contact. You can expect to be in fairly close contact when your agent is giving feed back on revisions, shopping your material around and negotiating the deal. Once she has sold your book and the contract has been signed, she may leave you alone to actually write the darn thing.

3. Both the author and the agent should be attuned to how the other likes to communicate, whether it is informal and chatty or strictly down to business. This will vary depending on demands on both parties, but pay attention to cues in how communication is exchanged and respond accordingly.

4. How long is too long to wait for hear back from your agent? Or better yet, when should you start to panic? This, too, will vary. But before you panic, realize that e-mails go astray, computers crash, people get sick, messages get erased, and calls made from a cell phone may be too distorted to comprehend. If you haven’t heard back try again and then a third time. After the third time, then you may want to get concerned about the lack of response.

5. If you’re going on vacation, let people know. This is true for both sides. For authors, leave contact information so that your agent can reach you. Agents who are leaving on an extended trip usually inform their clients and indicate a person to contact in case of an emergency.

6. Show appreciation for each other. Remember each other at the holidays and, if possible, birthdays (although, I admit, I’m horrible at remembering birthdays).

7. Realize that you’re not going to agree on everything all the time. Your agent probably won’t love everything you write. If she’s good, she’ll let you know that it’s not your best work. That’s her job.

8. Make sure you both understand your goals. Do you want to write a book a year? Make a bestseller list? Reach a certain print run? Move to another publishing house?

9. If things aren’t going well, don’t dwell on it by discussing it only with your writing buddies but not your agent. If there is a problem it should be addressed directly. This is true for both sides. If the agent has issues, she should bring them up as well.

10. Realize that this is a small industry and gossip travels quickly (for example, on Galleycat). Above all, practice courtesy and be professional. Treat your agent the way you’d like to be treated and she should do the same.

Bottom line: keep the lines of communication open, don’t hesitate to bring up any concerns, and make sure you both have a clear understanding of your goals and responsibilities.

Paige Wheeler is an agent with Folio Literary Management. View her complete submission guidelines here. Paige is a founding partner of Folio; before that, she founded Creative Media Agency (CMA) in 1997 and served as its president for nine years until she merged CMA into her new company, Folio, in 2006. She seeks: "upscale commercial fiction and nonfiction books, women's fiction, romance (all types), mystery, thrillers, and psychological suspense. I enjoy both historical fiction as well as contemporary fiction, so do keep that in mind. I'm looking for both narrative nonfiction and prescriptive nonfiction. I'm looking for books where the author has a huge platform and something new to say in a particular area. Some of the areas that she likes are lifestyle, relationship, parenting, business, popular/trendy reference projects and women's issues."

Want more on this subject?

Interview with Folio agent Michelle Brower.

Advice on writing memoir.

20 Tips on Query Letters.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns

Monday, November 16, 2009 4:55:18 PM (Eastern Standard Time, UTC-05:00)

Comments [2]

Monday, November 09, 2009

5 Tips on Maximizing a Writers' Conference
Posted by Chuck

This guest column by Jessica Monday,
freelancer and aspiring novelist.

So you’re planning to attend a writing conference? Read these five tips to ensure an experience you’ll savor long after you’ve left the hotel lobby. After all, you paid for it, right?

1. Choose sessions you find interesting

It's no secret you need to know how to write a sparkling query, but you’re intrigued to find out how journaling can release your creative muse. Go for the muse. Hundreds of websites will be waiting at home to tell you how to write a query letter. Whenever I attend a lecture or reading, I never know what I’ll take away. That’s the beauty of being open to whatever information the speaker decides to bring. View a conference as a mini-vacation, not something to stress about or execute perfectly.
     Also, don’t become a guest speaker groupie. Sample as many different speakers as possible because you’ll learn something new from each one.

2. Resist taking copious notes.

You’ll retain more when you are focused on listening, not rushing to take down every word leaving the speaker’s mouth. If your type-A personality insists, bring the notepad with you and jot down inspiring bullet points you can hang above your desk. If you waste time taking a ton of notes, more likely you’ll miss the most important things being said and lose an opportunity to engage in the moment.

3. Mingle.

Walk around and talk with people between sessions. Find out what other writers are working on and get inspired by their imagination. If you already know some of the other conference attendees, meet new people and introduce your friends. During meals, sit at a table where you don’t know anyone or, if obligation demands you sit with your friends, invite someone you don’t know to sit at your table too. This is your chance to exchange ideas with other artists, so don’t be shy.

4. Talk less, listen more, and ask concise questions.

Please don’t be “that guy” at the conference who is always in the midst of a twenty-minute story outline. Don’t worry about impressing people. You’re here to ingest expert knowledge, not disseminate yours. When you have finished your graphic novel, poetry anthology, etc. and are invited to be a guest speaker, then is the time for you to talk about your process ad nauseam. Until then, your job is to listen.
       On the other hand, now is the time for questions. Ask the panel of experts who have been assembled for this purpose and don’t be afraid to share your question during a session. Caveat: If your question is particular to your work rather than general, wait until after the session to ask the speaker one-on-one (which is a great way to engage them personally as well!).

5. Bring at least one piece of your work.

Most conferences have open mic during the evening hours. Choose short pieces - again don’t be “that guy” reading three chapters from a rough draft. Shoot for 1,000 words in length or something that can be read comfortably in less than five minutes. It should be polished enough for public presentation, but be sure to bring something even if you write it specifically for the conference. Reading your work out loud builds self-confidence and helps transcend the fear of exposure common to so many of us writers.
     Above all, remember the conference is the easy part.
     Writing is the real work that will be waiting when you return home. So enjoy yourself and let the conference energize your creative spirit; it will follow through in your writing.

Want more on this subject?

Check out this guest column by Han Vance on Networking at Writers Conferences.

Read more about the dos and don'ts of pitching agents at conferences.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Writers' Conferences

Monday, November 09, 2009 3:33:36 PM (Eastern Standard Time, UTC-05:00)

Comments [2]

Monday, November 02, 2009

Literary Agents Talk Blogging, Twitter and More
Posted by Chuck

Outside, it was a warm Friday afternoon at Myrtle Beach. Inside, eager, nervous writers filled a windowless room at the South Carolina Writers Workshop, hoping to learn how to do the “social networking” thing that we keep hearing is no longer optional. We awaited the arrival of Janet Reid, FinePrint Literary agent extraordinaire, her inimitable minion and fellow fabulous FinePrint agent Suzie Townsend, and the amazing Joanna Stampfel-Volpe of Nancy Coffey Literary Management, to teach us.

Guest Blogger Michelle Hodkin
writes for young adults, tweets
(MichelleHodkin) and blogs
(www.lovesandloathes.blogspot.com).

What is this Twitter thing, anyhow? And how does one accomplish this blogging they speak of? Must we have a website? What about Facebook?

These, ladies and gentlemen, were the big questions.

Twitter, for those of you who don't know, is a free social networking site that enables users to “micro-blog” in short bursts of text not exceeding 140 characters. Still with me? No? Okay, let’s rewind.

THERE'S THIS THING CALLED "BLOGGING"

The term “blog” is short for weblog. If you’re reading this, you probably get that a blog is a site maintained by an individual person or company that features regular entries - like a journal, only public. And if you’re a writer, you should probably have one, along with your website that should, at minimum, have your contact information listed so people can find you. You can set up your own blog, free of charge, using Blogger.com, Wordpress.com, LiveJournal.com or Typepad.com. Each of these sites has helpful guides to getting your blog up and running.

But what, we asked eagerly, do we write about?

Ms. Reid was undeterred by the open-endedness of this question. While there are no hard and fast rules, she warned us not to constantly talk about ourselves and our writing. That gets boring And annoying. You can narrow your content to focus on a specific area (such as Nathan Bransford’s blog), or you can blog about a veritable cornucopia of topics (cue Janet Reid). Here are some additional tips on How To Be Interesting:

Just as we all have our own voices when we write, that should shine through on our blogs.
Maintain a schedule so your readers know when they can expect new content. Try to keep your posts to 250 words.
Ask questions of your readers to entice them to participate via the comments section.
Join or form a group blog that focuses on your genre and rotates between writers, like YA Highway and Hey, There’s a Dead Guy In My Living Room.
Write about other books and authors à la Suzie Townsend’s blog. This has the additional benefit of letting those authors know that they’re being discussed in a (hopefully) flattering way, by virtue of Google Alerts. Google Alerts is a service that allows you to set up an Internet filter that notifies you when a name, phrase, or string of words is mentioned on the Internet.

If this sounds hard, that’s because it is. And if you don’t think you can do it well, Ms. Reid warned, you may be better off not doing it at all. So what then?

WHEN IN DOUBT, COMMENT

Agents notice when people comment regularly, as do authors. Ms. Stampfel-Volpe elaborated on the right and wrong ways to do so at the session.

If you are respectful and witty, commenting will help you make virtual friends.
If you are sycophantic and/or belligerent, well, don’t be.
Each comment you make should add something to the discussion.

As with blogging, commenting done poorly is worse than not commenting at all.

AND IF NONE OF THIS SUITS YOUR FANCY, THERE'S TWITTER

Twitter allows you to make friends and influence people. Well, maybe not influence people. But make friends, certainly.

Ms. Townsend showed us how to “follow” literary agents like herself and Ms. Reid and see what they have to say; often, they post indispensable advice to authors.
You can follow other authors and celebrities and friends, too.
You can compose “tweets” yourself, short updates letting your followers (friends, enemies, aliens, whoever) know what you’re up to, what music you’re listening to, what your cats are doing RIGHT THIS VERY MINUTE.
You can tweet at other people, engaging them in conversation by using the @ symbol before their twitter username.
And you can do all this from your cell phone in the grocery store or from a Restaurant At The End Of The Universe. It’s like magic. Just make sure you “unprotect” your tweets so that other people can follow you without approval.

ALL OF THESE THINGS WORK. BUT WHAT DOESN'T WORK?

Facebook. Why? Because people have to take the extra step to “friend” you if they want to learn more about you. And you don’t want to make your future fans work any harder than they have to. Also, Facebook is not searchable. And you want to be searchable, writers. Indeed you do.

IN THE END?

Blog your little writerly hearts out, aspiring authors. Unprotect your tweets and let the public in. Start commenting on blog posts by your favorite industry folk. And for the love of all that is holy, remember that the internet is public and behave accordingly.

Want more on this topic?

Another SCWW column: 20 Query Letter Tips.

Another SCWW column: How to Get an Agent's Attention.

They're called Google Alerts, and yes we have them.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Social Networking and the Internet

Monday, November 02, 2009 9:19:58 PM (Eastern Standard Time, UTC-05:00)

Comments [12]

Thursday, October 29, 2009

'20 Tips on Query Letters,' as Told by Agent Janet Reid
Posted by Chuck

Guest Blog by

contributor Ricki Schultz.

Agent Janet Reid of FinePrint Literary Management gave an intensive workshop on queries at the South Carolina Writers Workshop. Here are 20 tips to writing an effective query, according to the Query Shark herself.

FOR STARTERS

• Be professional. It’s a business letter—not a personal letter.

Regarding salutation and tone, err on the side of caution because formality is never out of place.
“Dear Agent” or “To Whom It May Concern,” however, is too impersonal.
Pet peeve: If you’re querying an agent’s direct e-mail (i.e. “janet@” and you address the query “Dear Agent,” you don’t come across as being too smart.

• Be comfortable with computers. Publishing is moving toward the electronic age, so move with it.

Have an e-mail address with your name in it (e.g., SuziWriter@gmail.com). This shows her you are professional. How is she to take you seriously if your e-mail is cutiepiehoneyface@aol.com?
Have your own e-mail account—not one you share with a spouse.
Have a Gmail or Earthlink account. She says AOL is bad for queries because its spam filters sometimes eat e-mails without your knowledge, and you could be missing a reply.
Also, add the agents to your “safe senders” lists to ensure you receive their replies.

• Use a referral. Agents always move referrals to the top of the stack if someone they know vouches for the writer.

Do not, however, quote your rejection letters, friends, critique partners, paid editors, or conference critiques. These comments are not the same as referrals.

THE NITTY GRITTY

Don’t start with a rhetorical question. You’re talking to really sardonic people in New York City, and they’re not going to answer the question how you expect.
Get right to the main character—by name.
Tell who he/she is, and do it in as few words as possible.
Tell what happens to him or her—the initial point of conflict in the book.
Show two choices the main character faces as well as the consequences of those choices. The stakes must be high.

SUREFIRE QUERY KILLERS

“Fiction novel.” A novel is fiction, so when someone writes “fiction novel,” not only is it redundant, it makes the writer sound ignorant.
“Surefire bestseller.” Let the agent be the one to decide that. Declaring your work to be the next best thing shows you know little about the industry—and that you’re probably too arrogant for the agent to want to work with you.
“Film potential.” Janet says, “First of all, you don’t know shit.” (See arrogance comment above) Also, she’s not a film agent. She just wants to know what the book is about.

KEEP IT OUT

Inspiration. You only have 250 words, so don’t waste them. Stick to showing her what the book is about because how you came up with the idea does not interest agents in the query. “It’s the equivalent of making sausages,” she says. “I do not want to see you do it.”
Personal information. It doesn’t matter to agents where you live or how many cats you have.
Sometimes work information is relevant to you being the only person able to write a particular book; however, sometimes the worst people to write certain types of books are those who actually do those occupations (e.g., cops hate cop shows, doctors criticize medical dramas). They know the reality of the job too deeply, and it doesn’t make for good fiction.

TAKEAWAY

A query letter is the foundation upon which your publishing career rests, so remember: You can query too soon; you cannot query too late.

Janet Reid's publishing background includes 15 years in book publicity with clients both famous and infamous. She specializes in compelling fiction, particularly crime fiction, and narrative non-fiction, and she keeps a blog about agenting as well as a query critique blog.

Want more on this topic?

Agent Elaine Spencer talks queries.

What should you write in the bio paragraph of a query letter?

How to write a query letter - the three parts.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Queries and Synopses and Proposals | Writers' Conferences

Thursday, October 29, 2009 12:27:23 PM (Eastern Standard Time, UTC-05:00)

Comments [5]

Wednesday, October 28, 2009

How to Get an Agent’s Attention (SCWW Guest Post)
Posted by Chuck

This is a guest post from Lisa Katzenberger,
on an agent panel at the
South Carolina Writers Workshop.

Eleven agents attended the SCWW conference and four participated in the panel discussion “What Gets Our Attention.” They didn't mention fun things like serving them mashed potatoes in the buffet line or skywriting your query over lovely Myrtle Beach. Instead, they gave us simple advice, a great reminder that it’s not really rocket science. Here are the best nuggets from the session with agents Jeff Kleinman (Folio Literary), Barbara Poelle (Irene Goodman Agency), Jenny Bent (The Bent Agency), and Scott Eagan (Greyhaus Literary).

It’s Not Personal, It’s Business

Just like in The Godfather. At least in the publishing biz, you’re not going to wake up snuggling a horse’s head just because you queried an agent who doesn’t rep your genre. (Probably.) So, keep your business hat on when approaching agents and be professional.

They want to work with someone who understands the business and can represent their agency professionally.
Barbara reminded us that it’s called the publishing industry, not the publishing feelings. Agents understand that there’s a lot of emotion tied to the time and effort an author dedicated to their book. But you have to be able to separate that emotion when querying and see the business side of a decision.
Don’t be funny in a query -- don’t pretend you’re writing as your main character.
A query letter is a business letter – a cover letter to apply for a job. Your resume? Well, that’s the manuscript.

Have a Unique Story

There are no new stories, just different ways to tell them. Make sure you know what’s special about your love story or cozy mystery that makes it stand out from all the rest.

Scott Eagan said he needs a book that’s more than just well-written. He needs a book with a unique twist.
Barbara Poelle encouraged writers to find a unique take on a formula that works.
Jeff Kleinman stressed how no one wants to read a book they’ve read before.
Jenny Bent wants to see your voice in your query letter. She looks for a great opening line and a story that really grabs her.

The Hook, The Book, and The Cook

Barbara Poelle used this catchy line to describe the three ingredients of your query letter. The hook is a one sentence description of what your book is about. Yes, one sentence. Check Publishers Lunch for examples of great loglines. The book: four or five sentences that give more detail about the story. The cook: brief information about you, the writer.

Love Is in the Air

Would you want to marry someone who’s kind of in love with you? Or someone who is head over heels crazy about you and will go to the ends of the earth to make you happy? Don’t be upset when an agent turns down your manuscript because they weren’t fully in love with it. You’re entering a long-term relationship with an agent, and just like a marriage, you want to find the partner who’s crazy about you.

Jeff Kleinman likes to follow this rule of thumb: “Only represent stuff you totally, absolutely love.”
Agents are reading submissions in their free time. They do this job because they love books, just like writers do.
Barbara will reject a book if she doesn’t feel she can be that author’s strongest advocate.
Query agents who represent authors you love to read. Chances are, they’ll dig your type of writing too.

So to get an agent’s attention, be professional in your query and unique with your story. Like a good cook who can rattle a recipe from memory, know your story’s ingredients when selling your book. And if an agent turns you down, don’t get discouraged. Remind yourself that you’re waiting for someone who loves your book as much as you do.

Guest blogger Lisa Katzenberger
runs the Fiction City Blog and
is also on Twitter.

Want more on this topic?

Interview with agent Jenny Bent of The Bent Agency.

Interview with agent Scott Eagan of Greyhaus Literary.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Writers' Conferences

Wednesday, October 28, 2009 11:59:58 AM (Eastern Standard Time, UTC-05:00)

Comments [6]

Thursday, October 15, 2009

They're Called GOOGLE ALERTS, and Yes We Have Them
Posted by Chuck

This is a "Blast From the

Past" post. To celebrate the

GLA Blog's 2nd birthday, I am

re-posting some of the best

"older" content that writers

likely missed.

------

If you've never heard of Google Alerts, they're just about the best thing ever. You tell Google a word or phrase, and Google will alert you daily when that phrase is used on the Internet. For example, whenever someone writes the words "Chuck Sambuchino" on a page or blog, Google will tell me.

Agents have these, too, so when you're praising an agent online, or badmouthing them, or simply discussing them - an agent may very well know. Check out this story from Jenn Nixon, a blogger and agent-seeking writer:

"Well, the weirdest thing happened to me yesterday.

I logged onto my website email account, which I hardly use because it's ALL spam. There was one email in it. A real one. So I read it. It was from a literary agent. Apparently her google alerts told her I wrote her name down. She read my blog about agents who didn't respond, and asked me to resubmit.

Shocked?

Yeah, so was I. She actually took the time to write me so I'd take her off my list! Wow. Okay, so I sent her the submission again.

She didn't like it so much.

But she did say "You've got skill, I'll give you that."

I've heard that so many times before. *sigh*

I took her name off, I'll add her to the rejection list. Ah well. It's still an interesting story, huh?"

Crazy story. So the agent found her and asked her to resubmit the work for a yes/no answer. Ultimately, this paid off for Jen - and gave her a second chance (although that second chance didn't pan out).

Let this be your warning: Google Alerts exist, so be careful what you're saying on the Internet. You never know who's listening.

Want more on this subject?

Facebook, Twitter and Agents.

One story? You need 5 versions.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns

Thursday, October 15, 2009 1:39:09 PM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Friday, October 09, 2009

Why Your Manuscript Can Get Rejected (Part II)
Posted by Chuck

At Killer Nashville, a trio of extremely knowledgeable publishing pros held a panel on the most common reasons why a manuscript is rejected by an agent. Below you'll find part two of this post series. (The first installment was with Hallie Ephron.)

Keep in mind that the panelists were discussing why a manuscript will be rejected, not a novel synopsis or query letter. They were talking about problems within the writing.

Panelist No. 2: Donna Bagdasarian

Donna's top reasons why your manuscript can be rejected:

1. Problems with basic writing skills—grammar, syntax, defining who the protagonist is. To be successful, aspiring writers must learn how to write—well.

2. Bad dialogue. Write like people speak.

3. Too much plot. Writers may read a variety of books by bestselling mystery authors and then try to take plot elements from several of these books, combining those elements into one convoluted tale. Write one book, not eight books crammed into one.

4. Not having the protagonist involved in the climax.

5. Spending too much time at the beginning of a story on a character who seems to be the protagonist, but isn't.

6. Supplanting quality for a gimmick. Take a moment and examine certain gimmicks, such as the following:
- Writing in the second person

      - Having many points of view
      - Having your book be very, very dark in nature
      - Having scenes in a backwards order

- Hopscotch (where you can jump around anywhere and the story still makes sense)

These gimmicks are unique, and can produce an extraordinary book, but they can only be pulled off by the most superior of writers—and most writers are not superior writers. Therefore, writers should pass on all such gimmicks and just try to tell a good story.

7. Excessive and salacious material. When your manuscript is complete and a peer/editor says "It needs more violence/sex/action/dialogue," they may be right, but inserting these aspects in the book must make sense. There can’t just be violence or sex in a story simply to have it. Make it work.

8. Know how much is too much. If you can cut a scene and the story still works, you must cut it. Ask of the scene: "Why is it here? What does it do to further the plot?"

9. Purple prose—writing where the reader is conscious that these are the author’s thoughts, not the character's. This is prose where the language is excessively flowery and/or lyrical.

Want more on this subject?

The first of this three-part series was with mystery writer Hallie Ephron.

The third of this three-part series was with editor Maryglenn McCombs.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns

Friday, October 09, 2009 11:13:39 PM (Eastern Daylight Time, UTC-04:00)

Comments [5]

Tuesday, October 06, 2009

What Should You Write in the Bio Paragraph of a Query Letter?
Posted by Chuck

As I mentioned before, a good query letter is broken down into three parts - the quick intro, the pitch, and the bio. Strangely enough, the third part is where I get the most questions. In fact, at this past weekend's Writer's Digest editors' intensive, there were a ton of questions about the bio paragraph - "Should I include this?" "How should I work that?" Etc.

So with all that in mind, I have tried to cobble together some notes on what to include and what not to include in a query letter at the end when you're talking about yourself and your writing.

Before you read on, I must warn you that you should not underestimate the value of just saying little and moving on. If you don't have anything notable to say, there is nothing wrong with simply saying that the manuscript is complete, and "Can I send you (pages/the full manuscript)?"

YES: INCLUDE THESE ELEMENTS

Prior writing credits. Obviously, this is a big one. Feel free to skip titles and just list publications. For example, feel free to say, "I've written articles for several magazines and newspapers, including the Cincinnati Enquirer and Louisville Magazine." Notice how the article titles weren't included and the writer could explain more, but this gets the job done. Brevity is appreciated here.
       Short story credits are good here; articles are good. If you got paid for writing, you can mention it here - just do so humbly and quickly. Poetry is probably the least impressive note. If you were paid to get your poetry published, that may help a little.
       Obviously, past credits within the category at hand are of the most value, but any and all credits are good. For example, if you are query a nonfiction project, your history of published articles is more impressive than a short story being published. However, mentioning the short story is not a bad thing.

Contests and awards. For instance, if your story was a finalist in the adult romance category contest at a writers' conference, say so.

If you have an MFA somewhere. (Saying you majored in English really won't do much, nor will mentioning your continuing online education.)

If you are part of a large, recognized, nationwide writing organization - such as the Romance Writers of America (RWA), the Mystery Writers of America (MWA), the Society of Children's Book Writers and Illustrators (SCBWI), the Society of Professional Journalists (SPJ), the American Medical Writers, etc.

Platform and publicity - but mainly for nonfiction. If you're writing nonfiction, suddenly the bio paragraph becomes the most important part of the letter. You must explain your credits, bio and platform - making a case that you are the best person to write this book and you have some means in place to sell it. If you're writing fiction, this can still help, but it matters less so.

NO: SKIP THESE ELEMENTS

Your writing influences.

That you are part of a local writers group or online group. Unless it's a large nationwide group, skip it.

The fact that you're a parent and have X number of children, which, you believe, helps make a case for you as a kids writer.

How long it took you to write it.

That this is your first novel.

The fact that it's been edited by peers or even a professional editor. Stuff is supposed to be edited; agents assume it is. Stating what they already assume helps nothing.

That the story is copyrighted with the U.S. Copyright Office. Or that you own all rights to the story.

That you are also writing the screenplay adaptation of the work. Another subject completely, not to be discussed in a query.

Anything about pen names. You're thinking too far ahead.

That your family and friends loved it.

That the story is fiction but based off truth and/or your life. All fiction is based off truth and/or a life, so this is, again, telling agents what they already know.

That the book has been rejected before.

Which draft of the novel this is.

BUT WHAT ABOUT?

But what about my career, Chuck?
        This is tricky. First of all, if you mention this, mention it quickly. If you get paid to write during the day, tell us. For example, if you get paid to write technical copy during the day, by all means say so. If you work in children's bookstore, that's probably OK, too. But if the main character is an electrician or computer programmer, and you yourself are an electrician or computer programmer, I say skip it. It really doesn't matter that much. People like to include this fact anyway.
       Over the weekend, a gentleman asked about this very thing and if he should say he served in the Marines since his protagonist was a Marine. I said yes, because I think that could serve as a notable publicity angle down the road.

But what about my connection and research to the subject matter at hand, Chuck?
        If you look at the Successful Queries posted on this blog, you see one where an agent compliments a writer who said she studied belly dancing and the book is about belly dancing. Another compliments the writer for saying she has been to and researched Amish country and the book is about Amish country. Once again, these comments are made quickly by the author - just like they should be.
       There are subtle things here. Let's say your book is about Sioux Indians. If you spent six months in the library researching Sioux life, that is not worth mentioning. However, if you spent two months living among the Sioux people on such-and-such reservation, then that is more interesting and worth a mention.

But what about marketing and PR, Chuck?
       Again, tricky. If you're writing nonfiction, your background and skills in these areas is very, very important. However, if you are writing fiction, this matters less so. Your writing credits and awards will be more important. I would lean against mentioning these skills in a fiction query.

Want more on this subject?

Agent Michelle Andelman's tips on query writing.

Should you mention your age in a book query?

What are the BEST writers' conferences in the country?

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Queries and Synopses and Proposals

Tuesday, October 06, 2009 5:36:58 PM (Eastern Daylight Time, UTC-04:00)

Comments [10]

Sunday, September 27, 2009

Word Count for Novels and Children's Books: The Definitive Post
Posted by Chuck

Word count is something I don't think about too often until I travel to a writers' conference, and then someone asks a simple, innocent question and a firestorm follows. With that in mind, I've tried to put together the definitive post on word count for fiction (novels, young adult, middle grade and even memoir).

The most important thing here is to realize that there are always exceptions to these rules. And man, people love to point out exceptions—and they always will. However, if there is one thing I remember from when my wife dragged me kicking and screaming to He's Just Not That Into You, it's that you cannot count on being the exception; you must count on being the rule. Aiming to be the exception is setting yourself up for disappointment. What writers fail to see is that for every successful exception to the rule (e.g., a first-time 150,000-word novel), there are at least 100 failures if not 300.

Almost always, high word count means that the writer simply did not edit their work down enough. Or—it means they have two or more books combined into one.

"But what about JK Rowling???" asks that man in the back of the room, putting his palms up the air. Well—remember the first Harry Potter book? It wasn't that long. After JK made the publishing house oodles and oodles of money, she could do whatever she wanted. And since most writers haven't earned oodles, they need to stick to the rules and make sure they work gets read. The other thing that will make you an exception is if your writing is absolutely brilliant. But let's face it. Most of our work does not classify as "absolutely brilliant" or we'd all have 16 novels at this point.

ADULT NOVELS: COMMERCIAL & LITERARY

Between 80,000 and 89,999 words is a good range you should be aiming for. This is a 100% safe range for literary, romance, mystery, suspense, thriller and horror. Anything in this word count won't scare off any agent anywhere.

Now, speaking broadly, you can have as few as 71,000 words and as many as 109,000 words. That is the total range. When it dips below 80K, it might be perceived as too short—not giving the reader enough. It seems as though going over 100K is all right, but not by much. I suggest stopping at 109K because just the mental hurdle to jump concerning 110K is just another thing you don't want going against you. And, as agent Rachelle Gardner pointed out when discussing word count, over 110K is defined as "epic or saga." Chances are your cozy mystery or literary novel is not an epic. Rachelle also mentions that passing 100K in word count means it's a more expensive book to produce—hence agents' and editors' aversion to such lengths.

In short:
      80,000 - 89,999:       Totally cool
      90,000 - 99,999:       Generally safe
      70,000 - 79,999:       Might be too short; probably all right
      100,000 - 109,999:    Might be too long; probably all right
      Below 70,000:           Too short
      110,000 or above       Too long

Chick lit falls into this realm, but chick lit books tend to be a bit shorter and faster. 70-75K is not bad at all.

SCI-FI AND FANTASY

Science fiction and fantasy are the big exceptions because these categories tend to run long. It has to do with all the descriptions and world-building in the writing.

With these genres, I would say 100,000 - 115,000 is an excellent range. It's six-figures long, but not real long. The thing is: Writers tend to know that these categories run long so they make them run really long and hurt their chances. There's nothing wrong with keeping it short (say, 105K) in these areas. It shows that you can whittle your work down.

Outside of that, I would say 90K-100K is most likely all right, and 115-124K is probably all right, too. That said, try to keep it in the ideal range.

MIDDLE GRADE

Middle grade is from 20,000 - 45,000, depending on the subject matter and age range. When writing a longer book that is aimed at 12-year-olds (and could maybe be considered "tween"), using the term "upper middle grade" is advisable. With upper middle grade, you can aim for 32,000 - 40,000 words. These are books that resemble young adult in matter and storytelling, but still tend to stick to MG themes and avoid hot-button, YA-acceptable themes such as sex, drugs and rock & roll. You can stray a little over here but not much.

With a simpler middle grade idea (Football Hero or Jenny Jones and the Cupcake Mystery), aim lower. Shoot for 20,000 - 30,000 words.

YOUNG ADULT

Perhaps more than any other, YA is the one category where word count is very flexible.

For starters, 55,000 - 69,999 is a great range.

The word round the agent blogosphere is that these books tend to trending longer, saying that you can top in the 80Ks. However, this progression is still in motion and, personally, I'm not sure about this. I would say you're playing with fire the higher you go. When it gets into the 70s, you may be all right—but you have to have a reason for going that high. Again, higher word counts usually mean that the writer does not know how to edit themselves.

A good reason to have a longer YA novel that tops out at the high end of the scale is if it's science fiction or fantasy. Once again, these categories are expected to be a little longer because of the world-building.

Concerning the low end, below 55K could be all right but I wouldn't drop much below about 47K.

PICTURE BOOKS

The standard is text for 32 pages. That might mean one line per page, or more. 500-600 words is a good number to aim for. When it gets closer to 1,000, editors and agents may shy away.

WESTERNS

I remember reading some Westerns in high school and, if I recall correctly, they weren't terribly long. There wasn't a whole about this on agent and editor sites, but from what I found, these can be anywhere from 50K to 80K. 60,000 is a solid number to aim for.

MEMOIR

Memoir is the same as a novel and that means you're aiming for 80,000-89,999. However, keep in mind when we talked about how people don't know how to edit their work. This is specially true in memoir, I've found, because people tend to write everything about their life—because it all really happened.

Coming in a bit low (70-79K) is not a terrible thing, as it shows you know how to focus on the most interesting parts of your life and avoid a Bill-Clinton-esque tome-length book. At the same time, you may want to consider the high end of memoir at 99,999. Again, it's a mental thing seeing a six-figure length memoir.

SOME THOUGHTS

You have agents like Nathan Bransford and Kristin Nelson who say that you shouldn't think about word count, but rather you should think about pacing and telling the best story possible—and don't worry about the length. Yes, they're right, but the fact is: Not every agent feels that way and is willing to give a 129,000-word novel a shot. Agents have so many queries that they are looking for reasons to say no. They are looking for mistakes, chinks in the armor, to cut their query stack down by one. And if you adopt the mentality that your book has to be long, then you are giving them ammunition to reject you. Take your chances and hope that excellent writing will see your baby through no matter (and I hope it does indeed break through).

But I believe that we cannot count on being the exception; we must count on being the rule. That's the best way to give yourself your best shot at succeeding.

Want more tips and posts?

Query letter tips.

Five signs a literary is a good match for you.

What are the BEST writers' conferences in the country?

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Word Count

Sunday, September 27, 2009 7:22:58 PM (Eastern Daylight Time, UTC-04:00)

Comments [11]

Wednesday, September 23, 2009

10 Hidden Gifts of Rejection Letters
Posted by Chuck

This is a "Blast From the

Past" post. To celebrate the

GLA Blog's 2nd birthday, I am

re-posting some of the best

"older" content that writers

likely missed.

1. Rejection letters take you out of submission limbo.
        Familiar with that hell whose name is Waiting? Is the agent reading your submission? Chortling with her cronies over it? Using it as a doorstop or drink coaster? With that rejection letter in hand, you now know where you stand. No more wondering. No more worry. Of course no more hope either. Time to move on. Next.

2. All it takes is one rejection letter to make you an instant life member of a club whose luminaries include Walt Whitman, J.K. Rowling and Dr. Seuss.
        What published writer has never received a rejection letter? These are our badges of determination. Of striving. And on bad days, of lunacy. Take heart. No one’s, and I mean no one’s, first query snags an agent and a book contract. Unless of course you are Madonna, Jamie Lee Curtis or Fergie.

3. Rejection letters strengthen you, build courage, determination and belief in your work.
        Where would you be if you didn’t rail at your most recent rejection letter: “Agent Babe, you are WRONG! I will NOT make my overweight heroine svelte, my gay character straight or turn my borzoi into a chihuahua!”? Rejection letters give you practice taking a hit and moving on. Are you going to let one agent’s (or one dozen’s) opinion make you give up your intention to publish your book? Hell, no.

4. Rejection letters can be stockpiled for future use: wallpaper; bonfire kindling; shredded for an environmentally sound substitute for Styrofoam peanuts.
        Personally, I’m going to turn them into a necklace. My other creative outlet is beaded jewelry. I’ve just found a way to roll paper strips into beads. I plan to make a necklace from paper strips cut from my rejection letters and wear it to my book signings, the National Book Awards Ceremony and Dinner, and the Academy Awards. OK, OK, I’ll start with the signings and take it from there.

5. The good ones (offering constructive criticism) help you develop as a writer.
        And you will get some good ones in amongst the ones who used your manuscript as coffee coasters and doorstops. Thoughtful rejection letters, in addition to being a balm to your weary writer’s soul, afford the opportunity to revisit your work, to consider it through another’s lens. Such letters may lead you in a new direction.Or you might just add them to your stack of kindling. Good rejection letters are a clue that you are on the right track and getting closer. Take heart.

6. Get a few rejection letters beneath your belt and you can blog authoritatively on sites such as absolutewrite.com's Water Cooler.
        There are more web-based communities devoted to the world of submissions than you can shake a keyboard at. At the abovementioned Water Cooler, bloggers share their agent experiences. Which ones don’t follow through? Which ones are reputable? Which ones should be drawn and quartered for asking for a full and then never getting back to you? Rejection letter in hand, you can add your voice to the fray.

7. All it takes is one good one to renew your faith in agents.
        Number Seven is a corrolary to Number Five. There are good agents out there - human beings who love books as much as you do. Why else would they be in the business of trying to link their authors with publishers? Or take home reams of manuscripts to read over the weekend when they could be training for the New York City Marathon instead? A good rejection letter, whose tone is sincere and offers advice, can revive your flagging spirit.

8. Rejection letters keep the USPS in business.
        The Internet has taken a huge toll on the USPS. Mail carriers may go the way of the Maytag man. And then what will happen to the stamp designers? To the workers who assemble all those annoying circulars that come thru the slot as fourth class mail? To the Neiman-Marcus Christmas catalog? Rejection letters might mean you can’t quit your day job but they do help others keep theirs.

9. Rejection letters let you know who your true allies are.
        Are your loved ones sympathetic when a dreaded rejection letter falls through the slot? Do they bring flowers or send sweet e-mails of encouragement? Or do they chide you and say, “NOW will you get serious and put this silliness away?” Rejection letters let you know who you want on your team in this endeavor.

10. The number of rejection letters you receive is proportional to the euphoria that will envelop you when you do get The Call.
        Think about it. If an agent signs you up three queries into your search, you’ll be ecstatic. And perhaps kind of blase. But get that call after slugging it out for a year or so and man will success be sweet. So sweet you can taste it even now, can’t you?

This guest column by
Journalist and essayist Debra Darvick,
author of This Jewish Life: Stories of Discovery,
Connection and Joy. Her book, I Love
Jewish Faces (a children's picture book
celebrating Jewish diversity) was
published by the URJ Press in May '09.
Visit her blog at debradarvick.wordpress.com.

Want more on this topic?

Want to write a guest column? E-mail me at literaryagent@fwmedia.com and we'll talk.

Query Letter Tips, by agent Michelle Andelman (Franklin & Siegal).

10 Query Letter Tips.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns

Wednesday, September 23, 2009 2:49:57 PM (Eastern Daylight Time, UTC-04:00)

Comments [5]

Wednesday, September 16, 2009

5 Quick Tips for Writer/Agent Negotiations
Posted by Chuck

Guest column
by Howard G. Zaharoff

Just because you're excited someone wants to represent you doesn't mean you should let them take advantage of you. Beware of these red flags when negotiating contracts with agents.

        1. Watch for red flags. Reputable agents don’t charge reading fees or require other upfront payments, they don’t sell (or at least, don’t brag about sales) to vanity presses, and they will readily identify other authors and projects they’ve represented.
        2. Beware of excessive commissions. The norm is now 15 percent for book sales, though it can be up to 20–25 percent for foreign sales (for which the agent works with a subagent) and 10–20 percent for movie, TV and theatrical sales.
        3. Avoid commissions on speaking fees. Most reputable agents will not try to horn in on these, and they really aren’t entitled to, unless they were directly responsible for getting you the engagement.
        4. Keep control over expenses. Ideally your agent will not charge for onesie-twosie copies or standard postage, but only for unusual expenses—long-distance charges, major copying, courier services—and will work within spending limits (nothing over a fixed amount, say $100–$250, without your approval).
        5. Insist on timely payment. Ideally, you’ll get paid your 85 percent directly by the publisher, though many agents insist on collecting the entire amount first. (This is fairly standard but poses risks, especially if the agent goes bankrupt—so some writers push for “split accounting,” which requires the publisher to pay them directly.) Although most publishers still report and pay royalties semi-annually, typically within three months after the semi-annual period ends (so the royalty for a book sold in January arrives in late September!), your agent should pay you promptly upon receiving the funds—ideally within 10 days, but no longer than 30.

This guest column about agents was
pulled from the current issue of Writer's
Digest (Sept. 2009) Order it online
to see more queries as well as our exclusive
list of 24 Agents Who Want Your Work.

Guest Columns | Scams

Wednesday, September 16, 2009 10:28:08 AM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Friday, September 11, 2009

What Agents Hate: Part II (Author 101 Series)
Posted by Chuck

See Part I of this series here.

When writers try to get an agent, they are asked to run a difficult course, and run it under a microscope. Although the level of scrutiny that writers receive is huge, it is definitely surmountable. Read the following items that agents dislike and alter your approaches accordingly. Agents hate the following items:

5. Not telling agents a project's history.

Some authors don't reveal that the book has already gone to twenty publishers. In these cases, an agent may spend time reading, editing, or developing the project and then unknowingly submit it to editors who have already passed on it.
Don't be afraid to tell an agent that your book has been rejected. Agents frequently take on projects that have been shopped. They may work on them editorially, fixing them up. Writers should also inform their agents about all changes or revisions they've made since the book was rejected.

These tips excerpted from
Author 101: Bestselling
Secrets from Top Agents,
by Rick Frishman and Robyn
Freedman Spizman.

6. Writers who don't contact their agents when problems arise.

Frequently, when problems crop up, writers become frustratred and dissatisfied. However, had they contacted their agent, the agent might have explained the situation and helped them find ways to resolve it. Agents can provide creative second opinions. They usually have extensive experience in publishing, and frequently they are accomplished editors. They can also be a writer's best advisor.

7. Writers who say, "There is no competition for this book."

Rarely does a book have no competition. It's okay to say, "There is no product in the market precisely like this," and then point out how your book differs from its competition. List the closest or most analogous books and state how yours differs and is better. When writers claim that their books are without competitors, it tells agents that the writers didn't do the hard, basic research to identify and distinguish the closest books. It also makes them think that the writers won't do the necessary research to write a solid book.

8. Writers who call their agent too much.

Agents are busy; if you call them constantly, you'll drive them crazy. So limit your calls, create an agenda for the calls you make, and while it's nice to schmooze and talk now and then, keep in mind that they are running busy operations.
Many agents who are sole proprietors don't have staffs, so they do most office tasks themselves. Find out when it will be convenient for them to speak with you, and schedule a phone conference at a time that will work for you both.

Want more on this subject?

See part I of this excerpt series here.

What Agents Hate: Chapter 1 Pet Peeves.

What Agents Hate: Even More Chapter 1 Pet Peeves.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Excerpts | Guest Columns

Friday, September 11, 2009 1:32:27 PM (Eastern Daylight Time, UTC-04:00)

Comments [0]

Thursday, September 10, 2009

Do You Need a Conservative Literary Agent For Conservative Books? A Liberal Literary Agent for Liberal Books?
Posted by Chuck

Someone found my GLA blog searching for "conservative literary agents." So, I started to wonder about the question, "Do you need a conservative literary agent to publish a conservative-minded book?" - such as, let's say, Why Liberals Will Ruin This Country or whatever. Would an agent need their beliefs to line up with the book's message? Or is an agent partisan-blind to a nonfiction book that fulfills the big three: 1) has a good idea, 2) proves that markets exist for the book, and 3) has a platform and credentials?

Well, I had no idea what the answer was, so I enlisted three pros: Ted Weinstein, founder of Ted Weinstein Literary; Sharlene Martin, founder of Martin Literary Management and author of Publish Your Nonfiction Book; and John Willig, founder of Literary Services, Inc. Here is what they had to say:

Ted Weinstein Says:

"That's an interesting question, and one without a single answer. I suspect many agents prefer to work only with political authors whose views are at least in the same quadrant as their own. Some, though, including myself, are open to and enjoy the chance to work with clients whose views challenge us and are no less effective at selling those books to the right editor and publisher. I have represented a number of liberal, conservative and libertarian authors writing on a range of interesting topics, and sold their books to a mix of publishers.
"As always, the best way for an author to see if an agent might be right for them, regardless of their political views, is to read the good directories/guides to agents (including your own) and then visit any prospective agent's website to get a more thorough understanding of their work with other clients."

Sharlene Martin Says:

"I believe that in order to be 100% committed and passionate about selling my clients’ work, it’s important for me to be aligned philosophically with their book. It’s so much easier to fight for a sale for something you truly believe in than something you don’t. So, to answer your question, without giving up my political affliations (*smile*), my answer is yes—I personally need to embrace the viewpoint of my client’s work. It makes it easier for me."

John Willig Says:

"As is so often the case in publishing, there really is not a definitive answer. It can certainly vary from one agent to the next especially considering the topic. There's a broader and critical issue at work here and that is whether your agent (regardless of interests/religious or political persuasions) can effectively reach and knows the editors for your topic and presentation. While he/she may not entirely agree with your perspective, they still could be your best advocate to publishers in that specific genre. So again it can really vary from agent to agent on taking on the topic but it is the writer who must be assured that the agent can effectively represent the project to publishers; thus, they should be doing their homework regarding the agent's expertise in specific categories.
"Sure it's a big plus if the agent is 'aligned' with your topic and passion and if he/she has the knowledge of the market, publishers and editors then the writer is working (initially) in the best of worlds."

Want more on this subject?

Interview with nonfiction agent Ted Weinstein.

Interview with nonfiction agent John Willig.

Nonfiction words of wisdom.

What is an author platform?

Author Billy Coffey discusses how platform led him to sign with an agent.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Nonfiction

Thursday, September 10, 2009 9:44:49 PM (Eastern Daylight Time, UTC-04:00)

Comments [0]

Wednesday, September 09, 2009

7 Reasons Why Your Work May Be Rejected, by Hallie Ephron
Posted by Chuck

This is a "Blast From the

Past" post. To celebrate the

GLA Blog's 2nd birthday, I am

re-posting some of the best

"older" content that writers

likely missed.

At Killer Nashville, a trio of extremely knowledgeable publishing pros held a panel on the most common reasons why a manuscript is rejected by an agent. Below you'll find part one of this post series.

Keep in mind that the panelists were discussing why a manuscript will be rejected, not a novel synopsis or query letter. They were talking about problems within the writing.

Writer Hallie Ephron

Author of several mystery novels
Book reviewer for the Boston Globe
Author: Writing and Selling Your Mystery Novel (WD Books)
www.hallieephron.com

Hallie's 7 reasons why your
manuscript can be rejected:

1. Profligate use of adverbs. For instance, saying "She looked at me and smiled happily." That's telling, not showing. Instead of using adverbs, use action to show the characters' feelings and emotions.

2. Predictability—using the same plot as others. For example, a cliche mystery plot opening hook is this: A P.I. picks up his office phone and his ex-wife is on the line. She's in trouble, but can’t say why. They agree to meet later at a bar or parking lot, but she never shows because she’s been murdered.
"I want twists. Surprise me in the first chapter and I'll keep reading."

3. Too many killers. A recent manuscript she read revealed six people were actually complicit in the book's murder. It’s convoluted, confusing, and shows that the author had to pull six rabbits out of a hat at the end to wow us. This problem is likely because of earlier problems in Act II—a.k.a "the muddy middle."

4. Point of view that’s out of control. If you’re in a character’s head, stay there until the scene is over.

5. Prologues that don’t work—where writers have a boring opening, so they simply pluck out an exciting scene from the middle, put it at the beginning, and call it the prologue.

6. A plot with no spine. When the scenes seem to jump around—you’re here, you’re there, now you’re there—the book has no backbone. "You have to get me to care about the main plot for me to keep reading."

7. Getting stuck to an outline. "Don’t let your plot trap your characters." If you write an outline and, in the middle of the story, the protagonist is supposed to run into a burning building, that’s fine. But as you begin the flesh out your protagonist and write the book, you may craft a character who wouldn’t realistically run into a burning building—perhaps he’s too smart, or too cowardly or whatever.

Her final tips: "Surprise me. Make me laugh. Make me care about your characters. Don’t let the frustration get you down. We all go through the 'It’s a piece of sh*t' stage."

Want more on this subject?

Agents tell how to start a story right.

10 Query Letter Tips.

Check out Hallie's book, Writing and Selling the Mystery Novel.

I'm hosting a webinar on "How to Land a Literary Agent," Oct. 8, 2009.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Contracts and Copyrights and Money | Guest Columns

Wednesday, September 09, 2009 4:19:18 PM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Saturday, September 05, 2009

What Agents Hate (Author 101 Series)
Posted by Chuck

1. Inquiries that show writers have not done their homework.

This complaint usually fell into two categories: 1) submissions that are not the type of books an agency accepts, and 2) submissions that are not specifically addressed.
      Do your homework. Save everyone time and effort by checking the guidebooks and agents' websites to learn what types of books they represent.
      Submissions that are not specifically addressed are generally sent to "Dear Agent," the agency, or "To Whom it May Concern." These submissions look like form letters. Address all correspondence to a particular individual and make sure thay you spell that person's and the agency's name correctly.

2. Authors who insist that they receive unrealistically high advances.

Agents are experts at evaluating what books are worth, and since they receive a percentage of the proceeds, they try to squeeze out top dollar. Coming with demands of a "minimum advance figure" is a clear signal that you will be difficult to work with.

These tips excerpted from
Author 101: Bestselling
Secrets from Top Agents,
by Rick Frishman and Robyn
Freedman Spizman.

3. Authors who try to be all things to all people.

Agents and editors prefer tightly focused books. They told us that a writer's audience actually expands the tighter the focus of the book is. An author cannot be all things to all people. For instance, a writer may think that the market for her children's book is ages four to 14, but four-year-olds want different books than 14-year-olds do. A diet book aimed at young adults, for example, could sell better that a book that tries to appeal to all ages of dieters.

4. Control freaks

Agents do not like to work with clients who are not willing to change proposals, manuscripts or strategies that can improve a book or its ability to sell. The best authors are those who are willing to listen and are open to their agents' advice. Although agents aren't the end all and be all, they are knowledgable professionals, and selling books is their business. They have experience and can bring a certain perspective to a project that authors may not have.

Want more on this subject?

Want more on"What Agents Hate"? See a list of their pet peeves here, with Part I and Part II blog posts.

See 10 Things NOT to Do in a Query.

Check out the book Author 101: Bestselling Secrets from Top Agents.

See an example of a Mind-Boggling Horrible Query Letter.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Excerpts | Guest Columns

Saturday, September 05, 2009 3:41:21 PM (Eastern Daylight Time, UTC-04:00)

Comments [0]

Wednesday, September 02, 2009

Five Signs a Literary Agent is a Good Match For You
Posted by Chuck

This guest column
by Rose Jensen. She
welcomes your feedback at
Rose.Jensen28(at)yahoo.com.
Read her article on Essential Tips
and Tools for Writers of the Future.

So you’ve got a great book and you want to get it published. You could try to simply market it, sell it and negotiate it on your own, but many new to the business simply don’t feel comfortable doing that on their own. That means that it’s time to find an agent but you don’t just want any agent, you want the right one. How can you know if a literary agent is really a good fit for you and the kind of work that you produce? Here are a five signs that things will work out between the two of you.

Photo from The Pena Picasan

      1. He or she commonly works with books like yours. Finding someone who is actually interested in the kind of work that you’re producing is essential. If you’ve managed to get an agent that commonly works with material in your genre, then you’re on the right track. He or she will have more enthusiasm and know more about what it takes to get your work in the spotlight than someone who doesn’t really focus on the type of work that you do.
      2. He or she pushes you. The best agents shouldn’t just let you be lazy and do what you want. While there should be a balance of power, they should push you to work harder, get more done and actively market your work if you’re not already doing that on your own. There should be a great give and take between the two of you, allowing you to maximize your potential.
      3. He or she is excited about your work. Someone who is not really excited about the things that you’re creating isn’t likely to do too much to make sure that they ever see the light of day. In fact, they may languish on a desk somewhere for months. If your agent seems genuinely enthusiastic about finding a publisher and marketing your book, then you’ve found a keeper.
      4. He or she is there when you need them. If you’re new to the game, you likely have numerous questions about how the whole process works, what you need to do and the kind of deals you should be willing to make. Your agent should be there to help guide you through the process, though hand-holding can’t always be expected. Find an agent who isn’t always mysteriously “out of the office” when you call and you might have a long future of working together.
      5. You actually get along. It might seem pretty basic, but some people assume that because it is a business relationship that they don’t need to actually like their agent. While it isn’t a necessity, this person is someone who is going to be representing your work and who will be tied to it for years to come—it’s much better to have that be someone you actually like and want around rather than someone you merely tolerate.

Want more on this subject?

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns

Wednesday, September 02, 2009 8:37:34 PM (Eastern Daylight Time, UTC-04:00)

Comments [4]

Sunday, August 02, 2009

Agent Don Maass Explains Your Tools for Character Building
Posted by Chuck

Finding a Protagonist's Strength

      Step 1: Is your protagonist an ordinary person? Find in him any kind of strength.

      Step 2: Work out a way for that strength to be demonstrated within your protagonist's first five pages.

      Step 3: Revise your character's introduction to your readers.

Without a quality of strength on display, your readers will not bond with
your protagonist. Why should they? No one wants to spend four minutes, let alone four hundred pages, with a miserable excuse for a human being or even a plain old average Joe. So, what is strength? It can be as simple as caring about someone, self-awareness, a longing for change, or hope. Any small positive quality will signal to your readers that your ordinary protagonist is worth their time.

Literary Agent Don Maass

Finding a Hero's Flaws

      Step 1: Is your protagonist a hero - that is, someone who is already strong? Finding in him something conflicted, fallible, humbling or human.

      Step 2: Work out a way for that flaw to be demonstrated within your protagonist's first five pages.

      Step 3: Revise your character's introduction to your readers. Be sure to soften the flaw with self-awareness or self-depreicating humor.

Heroes who are nothing but good, noble, unswerving, honest, courageous, and kind to their mothers will make your readers want to gag. To make heroes real enough to be likable, it's necessary to make them a little bit flawed. What is a flaw that will not also prove fatal? A personal problem, a bad habit, a hot button, a blind spot, or anything that makes your hero a real human being will work. However, this flaw cannot be overwhelming. That is the reason for adding wise self-awareness or a rueful sense of humor.

The Impact of Greatness

      Step 1: Does your story have a character who is supposed to be great? Choose a character (your protagonist or another) who is, has been, or will be affected by that great character.

      Step 2: Note the impact on your point-of-view character. In what ways is she changed by the great character? How specifically is her self-regard for actual life different? Is destiny involved? Detail the effect.

      Step 3: Write out that impact in a paragraph. It can be backward looking (a flashback frame) or a present moment of exposition.

      Step 4: Add that paragraph to your manuscript.

Greatness is not always about esteem. Those affected by great people may be ambivalent. Whatever the case in your story, see if you can shade the effect of your great character to make it specific and captured nuances. The effect of one character upon another is as particular as the characters themselves.

Excerpted from The Fire in Fiction
(2009, Writer's Digest Books). You can
find the book in the F+W Bookstore here.
Donald Maass runs his own agency
in New York City.

Want more on this subject?

Donald Maass shares advice through Writer Unboxed.

Agent Stacia Decker moves to Donald Maass Literary.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Craft and Story Beginnings | Excerpts | Guest Columns

Sunday, August 02, 2009 11:19:45 PM (Eastern Daylight Time, UTC-04:00)

Comments [4]

Thursday, July 09, 2009

How to Write a Novel Synopsis
Posted by Chuck

This is a "Blast From the

Past" post. To celebrate the

GLA Blog's 2nd birthday, I am

re-posting some of the best

"older" content that writers

likely missed.

If you write a novel and want to sell it, you'll need a good synopsis to hook a literary agent. A synopsis, simply put, is a long summary of your fictional story, detailing the events and characters.

At a recent writers' conference, I critiqued several synopses from amateur writers. When I met with the writers, I found myself repeating the same things over and over regarding formatting, content and length. I'll try and relay some tips in this post, so writers don't follow in their footsteps.

First of all, synopses have a specific format. They begin on a new page and should have all your contact information in the upper left corner of the first page. Just below your contact info, centered, should be the book's title, its genre and your name.
The body of the synopsis is double-spaced.
Use dialogue sparingly, if at all.
You can get to the point, meaning you can say if a character is "a hopeless romantic."
Starting on the second page, there should be a header at the top of all pages, looking like this: Author/TITLE/Synopsis. That should be pushed left while the page number should be pushed right.
Things must be explained. You can't say a character has "psychic powers" or "finds a surprise around the corner" without saying what these things mean. I find that writers, when questioned about confusing details, will often say, "Well that's explained in the book." Then I say, "OK ... but an agent won't read the book if they're confused by the synopsis. Make sense?
Try to stick with main plot points and characters. This will help cut down on confusion. Ideally, an agent won't get any name/character confusion because the synopsis doesn't detail needless subplots or minor characters.
When characters are mentioned for the first time, CAPITALIZE their name.
I read somewhere that a synopsis should read like you've summarizing a story for a 12-year-old. This is good advice. To practice, read a novel. Then explain the plot and characters of the story to a child as if it were a bedtime story. Tell the tale from beginning to end in 5-10 minutes. That's a synopsis.
Remember that queries and synopses are different things. You would never find a synopsis in a query. A query is a one-page letter that explains what you've written, who you are, and why the agent should represent you. In a query letter will be a pitch, which is a explanation of your story in 3-8 sentences. It's like the text you see on the back of a DVD box. It's designed to pique your interest. A pitch, like the back of a book or DVD, will not spill the beans regarding the ending.
I recommend having TWO versions of your synopsis - a "long synopsis" and a "short synopsis." Let me explain. In past years, there used to be a fairly universal system regarding synopses. For every 35 or so pages of text you had, you would have one page of synopsis explanation. So if your book was 245 pages, double-spaced, your synopsis would be seven pages approximately. This was fairly standard, and allowed writers a decent amount of space to explain their story. I recommend doing this first. This will be your "long synopsis." The problem is: Sometime in the past few years, agents started to get really busy and they want to hear your story now now now. They started asking for synopses of no more than two pages. Many agents today request specifically just that - two pages max. Some may even say one page, but two pages is generally acceptable. You have to draft a new, more concise synopsis - the "short synopsis." So which one do you submit? Good question. If you think your short synopsis (1-2 pages) is tight and effective, always use that. However, if you think the long synopsis is much more effective, then you will sometimes submit one and sometimes submit the other. If an agent requests two pages max, send the short one (because, naturally, you've been instructed to). If they just say "Send a synopsis," and you feel your longer synopsis is far superior, and your long synopsis isn't more than eight pages, I say just submit the long one.

Want more on this subject?

Read a great synopsis: Starman.

8 articles on synopsis writing.

One story? You need 5 versions.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Synopsis Writing

Thursday, July 09, 2009 11:08:44 AM (Eastern Daylight Time, UTC-04:00)

Comments [5]

Tuesday, June 30, 2009

Three Reasons You Need an Agent, as Explained by Mollie Glick
Posted by Chuck

At the recent Southeastern Writers Workshop, the agent in attendance was Mollie Glick of Foundry Literary + Media. Mollie and I hit up a lot of the conference circuit together and attendees love her cause she's so nice. It's rare that I actually get to sit in on one of her sessions. Fortunately, that's just what I did Monday night. Mollie spoke for 90 minutes on a variety of different subjects.

Below you will find the three reasons she gave concerning why having an agent is a good thing.

Why Having an Agent is a Good Thing
As Explained by Mollie Glick

1. Publishers don’t often handle unsolicited works - at least big publishers, that is. There are too many manuscripts for editors to look through every one.
In addition, it’s a copyright issue. She said Hyperion, which is owned by Disney, will not even look at an unsolicited ms because of the fear of being sued. They will only deal with agents.

2. Agents have “intense relationships” with editors—that’s their job. Agents track where editors go, take note of what they like, know where they grew up, if they have kids, etc. Agents realize that fiction is a very subjective thing so they try to get to know not only editors’ tastes, but also them as people. She has lunch three times a week with editors.

3. Agents can help negotiate a bigger deal. The contracts that publishers use are not easy to understand. This is for a reason. She also added that some publisher royalty statements are “almost incomprehensible” - again, no coincidence.
Agents are a step removed. They can play “bad cop” with an editor or house if need be. If the editor wants to change the book’s title, for example, and you (the writer) hate the decision, Mollie will step in and play bad cop. It allows you to stay removed from the argument so you can keep on good, editing-only terms with the editor.

Want more on this subject?

7 reasons agents stop reading your first chapter.

Should you start with plot or character?

Word count for novels and children's books.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns

Tuesday, June 30, 2009 10:52:12 AM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Tuesday, June 02, 2009

What Are the BEST Writers' Conferences in the Country?
Posted by Chuck

I get this question quite often, strangely enough. I'm guessing that people decide they're "going to do this right," so they save up money to travel to one conference wherever they want, and they are just trying to make sure that they get some serious bang for their buck.

Now, to answer the question at hand, let's examine two things: 1) the different kinds of writers' conferences, and 2) what you want to get out of the event.

DIFFERENT TYPES OF
WRITERS' CONFERENCES:

1. General conferences
       These are just what you think they are - writers' conferences that are general in nature and geared toward all categories and levels of writers. There are hundreds of these nationwide every year, and most of the biggest fall under this category.

2. Conferences with a specialized focus.
       There are plenty of these, too. These gatherings have a unique focus to them - and that usually means they are all about romance writing, or Christian writing, or children's/juvenile writing, or screenwriting (& TV), or mystery/thriller writing.

3. Writing retreats
       Retreats are unique in that the focus is about craft and actually sitting down to write. There are usually no agents present, because that is not the purpose of the whole thing. You find a serene location somewhere and just try to focus and write. Lots of MFA profs, etc., teach these things, and there are even several overseas.

WHAT DO YOU WANT TO
GET OUT OF THE EXPERIENCE?

This question, obviously, is key. Perhaps if you want to just sit down and write - maybe finally start that novel - then maybe an intensive retreat is just what you need.

We're circling back to the original point here. People ask me about the "best" writing conferences, but, truthfully, it doesn't work that way. It all depends. If by "best," you are talking size and number of agents in attendance, off the top of my head I'm thinking our own writers' conference in conjunction with BEA, the San Francisco Writers Conference, Willamette in Portland, the Agents and Editors conference in Austin, Muse & the Marketplace in Boston, the Honolulu Writers Conference, and the Las Vegas Writers' Conference, among others.

"Big" speciality conferences include SCBWI's two national conferences (winter in NYC, summer in LA), the Romance Writers of America national conference (this year in DC), the Screenwriting Expo in LA, and the big mystery conferences (such as Bouchercon and Thrillerfest).

But why is size such a big deal? More agents = good, yes, but you're competing against more people and paying more money. Let's say you're writing literary fiction, and there is a smallish conference nearby that has three agents coming and two of them handle your genre. That's not bad at all. It's probably cheaper and closer than "the biggies."

Are you not ready to pitch yet? Do you just want to sit in on some seminars, take notes, meet people and recharge your batteries? Well then that opens it up a lot more. Take a real close look at the conference schedule and what presentations will take place.

I know that these Writer's Digest intensive conferences we put on seem to do well because people love the critiques. We invite people to send in a decent chunk of their manuscript and get it evaluated by a WD staff editor. The writer then meets with us one-on-one to hear our thoughts.

WHERE CAN YOU FIND A
LIST OF CONFERENCES?

The three best sources are:
        1. Google. Search "writers conference" and "(month year)" or "(location)".
        2. Specialty websites. For example, look at the Mystery Writers of America website to find their regional conferences.
         3. Guide to Literary Agents, of course! You can start by signing up for my free biweekly newsletter at www.guidetoliteraryagents.com. At the end of every newsletter, I list 5-15 upcoming conferences and link to them.

Want more on this subject?

Check out this guest column on Networking at Writers Conferences.

Read more about the dos and don'ts of pitching agents at conferences.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Pitching | Writers' Conferences

Tuesday, June 02, 2009 3:35:52 PM (Eastern Daylight Time, UTC-04:00)

Comments [4]

Saturday, May 30, 2009

Nonfiction Words of Wisdom from Agent Ted Weinstein
Posted by Chuck

On Wednesday, Ted Weinstein was one of the four literary agents who participated in our "Ask the Agents" panel at the conference.

Ted, who specializes in nonfiction books, was full of wisdom on the panel. Below you can find four especially nice tidibits from him.

Four Tips on Submitting Nonfiction

By Ted Weinstein

1. Platform is the first thing he looks for when evaluating a nonfiction book proposal. On the subject of platform, Ted advises that nonfiction writers should "assume they are self-publishing." By that, he means that you should not count on any help from the publisher in selling the book. They will distribute it, yes, but once it hits the shelves, you have to make sure it gets off the shelves. If you expect no backing from the publisher to do this, you are, essentially, self-publishing in a way, and will make sure that you have a platform.
On this topic, he added that writers will sometimes come along and say "If my book gets published, I'll be famous!" Then Ted quips back, "No, if you get famous, they'll publish your book!"

2. You must submit one or a few sample chapters with a nonfiction book proposal. Concerning what chapter(s) to submit, do not submit the introduction if you are only submitting one sample chapter. Instead submit the actual Chapter 1, not merely the introduction itself.

3. When comparing your book to other titles in the marketplace, he advises two things. First of all, use the term "comparable titles" rather than "competitive titles." Second, try to prove how your book is like the Olympic rings. Show all these different rings exist - all these different types of books. But no book can link them together like yours!

4. He said he rarely asks for an exclusive look at a book proposal, but on the rare occasions that he does, he asks for no more than one week. That timeframe, he says, is more than enough for any agent to be exclusively reviewing a proposal.

Guest Columns | Nonfiction | Platform | Writers' Conferences

Saturday, May 30, 2009 2:19:16 PM (Eastern Daylight Time, UTC-04:00)

Comments [1]

Monday, April 27, 2009

Literary Agents Tell All at Boston Conference
Posted by Chuck

I just returned from Muse & the Marketplace, which is a writers' conference held in downtown Boston. The event seemed to be a big success and I gave two presentations - one on query letters to agents, and another on nonfiction book proposals.

ALSO - I sat in on an agent panel and listened to four agents share all kinds of good tips and secrets. The four reps were:

      1. Mollie Glick of Foundry Literary + Media
      2. Rob McQuilkin of Lippencott Massie McQuilkin
      3. Elisabeth Weed of Weed Literary
      4. Lane Zachary of Zachary Shuster Harmsworth

Here is what they shared. Everything
below is paraphrased.

ON SUBMISSIONS & QUERIES:

MG: When you contact an agent with a query, if you can mention other books that the agent has repped (for example, because you repped X, I think you will like my Y), that still really works.

LZ: Mentioning that you have an MFA is impressive and can help, but doesn’t make too much of a difference in the long run, because it’s all a matter of whether the writer can write.

MG: When looking at a query, agents are looking for something that helps them pull your letter out of the pile and say “This person has some legitimacy.”

RM: Simultaneous submissions are normal and assumed. In other words, it is safe and healthy to submit your work to several agents at once.

LZ: If she passes on an idea but thinks another agent at the agency will find it interesting, she will always pass it on.

ON SHORT STORIES:

LZ: Short story collections do sell, but they do so very rarely.

Editor's Note: The thing that I noticed about short story collection success tales were that they all came around in strange ways. For example, the first success story an agent related was how a woman traveled all the way from India to attend an American writers’ conference and met an agent personally. The other success story told of an intern that worked at an agency where the intern said “Hey, I’ve got some short stories.” What to notice here is that neither one of these two examples came about through a cold query submission.
I found it odd to hear two success stories like that when almost no agents accept queries for short story collections. So it was not surprising to hear that neither were through queries. They were both somewhat special circumstances.

ON CHOOSING AN AGENT:

EW: It makes no difference whether you go with a big or small agency. She’s worked at both, and finds very little difference. It's all about the agent's ability, not the size of the agency.

MG: Finding an agent is like looking for a job. Writers should be professional. Both sides should ask questions of one another before contracts are signed.

Me (Chuck Sambuchino) teaching at the conference. I gave
two presentations - one on queries to
agents, and another on nonfiction
book proposals.

Want more on this subject?

Word Count Guidelines for Novels and Children's Books.

Check out agent Don Maass's popular book, The Fire in Fiction.

20 Tips on Writing a Query Letter

How Money Works: Book Royalties, Advances and Flat Fees.

What are the BEST writers' conferences in the country?

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Agent Advice (Agent Interviews) | Guest Columns | Queries and Synopses and Proposals | Short Stories | Writers' Conferences

Monday, April 27, 2009 8:28:35 PM (Eastern Daylight Time, UTC-04:00)

Comments [6]

Friday, February 27, 2009

Protocol and Expectations When Contacting and Befriending Literary Agents on Social Networking Sites Like Facebook, MySpace and Twitter
Posted by Chuck

Let's say you're interested in submitting to a few specific agents. Would you look them up on Facebook to learn more about them as a person? Many of you probably already have. What about MySpace? Twitter? LinkedIn?
But then questions arise: Would they agree to befriend you on sites like Facebook? Are they open to messages, pitches and/or conversation through such a site? What's the procedure and protocol here?
Well, my coworker Alice Pope, editor of Children's & Illustrator's Market, really wanted to know how agents interact with writers on such sites, so I decided to ask a few and find out.

WHAT I LEARNED

Here's the deal. I contacted six agents (I'll leave their names out of it because it really doesn't matter) and asked them about their experiences with writers on such social networking sites. They were all on Facebook, but only some were on MySpace, Twitter or LinkedIn. It was very varied. Here are some things I learned:

On Meeting Writers at Conferences:

If you're a writer who meets an agent at a conference, they probably still won't accept you as a friend on Facebook, because they want to keep "that life" separate from their professional one. An agent said this: "I'm trying to keep Facebook for friends only, and for a few professional contacts, like other agents or my already signed authors."

On LinkedIn:

Several agents were on this site, but the common caveat was that they don't check it or update it often at all.

On Twitter:

First of all, Twitter is the big exception, because it's a network for writers to FOLLOW agents, rather than interact and message them, so no agents had any problems or stories about tweeting.
As one agent said: "The reason Twitter works is that all those people can follow me and I don't have to do anything. I can only talk to and see the tweets of the people I want to follow."

On Querying:

If you query an agent through Facebook, you know that your message will avoid the slush pile and stand out from the crowd; problem is - that's a bad thing in this case. One agent said this: "I rarely get writer inquiries via Facebook, but when they do come in, they are way too casual and so not professional. The first few I directed to my agency Web site, but lately I've been deleting/ignoring them. Same with LinkedIn. Very few and I ignore."
       The lesson here is simply not to query through a social networking site. I realize the temptation to do so, especially after you haven't heard back from someone or have been turned down by 50 agents, but this will not help. It's not the correct avenue.

Writers vs. Publishing Professionals - The Difference

When you're a writer, it's in your best interest to be plugged into many social groups. It's called networking, and it allows you to have a lot of friends, a lot of contacts, a lot of people who will buy your book. As an author myself, I completely understand this. But agents, on the other hand, have no motivation to simply befriend everybody. That's probably the biggest reason they will quickly turn down a friend request from someone they don't know.
       As one agent said: "For authors, it's easy: everyone is your friend, the more the merrier. This is not true for agents."

Well ... if agents and editors don't want to interact and befriend writers on social networking sites, who DO they want to meet?

Industry pros! They want to keep in contact not only with their friends & relatives, but with other agents, editors and authors. Note how I said authors, not writers. They keep in contact with their OWN authors (their clients) and other writers who have already made it and can be of value in networking. That's what's in THEIR best interest.

Sending a Friend Request

If you try to befriend an agent, you may want to add a little message of some kind along with it. This may help; it may not. One thing's for certain. If you write to an agent or other pro and say "So nice to meet you in Florida at the conference!", and put in a friend request, but they DON'T accept it, then you SHOULDN'T ask them a second time, or a third time...
       They said no for a reason. Repeated requests for friendship will only come off as pestering.

If an Agent DOES Befriend You...

Let's say you want to query an agent, so you find her on Facebook and ask to be her friend. She accepts your request. You've succeeded. Just remember the basic rule here: You now have the ability to learn more about the agent in the hopes that it will help your query & pitch. However, that is not an invitation to chat or converse with them. Interaction through a networking site is a bad thing (unless it's invited, naturally).

Want more on this subject?

Literary agents talk blogging, Twitter, and more.

How to create a simple writer blog.

So you've set up a blog - now what?

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns

Friday, February 27, 2009 3:13:40 PM (Eastern Standard Time, UTC-05:00)

Comments [5]

Friday, January 30, 2009

They're Called GOOGLE ALERTS, and Yes We Have Them
Posted by Chuck

"Well, the weirdest thing happened to me yesterday.

I logged onto my website email account, which I hardly use because it's ALL spam. There was one email in it. A real one. So I read it. It was from a literary agent. Apparently her google alerts told her I wrote her name down. She read my blog about agents who didn't respond, and asked me to resubmit.

Shocked?

Yeah, so was I. She actually took the time to write me so I'd take her off my list! Wow. Okay, so I sent her the submission again.

She didn't like it so much.

But she did say "You've got skill, I'll give you that."

I've heard that so many times before. *sigh*

I took her name off, I'll add her to the rejection list. Ah well. It's still an interesting story, huh?"

------

Crazy story. So the agent found her and asked her to resubmit the work for a yes/no answer. Ultimately, this paid off for Jen - and gave her a second chance (although that second chance didn't pan out). Let this be your warning: Google Alerts exist, so be careful what you're saying on the Internet. You never know who's listening.

Want more on this subject?

Literary agents talk blogging, Twitter, and more.

How to create a simple writer blog.

So you've set up a blog - now what?

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns

Friday, January 30, 2009 1:42:35 PM (Eastern Standard Time, UTC-05:00)

Comments [13]

A Pitch vs. A Synopsis: The Difference and Definitions (and 'What is a Good Synopsis Length?')
Posted by Chuck

Q. In a query, should the synopsis tell the whole story in a short form or should it leave mystery to the story like on the back of the book?

A. Queries and synopses are different things. You would never find a synopsis in a query.
        A query is a one-page letter that explains what you've written, who you are, and why the agent should represent you. In a query letter will be a pitch, which is a explanation of your story in 3-8 sentences. It's like the text you see on the back of a DVD box. It's designed to pique your interest. A pitch, like the back of a book or DVD, will not spill the beans regarding the ending.
       A synopsis is a front-to-back telling of what happens in your story. It's like sitting down with a 12-year-old and explaining your entire story in about five minutes. You explain who the characters are, what the conflict is, the three acts, and finally, what happens at the end (e.g., the villain dies). So, in a synopsis, you do indeed give away the ending. You would not do so in a pitch, and a pitch is what appears in a query.

FOLLOW-UP QUESTION FROM ANN:

Q. What length is a good synopsis? I recently sent out a query & synopsis. I managed to reduce the synopsis to one page, but now I'm wondering if it was too short for a multivoiced novel.

A. I recommend having TWO versions of your synopsis - a "long synopsis" and a "short synopsis." Let me explain.
       In past years, there used to be a fairly universal system regarding synopses. For every 35 or so pages of text you had, you would have one page of synopsis explanation. So if your book was 245 pages, double-spaced, your synopsis would be seven pages approximately. This was fairly standard, and allowed writers a decent amount of space to explain their story. I recommend doing this first. This will be your "long synopsis."
       The problem is: Sometime in the past few years, agents started to get really busy and they want to hear your story now now now. They started asking for synopses of no more than two pages. Many agents today request specifically just that - two pages max. Some may even say one page, but two pages is generally acceptable. You have to draft a new, more concise synopsis - the "short synopsis."
       So which one do you submit? Good question. If you think your short synopsis (1-2 pages) is tight and effective, always use that. However, if you think the long synopsis is much more effective, then you will sometimes submit one and sometimes submit the other. If an agent requests two pages max, send the short one (because, naturally, you've been instructed to). If they just say "Send a synopsis," and you feel your longer synopsis is far superior, and your long synopsis isn't more than eight pages, I say just submit the long one.
       Long answer. Hope it helps.

Guest Columns | Q&A from Blog Readers | Queries and Synopses and Proposals | Synopsis Writing

Friday, January 30, 2009 10:30:11 AM (Eastern Standard Time, UTC-05:00)

Comments [8]

Wednesday, December 17, 2008

Example of a Mind-Boggling Horrible Query
Posted by Chuck

Guest blogger Ric Klass shows writers just about everything you SHOULDN'T do in a query letter. The hilarious result is below. Enjoy.

Guest blog column
by Ric Klass

December 17, 2008

Ms. Agent
William Morris Agency
1825 Park Avenue
New York, NY 10012

Hi Mr. Agent,

You’ve finally got a good book to represent. MINE. The word is out that you're the best agent in the world. Now’s your chance to prove it. I’m thinking of calling my book Gone With The Wind II. Pretty sweet, huh? I’m using the same characters, Rhett Butler and all that. My understanding is that the publisher will have no problem getting the approval to do that from the family’s state. But here’s the catch ... Tara will be in outer space this time!!!! Whoa! I bet this is the best idea you’ve heard in weeks or maybe ever. A bestseller for sure. By the way, I’m wrote the book on my lunch breaks (more on that later).

I’ve contacted about two hundred other agents and saved the best for last ---- YOU. They’re crazy not to have leaped at this ONCE IN A LIFETIME OPPORTUNITY. I warn you, Mr. Agent, you may not get another chance like this one. Even though I read you only represent nonfiction, this is your chance to get into the fiction game where more interesting stories can be told.

I’ve discussed my ideas for the book with several of my friends at CVS where I work and they all LOVE IT! Obviously, dumdum, you will too. Right now I’m just stocking the shelves, but I think the manager might promote me to cash register. After all I worked there for nearly eight years and hardly took any time off except for the time I spend in prison fighting a false arrest for attacking one the agents I contacted who wouldn’t answer even one of my hundreds of phone calls--- the dirty bastard. But I’ll get even with him. I know you're not that kind of guy. From what I’ve read, you're a straight shooter.

The book is nearly done. I’ve almost finished page 12. Once begun is half done as they say. You should know that I need at least a $100,000 advance. And I need it NOW. You can’t believe how expensive lawyers are. (Don’t worry I won’t sue you, too!) From what I’ve read, you agents usually get 10 or 15 percent off the top. I’m willing to double it if you can send me at least $25,000 NOW. Since my idea is a sure thing, you should have no problem with this deal. You should also know I don’t suffer welchers if you no what I mean. You had better not tell my great idea to some other writer and going around me!!!! By the way, although your Web site said to include a synopsis, I thought I wouldn’t waste my time since you're sure to take on my book anyway. Instead (as I’m sure you noticed) enclosed in this giant box you just opened is a case of my favorite Skippy peanut butter just to let you know I’m no piker (in the case that I find another agent first before we sine on the dotted line, please send me $30 (in cash) to cover my expenses and the postage).

Right now the water drops you see on this page are real tears. I really need and DESERVE to have my book published. I’ve taken the liberty of following you to your home in Rye, NY, so I can deliver the manuscript any time you say directly to your place and hand it to one of your cute kids if you're not there (By the way, your wife is good looking too. NICE GOING! but she should keep the curtains closed - there are so wackos out there, ya know ... never can be too sure). But like I said, I’ll need a few days to finish the book. If for some reason I don’t hear from you in a day or so, you can expect to see me on your doorstep. (I’m sure it would have just slipped your mind. Ha Ha Ha Ha.!!!) Or you can except my offer by mail. I’ve enclosed an envelope for your secretary to address. She can stamp it too. Rich agents like you don’t need me to save them chump change, right? Right.

Affectionately,

Joe Writer

914-555-2054 (My girlfriend's number cause my phone is disconnected due to a bill miscommunication. Don’t even think of fuggin trying to hit on her or else!)

P.S. BTW, if you do hit on her, send money today and I’ll forgot the whole thing (and not tell your wife!).

Ric Klass is the author of Man Overboard: Confessions
of a Novice Math Teacher in the Bronx, a narrative
nonfiction book published late 2006. The New York Times
selected Man Overboard for its “Great Read In The Park”
book fair. The book was chosen for The National Press
Club's 29th Annual Book Fair and Authors' Night.

Guest Columns | Queries and Synopses and Proposals

Wednesday, December 17, 2008 4:24:04 PM (Eastern Standard Time, UTC-05:00)

Comments [13]

Monday, December 01, 2008

Agent Smackdown: East Coast vs. West Coast. Which is Better?
Posted by Chuck

Guest blog column
by Tom Bentley

The world of literary agents seems divided into sub-worlds: there is New York, there is California, and there is a smattering of boroughs and burgs in between. For better or worse, New York literary agents have often been stereotyped as aggressive, pushy and relentless. Underlying that notion is another: New York agents are the ones that will move your book along, get it in front of the right editors and get it into print. Of course, that implies another consideration: If you ain't got a New York agent, you ain't got squat. Is the West Coast counterpart of an NYC agent mushy, touch-feely and emotive? Is there a bagel/vegan muffin divide? And what about agents smack in the middle of the country—are they just waifs in publishing's prairie winds?

To find out if there's any substance to the pigeonholing, the only people to ask are the agents themselves, who were happy to let their own words reveal how they feel about their stateside rivals.

EAST VS. WEST

Stephen Barbara, an agent and contract manager at the Donald Maass Agency in New York offered connectivity, not attitude, as the East Coast advantage: “Most of the top agencies are here, most of the major trade houses are here, not to mention the great writing community and a wonderful city with tons of culture and a great social scene which connects publishing folks regularly over lunch, drinks, book parties, award ceremonies, and the like. The energy here is really incredible. That’s not to disparage out-of-town agents, and the world is flat, of course, but we do feel it is advantageous to be in the thick of things here.” Barbara did add that there are great agencies on the West Coast, and in Boston and DC (though he didn't say anything about how good their lunches might be).

Sandra Dijkstra of the Sandra Dijkstra Literary Agency in Del Mar, Calif., offers that it's not all location, location, location: “Where an agent is based is much less important than how well-viewed and how well-connected that agent is, to both the publishing community and to the specific author’s work," she says. "Proximity to the NY pub world can also be a disadvantage, because agents need to remember for whom they work—the author—and playing volleyball with publishers in the Hamptons, traveling up and down elevators with them in NYC, etc., can also lead agents, like the White House press corps at times, to dangerous confusion on this front. Distance from NYC, on the other hand, can afford agents a vital perspective on the mad world of publishing, and beyond it too. In any case, in the Age of the Internet, we are sometimes all too connected.”

Though it is hard to slight connections (and once again, there are those lunches), Daniel Lazar, of the New York–based Writers House agency, takes a broad view: “I think for a new, young agent starting out, there is an advantage to being in New York. There are lunches and mixers and parties where young editors and agents are meeting. Getting to know editors personally is an important part of this business. Matching up a project with an editor usually involves a personal chemistry you can’t replicate entirely on the phone. However, for an agent with some kind of experience, whether they used to be an editor or a publicist or an assistant to an agent or a sales rep somewhere, all they need is a computer and a phone. You can do that from Times Square or from the Grand Canyon or wherever.”

AND THE MIDDLE

And from a perspective that can look both East and West (and talk about lunch on her own terms), let’s listen to Kristin Nelson of Nelson Literary Agency in Denver, Colo.: “NYC agents have the advantage of being able to go out to lunch more often with the editors, but is that a tangible benefit? In other words, does lunching more often make one a better agent? I've talked with many editors about my being located in Denver. Not one of them has ever cared where the agency was based. What they cared most about was my reputation and whether I send good projects their way. Interestingly enough, many editors have told me that they thought my location was an added benefit. I'm not New York-centric, and, in their eyes, that can be a huge plus. There are many terrific agents in New York (several of which are personal friends) and there are many terrific agents outside of NYC. An agency’s reputation is far more important than its location.”

BURYING THE (IMAGINARY?) HATCHET

As for a certain New York state of mind (or mood): Daniel Lazar summed it up in a tone that reflected the sentiments of many of the agents. “I know some very sweet and mild agents here in the city," he says, "and some formidable agents based miles and states away.”

East Coast, West Coast, Middle-of-the-Country Coast ... let’s call the alleged feud off—and then let’s have lunch.

Tom Bentley is a freelance writer,
editor and copywriter. He's published articles in
Writer’s Digest, the Los Angeles Times, Wired,
the San Francisco Chronicle, Traveler's Tales
and many others. He is also the winner of
multiple short story contests.

Guest Columns

Monday, December 01, 2008 2:31:18 PM (Eastern Standard Time, UTC-05:00)

Comments [3]

Wednesday, November 19, 2008

10 Hidden Gifts of Rejection Letters
Posted by Chuck

Guest blog column
by Debra Darvick

Journalist and essayist Debra Darvick
is the author of This Jewish Life:
Stories of Discovery, Connection and Joy.
Her book, I Love Jewish Faces (a children's
picture book celebrating Jewish diversity) will
be published by the URJ Press in May '09.
Visit her blog at debradarvick.wordpress.com.

Want more on this subject?

7 reasons agents stop reading your first chapter.

Should you start with plot or character?

Word count for novels and children's books.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns

Wednesday, November 19, 2008 10:33:34 AM (Eastern Standard Time, UTC-05:00)

Comments [19]

Wednesday, November 05, 2008

Networking at Writers' Conferences
Posted by Chuck

Guest Blog Column
by Hanish "Han" Vance

Many fledgling writers understand the value of manuscript reviews and taking classes at a professional writers’ conference, but few understand the true potential impact of networking outside of the traditional formats. If you have a big salesperson personality and tend to meet people easily, networking will be a natural for you. If you're a bit shy and reserved, think of outward communication as part of your job: Bite the bullet and take the initiative to speak to those around you. The majority of those in attendance are aspiring writers like yourself; who more perfect to understand you? A few established writers and industry professionals will be sprinkled in amongst the masses. Guess what? They are normal people with some time to spare and valuable information to willingly dispense. Do not limit this special career opportunity by staying in your shell.
        Study the conference presenter roster beforehand for an overview of who’s who in attendance in the professional ranks. Breaks are a regularly scheduled part of the conference routine. Instead of hanging around your hotel room or quietly reading by yourself during breaks, think of yourself as on the clock. You are working to promote your future products. Have copies of your manuscript synopsis ready to distribute and be yourself, albeit a version of yourself who is visibly willing to make contacts by meeting new people. Position yourself in a well-traveled area and start introducing yourself.
        At my first writers’ conference (the amazing Harriette Austin Writers’ Conference in Athens, Ga.), I made sure that I was a visible presence in the atrium during all breaks and ended up meeting several key contacts there. As a result, I was able to choose between a select few of those contacts for the best possible professional editor for my memoir manuscript. I wanted to meet various lecturers from my classes, so I was regularly in the atrium where I knew they would pass through. I met everyone on my list and a few new writer colleagues along the way. It was a matter of location, location, location.
        At my second writers’ conference, many of the industry professionals I had briefly met or taken classes from the previous year were again in attendance. I may have learned more from hanging around those folks on breaks then I did from all my classes and my manuscript review. They welcomed me as a fellow smoker in the outside smoking section, and I asked questions and took notes. I don't really smoke, but that day I did. After realizing the value of the information I was getting for free on the first break, I walked to the convenience store and purchased some mini-cigars, which I smoked without inhaling on the rest of the breaks. My throat hurt a little, but it was well worth it. The point being: You need to be where speakers and attendees are. That's what you're there for. If the night is wrapping up and you're exhausted from a long day, you'd still be a fool to turn down an invitation to go out to a bar for drinks with other writers and professionals. Deals are made in the literary word over drinks in the bar around the corner.
        A break in the conference schedule before dinner was a chance for me to informally bond with the agent who had reviewed my manuscript. The lunch and dinner allowed me to connect with fellow writers, including a special writer friend who for a time called herself my muse. And finally, the late night poetry slam allowed me to showcase my versatility in the world of words while again making a lasting impression on contacts.
        Do not expect long interactions with any individual. Instead, spread yourself around as much as possible and collect the gems of industry wisdom as they come, and remember to write them down. Save and re-read your notes once you are back in the lab trying to create and sell that masterpiece. Above all, get contact information from any key individuals and keep it for when the time is right to use it. In any industry, networking can be the key to ultimate success.

       - Hanish "Han" Vance is a Georgia-based writer and blogger.

Guest Columns | Writers' Conferences

Wednesday, November 05, 2008 3:12:00 PM (Eastern Standard Time, UTC-05:00)

Comments [7]

Thursday, October 16, 2008

Breaking Down the Query Letter
Posted by Chuck

I talk to a lot of writers about how to compose a good query letter. Make no mistake - it's no easy task, and it will take a lot of work. But what I can tell you right off the bat is that a good query has a distinct structure, and I can show you it right here below.

Think of a query as a three-part monster, broken down into three paragraphs. At the top of the page, you will have your contact info, as well as the mailing address info for the agency and the date. After that, you have your three paragraphs:

Paragraph One:

        1. Explain what the work is. So - what are you writing? What is the genre? The length? The title? Is it complete? State all the basic info upfront so the agent will immediately know if this is a type of work that she represents.

        2. Explain why you're contacting this agent. Did you meet them at a conference? Were they recommended by a friend? Did you see an interview online where they said they were looking for steamy romances and you're writing one such steamy romance? Show them why you picked them out of the big pile, so they have a reason to pick you out of a big pile.

Paragraph Two:

        1. Pitch Your Work. This is the most difficult part. You have to boil your book down to about 3-6 sentences and explain what makes the story interesting. You've got to get to the hook. What is the irony - the catch - that makes this story interesting? If your story is simply about a police officer who retires and adjusts to a new lifestyle, that has no hook. But if you say that this newly retired police officer decides to get a sex change, and finds that the police union wants to cancel his pension, and his old friends won't speak to him - then you've got a hook. You've got a unique, interesting idea for a story.

Paragraph Three:

        1. Explain who you are and why you're qualified to write this work. Do you have publishing credits? Are you a journalist? Have you won any awards? Have you had short stories published? If you're pitching nonfiction, this becomes the most important section of the query because you will have to prove that you are the ideal person to write this particular book.
       Keep in mind that if you don't have anything to say or brag about, you can just keep this section short. Tout your accomplishments quickly and humbly. You want to say "I'm not brand new and I take writing seriously." You don't want to say "Yoo-hoo! Look at my accolades! I'm the man, if you didn't know it, sucka."

        2. Thank them. Thank the agent for considering your project. Ask them if you can send more. "Can I send you the first few chapters or some pages?" "Can I send you the full book proposal?"

Want more on this subject?

Should you mention your age in a book query?

20 tips on query letters, from agent Janet Reid

Check out the Writer's Digest Guide to Query Letters

What should you write in the bio of your query?

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Queries and Synopses and Proposals

Thursday, October 16, 2008 11:23:31 AM (Eastern Daylight Time, UTC-04:00)

Comments [6]

Thursday, August 28, 2008

Agent Barbara Poelle Wants to Hear About Your Favorite 7 Books
Posted by Chuck

Guide to Literary Agents welcomes
guest blogger Barbara Poelle, literary
agent for Irene Goodman Literary
in Manhattan.

The topic: Her favorite books on the bookshelf and why they excite her as a reader. Read on to hear more and then share your "top 7" in the comments section of this post.

"Even as a wee Barbara I was a voracious reader, and my love affair with narratives and plotlines and settings and characters has only deepened and turned more maniacal the older I get. However there are only 7 dog-eared, cover worn, Doritos-stained books that I consider my dearest loves, who truly pulled off something outstanding in their genre. The kind of books I would get into a bar fight with, sing drunken karaoke for, or bat my eyes shyly at over a candlit table for two. These titles make me wish I could sustain some sort of head injury and forget their plot points after reading so I could read them for the first time all over again. As it is, I mostly rotate them through every two years so that I can lose myself in their brilliance without needing to throw myself through a plate glass window in order to etch-a-sketch their themes. And they are, in no particular order:

Watchers by Dean Koontz:
The characters in this book are phenomenal. They stray just enough into the field of archetypes so you know what you are getting into without being cookie cutter. And the idea was so unique, so captivating, that it almost didn’t matter what happened as long as you got to watch these characters do it. Who didn’t want Einstein to be their dog? And if you didn’t cry when the Other died you hate Christmas and babies and chocolate. Is it any wonder I married a guy named Travis?

Fall on Your Knees by Ann-Marie MacDonald
The narrative execution in this is so unbelievable that you will find yourself reading portions out loud even if you are being held at gunpoint during a bank heist. The phrasing and the expert use of perspective lend to a haunting, continuous read, like chewing warm taffy through the entire book. I would lend you mine but entire portions are now scotch taped in and I’m fairly certain that that is peanut butter on page 198.

The Stand by Stephen King
Multiple character plotlines are nearly impossible to pull off, yet this one does it perfectly. These kind of characterizations are unparalleled in any genre, besides perhaps something Russian and heavy. I don’t really need to say anything more about this except m-o-o-n spells brilliant.

Operating Instructions by Anne Lamott
I judge people as friends by whether or not they have read Anne Lamott and this one is my favorite. Memoir is so difficult sometimes, and the ones who keep it the most honest, the most raw are the true masters of the genre. Lamott carries off her exploration of motherhood with charm, charisma, humor, and true emotion from the first page to the last. The only reason I will have children is so I can enjoy this from a new level.

Ahab’s Wife; or the Stargazer by Sena Jeter Naslund
Historical fiction is just so tough these days unless your last name is Gregory. (She’s pretty fabulous). The market is crowded with concubines, traitors, and waltzes on foreign shores, but this evocative, multifaceted work can stand unique among the Tudors and Howards. I am a huge fan of first lines. HUGE FAN. This one leaves “Call me Ishmeal” in the dust. Do yourself a favor, call in sick tomorrow and read this book. You can thank me for it later.

Eats, Shoots & Leaves by Lynne Truss
I laughed. I cried. I dangled my participle. If you love language, you’ll love this book. A must for anyone in the industry to read.

Guardian Angel by Julie Garwood
Ohh, what? You think I was too hoity-toity to get in a bar fight over a romance novel? This was the first Garwood I read and still is my favorite romance of all time. I mean, come on! The heroine is the hero! Strong women that do things they have to not because they want to, no sniveling, no cowering, women with a job to do and the biscuits to do it. That’s my kind of lady. And the love scenes are hot enough to make me clutch my pearls and yell, “Well, I do declare!”

Now, I bet if you and I were clinking mojitos at Havana Central off Union Square, you could come up with 5 or 6 more titles that I would say yeah yeah, that one too! (Time Traveler’s Wife. Staggeringly unique. The kind of rapier swift plotting that’s as edgy as it is accessible. She’s Come Undone. Are we sure Wally is a man? How can he write his female protagonist with such depth? She is a great character. White Oleander. Ingrid is burned into my mind as one of the truly great antagonists, she didn’t even have to be in the scene for me to know she was the puppetmaster behind it.)

But these 7 above are my true loves, some for decades, some for years, but all forever.

So … who would make up your magnificent 7?"

Barbara Poelle is an agent at Irene Goodman Literary Agency representing a wide range of fiction and non-fiction titles. She is currently accepting queries directed to her attention at queries@irenegoodman.com

Guest Columns

Thursday, August 28, 2008 1:49:40 PM (Eastern Daylight Time, UTC-04:00)

Comments [13]

Thursday, August 21, 2008

MORE Agent Chapter 1 Pet Peeves and Writing Cliches
Posted by Chuck

Note: This is part II of
the discussion on Chapter 1
no-no's. See part I here!

The current issue of Writer's Digest magazine (Sept/Oct 08) has a piece in it that I wrote on literary agents' chapter 1 pet peeves. For it, I basically just contacted a whole bunch of agents - new and experienced, fiction and nonfiction, Christian and not, juvenile and adult - and asked them all what they hate to see in chapter 1.

They gave a lot of great feedback - real good practical stuff touching on cliches and pet peeves and overused beginnings. Here is some of the responses that we put in the printed article:

Agents Chapter 1 Pet Peeves:

"Most agents hate prologues. Just make the first chapter relevant and well written."
       - Andrea Brown, Andrea Brown Literary Agency

"Slow writing with a lot of description puts me off very quickly. I like a first chapter that moves quickly and draws me in so I'm immediately hooked."
       - Andrea Hurst, Andrea Hurst Literary Management

"Avoid any description of the weather."
       - Denise Marcil, Denise Marcil Literary Agency

"I don't like it when the main character dies at the end of Chapter 1. Why did I just spend all this time with this character? I feel cheated."
       - Cricket Freeman, August Agency

"A cheesy hook drives me nuts. They say 'Open with a hook!' to grab the reader. That's true, but there's a fine line between an intriguing hook and one that's just silly. An example of a silly hook would be opening with a line of overtly sexual dialogue. Or opening with a hook that's just too convoluted to be truly interesting."
       - Daniel Lazar, Writers House

" 'The Weather' is always a problem - the author feels he has to set up the scene and tell us who the characters are, etc. I like starting a story in media res."
       - Elizabeth Pomada, Larsen-Pomada Literary Agents

Craft and Story Beginnings | Guest Columns

Thursday, August 21, 2008 1:13:37 PM (Eastern Daylight Time, UTC-04:00)

Comments [2]

Tuesday, August 05, 2008

Agents' Chapter 1 Pet Peeves!
Posted by Chuck

Note: This is part II of
the discussion on Chapter 1
no-no's. See part II here!

The forthcoming issue of Writer's Digest magazine (Sept/Oct 08) has a piece in it that I wrote on literary agents' chapter 1 pet peeves. For it, I basically just contacted a whole bunch of agents - new and experienced, fiction and nonfiction, Christian and not, juvenile and adult - and asked them all what they hate to see in chapter 1.

They gave a lot of great feedback - real good practical stuff touching on cliches and pet peeves and overused beginnings. The article will be online in several weeks, so you can see a lot of great advice soon.

Although we saved plenty of juicy parts for the WD article, in the meantime, enjoy all this great feedback that didn't make the final cut for space purposes!

Agents Chapter 1 Pet Peeves:

"Anything cliché such as ‘It was a dark and stormy night’ will turn me off. I hate when a narrator or author addresses the reader (e.g., 'Gentle reader')."
        - Jennie Dunham, Dunham Literary

"Sometimes a reasonably good writer will create an interesting character and describe him in a compelling way, but then he’ll turn out to be some unimportant bit player. Other annoying, unoriginal things I see too often: some young person going home to a small town for a funeral, someone getting a phone call about a death, a description of a psycho lurking in the shadows, or a terrorist planting a bomb."
        - Ellen Pepus, Signature Literary Agency (formerly Ellen Pepus Literary)

"I’m really turned off by a protagonist named Isabelle who goes by 'Izzy.' No. Really. I am."
        - Stephany Evans, FinePrint Literary Management

"I dislike opening scenes that you think are real (I rep adult genre fiction), then the protagonist wakes up. It makes me feel cheated. And so many writers use this hackneyed device. I dislike lengthy paragraphs of world building and scene setting up front. I usually crave action close to the beginning of the book (and so do readers)."
        - Laurie McLean, Larsen/Pomada Literary Agents

"I do in fact hate it when someone wakes up from a dream in Chapter 1, and I dislike an overly long prologue. The worst thing that you can do is let that crucial chapter be boring - that’s the chapter that has to grab my interest!"
        - Michelle Brower, Folio Literary Management (formerly Wendy Sherman Associates)

"I don't like an opening line that's 'My name is...,' introducing the narrator to the reader so blatantly. I might be prompted to groan before reading on a bit further to see if the narration gets any less stale. There are far better ways in Chapter 1 to establish an instant connection between narrator and reader. I’m also usually not a fan of prologues, preferring to find myself in the midst of a moving plot on page 1 rather than being kept outside of it, or eased into it."
        - Michelle Andelman, Lynn C. Franklin Associates (formerly Andrea Brown Literary Agency)

"I hate seeing a 'run-down list:' Names, hair color, eye color, height, even weight sometimes. Other things that bother me is over-describing the scenery or area where the story starts. Usually a manuscript can lose the first 3-5 chapters and start there. Besides the run-down list preaching to me about a subject, I don't like having a character immediately tell me how much he/she hates the world for whatever reason. In other words, tell me your issues on politics, the environment, etc. through your character. That is a real turn off to me."
        - Miriam Hees (editor), Blooming Tree Press

"Perhaps my biggest pet peeve with an opening chapter is when an author features too much exposition - when they go beyond what is necessary for simply 'setting the scene.' I want to feel as if I'm in the hands of a master storyteller, and starting a story with long, flowery, overly-descriptive sentences (kind of like this one) makes the writer seem amateurish and the story contrived. Of course, an equally jarring beginning can be nearly as off-putting, and I hesitate to read on if I'm feeling disoriented by the fifth page. I enjoy when writers can find a good balance between exposition and mystery. Too much accounting always ruins the mystery of a novel, and the unknown is what propels us to read further. It is what keeps me up at night saying 'just one more chapter, then I'll go to sleep.' If everything is explained away in the first chapter; I'm probably putting the book down and going to sleep."
       - Peter Miller, Peter Miller Literary

"1. Squinting into the sunlight with a hangover in a crime novel. Good grief -- been done a million times. 2. A sci-fi novel that spends the first two pages describing the strange landscape. 3. A trite statement ("Get with the program" or "Houston, we have a problem" or "You go girl" or "Earth to Michael" or "Are we all on the same page?"), said by a weenie sales guy, usually in the opening paragraph. 4. A rape scene in a Christian novel, especially in the first chapter. 5. 'Years later, Monica would look back and laugh...' 6. "The [adjective] [adjective] sun rose in the [adjective] [adjective] sky, shedding its [adjective] light across the [adjective] [adjective] [adjective] land."
       - Chip MacGregor, MacGregor Literary

"Here are things I can't stand: Cliché openings in Fantasy can include an opening scene set in a battle (and my peeve is that I don't know any of the characters yet so why should I care about this battle) or with a pastoral scene where the protagonist is gathering herbs (I didn't realize how common this is). Opening chapters where a main protagonist is in the middle of a bodily function (jerking off, vomiting, peeing, or what have you) is usually a firm NO right from the get-go. Gross. Long prologues that often don't have anything to do with the story. So common in Fantasy again. Opening scenes that our all dialogue without any context. I could probably go on..."
       - Kristin Nelson, Nelson Literary

"I recently read a ms when the second line was something like, 'Let me tell you this, Dear Reader...' What do you think of that?"
        - Sheree Bykofsky, Sheree Bykofsky Literary

"I know this may sound obvious, but too much 'telling' vs. 'showing' in the first chapter is a definite warning sign for me – the first chapter should present a compelling scene, not a road map for the rest of the book. The goal is to make the reader curious about your characters, fill their heads with questions that must be answered, not fill them in on exactly where, when, who and how. Don’t ever describe eye color either..."
        - Emily Sylvan Kim, Prospect Agency

"Characters that are moving around doing little things, but essentially nothing. Washing dishes & thinking, staring out the window & thinking, tying shoes, thinking ... Authors often do this to transmit information, but the result is action in a literal sense but no real energy in a narrative sense. The best rule of thumb is always to start the story where the story starts."
        - Dan Lazar, Writers House

"I hate reading purple prose, taking the time to set up-- to describe something so beautifully and that has nothing to do with the actual story. I also hate when an author starts something and then says '(the main character) would find out later.' I hate gratuitous sex and violence anywhere in the manuscript. If it is not crucial to the story then I don't want to see it in there, in any chapters."
        - Cherry Weiner, Cherry Weiner Literary

Agent Advice (Agent Interviews) | Craft and Story Beginnings | Guest Columns

Tuesday, August 05, 2008 2:38:06 PM (Eastern Daylight Time, UTC-04:00)

Comments [19]

Wednesday, June 04, 2008

How I Met One of the '20 Worst Agents'
Posted by Chuck

After every conference I attend and present at, I usually blog about the happenings of the weekend - such as the people I met and the things I saw, etc. If you've read the blog long enough, you'd know I go to a lot of writers' conferences. And the first one I ever attended may have been the wackiest. It's when I met an infamous unscrupulous "agent" who was deemed one of the 20 Worst by Write Beware.

First: The Conference

I'm not gonna go into specifics (names/places), but let me just entertain you for a second...

So I fly to a location in the Midwest and it's my first writers' conference ever. I show up the following morning to a Holiday Inn. I enter the main room and see that the entire audience is comprised of about 9 people. It turns out that the "conference" is actually just a small writers' group. So I'm like "OK, Chuck. Just give your speech and get this done."

After the speech, I start to meet with writers and have those little one-on-one sessions where I just answer any questions a writer may have. Then one of the attendees comes up to me and shows me her self-published book, asking how to market it and get an agent. I look at the cover. It's called "Uncle Jerry and the Bad Touch." NOT A JOKE!! Priceless!!

So I stammer for about 10 seconds, then scratch my head, then clear my throat. "I'm no expert on picture books, but I think this is kind of an odd subject for a book like this," I said.

Second: Meeting One of the "20 Worst"

I get introduced to the only literary agent in attendance. Upon hearing I work for Writer's Digest magazine (I did at that time), she immediately blasts my magazine, saying a recent article was inaccurate, etc. (Whatever!) She introduced herself and quickly brought up that she was on the "20 Worst" list, trying to discredit the list's rationale.

During her speech to the crowd, she revealed why she is one of the most reviled agents in America. She charges her clients an upfront fee of like $3,000! Insane again! When someone asked her about recent sales, she alluded to some private sales to big companies and basically gave no specifics of any kind. This smooth talking was too slick to be unrehearsed.

There was one especially nice tale she told. Expounding on why she charges thousands of bucks upfront, she addressed how a lot of people hate her, and even brought up one occassion where a disgruntled writer sent in a "special" package to her office in the Midwest. This package was rigged to spray dead animal parts and blood all over the office when opened. It was opened, and some assistant got the surprise of her young life, while this agent got a crazy bill from the EPA after clean-up.

How pissed do you have to be to rig a dead animal bomb? Doesn't a sick, elaborate thing like that have to clue this bad agent in on something?

Insane.

Anyway, check out the list of the 20 Worst again just to refresh yourself with those who should be avoided.

Guest Columns | Scams

Wednesday, June 04, 2008 3:50:47 PM (Eastern Daylight Time, UTC-04:00)

Comments [6]

Saturday, April 26, 2008

Barbara Poelle's '10 For 10 Rule'
Posted by Chuck

Agent Barbara Poelle of Irene Goodman Literary is here in Texas with me at the Northeast Texas Writers' Conference. (More on what East Texas is like and the proper protocol with dealing with fire ants later...) This morning, Barbara gave some great advice to the crowd on breaking down the query letter, with plenty of "do" and "don't" information for writers.

Of note was the speech finale: Her "10 for 10 Rule: 10 Questions Writers Should Ask Themselves Regarding Their Query if They Have Received 10 Rejections from Agents."

      1. Are you thoroughly researching the agencies you are sending to?
      2. Does the specific agent you are querying represent your genre?
      3. Does your query have any of the "Don'ts" on it? (I do not have this list of "don'ts" here, but I presume it includes many gimmicky mistakes, such as scented paper, weird fonts, sending pictures of your kids, etc.)
      4. Do you have any spelling or grammatical errors in your chapter selections?
      5. Are there too many competitive titles currently crowding the genre? If the market is flooded with vampire and werewolf romance, for instance, even a good book with the same basic subject matter may never see the light of day.
      6. Could it be called "chick lit" by someone in a meeting? The terrible, sad truth: This alone can kill a book these days.
      7. Is your word count too low? (Below 50K?)
      8. Is your word count too high? (Above 120K?)
      9. Are you straddling too many genres to be appropriately sold into one?
      10. Is this your strongest possible draft of the novel?

Barbara Poelle

Guest Columns | Queries and Synopses and Proposals | Writers' Conferences

Saturday, April 26, 2008 12:44:08 PM (Eastern Daylight Time, UTC-04:00)

Comments [0]

Saturday, April 19, 2008

Anatomy of a Bad Query Letter: When a Good Idea Gets Buried and Good Intentions Go Wrong
Posted by Chuck

Agent Nathan Bransford has his "Anatomy of a Great Query Letter" posts. So, on my blog, for educational purposes only, I present "Anatomy of a Bad Query Letter" (Part 1).

Obviously, I've changed names and places to protect this writer.

Check out the original letter and then I'll dissect it below...

-----------------

Awesome Writer
123 Main St.
Address

Date, Year

Dear Agent,

I am seeking representation to market a collection of my original short stories, entitled XXXX. My goal is publication to a mass audience, not only to English-speaking readers, but globally, to have translations of my work available in several languages.

I hold a Bachelor of Arts degree in Environmental Studies from the University of XXXX. I wrote my first story in January 2006, and I have since begun to also write a body of poetry. My short stories are science-fiction adventures with an ecological angle. Teenagers and young adults comprise my target audience. In a perfect world, I feel I could best get my message across in a television series adapted from the stories. That would be my long-range goal. However, unlike current popular TV programs and films of intergalactic warfare, my work stresses the interconnectedness of all life and the sacredness of Earth’s wilderness.

Publication in New Age and ecological magazines would be a logical first step for me. With the collection of I am submitting here, I welcome your input. What follows here is what I could see as possible back cover endorsements/promotions of the collection:

     - "Awesome Writer’s collection of stories has a more than sufficient number of surprises and compelling plot twists to engage the 12-25 set, with a skillful juxtaposition of science- fiction and spirituality."

     - "XXXX demonstrates the discerning and thoughtful intelligence of an author who personally survived a traumatic childhood event, and then spent nearly ten years as a teen and young adult on a spiritual healing quest. Write rshares this learning and experience in an authentic way, through his delightful characters, both human and alien."

     - "XXXX crosses a frontier familiar to many teen and young adults in the science- fiction/magic adventure genre, but differentiates itself in a message of hope for humanity and the planet, without preaching. The stories evoke the Arthurian legends in their mysticism and magic, but instead of knights, wizards and kings, benevolent aliens team up with humans. These stories could possibly become as loved by the new generation of youth as the film E.T. was thirty years ago."

Thanks in advance for your time and consideration.

Sincerely yours,

Awesome Writer
E-mail: awesomewriter@yahoo.net

----------------

OK, here we go...

I am seeking representation to market a collection of my original short stories, entitled XXXX. I like the straightforward approach to begin, but note how your collection is "titled," not "entitled." My goal is publication to a mass audience, not only to English-speaking readers, but globally, to have translations of my work available in several languages. This is what another blogged called "Thinking Too Far Ahead Syndrome" (TTFAS). Stick to pitching your work.

I hold a Bachelor of Arts degree in Environmental Studies from the University of XXXX. I wrote my first story in January 2006, and I have since begun to also write a body of poetry. Awesome!! Wait - why does this matter? My short stories are science-fiction adventures with an ecological angle. Teenagers and young adults comprise my target audience. Kind of cool. Will voracious YA readers gobble up a short story collection? They just might, but this cool note is not expounded and buried in mistakes. Pity. In a perfect world, I feel I could best get my message across in a television series adapted from the stories. That would be my long-range goal. Way too much TTFAS! However, unlike current popular TV programs and films of intergalactic warfare, my work stresses the interconnectedness of all life and the sacredness of Earth’s wilderness.

Publication in New Age and ecological magazines would be a logical first step for me. Probably - so go do it! With the collection of I am submitting here, I welcome your input. Input as to what? How to begin? An agent wants to sell your work and make money, not give you career advice for free. What follows here is what I could see as possible back cover endorsements/promotions of the collection: This doesn't bode well...

     - "Awesome Writer’s collection of stories has a more than sufficient number of surprises and compelling plot twists to engage the 12-25 set, with a skillful juxtaposition of science- fiction and spirituality."

     - "XXXX demonstrates the discerning and thoughtful intelligence of an author who personally survived a traumatic childhood event, and then spent nearly ten years as a teen and young adult on a spiritual healing quest. Writer shares this learning and experience in an authentic way, through his delightful characters, both human and alien."

     - "XXXX crosses a frontier familiar to many teen and young adults in the science- fiction/magic adventure genre, but differentiates itself in a message of hope for humanity and the planet, without preaching. The stories evoke the Arthurian legends in their mysticism and magic, but instead of knights, wizards and kings, benevolent aliens team up with humans. These stories could possibly become as loved by the new generation of youth as the film E.T. was thirty years ago."

Ohhh-kay. I get the gist. Maybe this is a unique take on the pitch, as you want to "pitch through blurbs," but it doesn't work. Conjuring up fake praise comes off as not only amateurish, but a bit egotistical. Meanwhile, the cool idea of sci-fi short stories for teenagers is never explained well, even to the point where the interconnecting themes are not identified.

Furthermore, agents will usually not pick up a short story collection from a new writer. The best way to get such a collection published is to write novels, gather a readership, and then publish it. If you are an amateur and want to get them sold, I highly suggest getting some awards and honors for a few of them.

Thanks in advance for your time and consideration.

Sincerely yours,

What about just "sincerely"? Isn't that good enough anymore? I've seen "sincerely yours" a lot recently. This sounds kinda flirty ... maybe it's just me.

Guest Columns | Queries and Synopses and Proposals | Short Stories

Saturday, April 19, 2008 9:45:56 PM (Eastern Daylight Time, UTC-04:00)

Comments [7]

Saturday, April 05, 2008

Literary Agent Straight Talk at NCWC - Featuring Rachelle Gardner, Kristin Nelson and Jessica Regel
Posted by Chuck

Three agents were here with me at the Northern Colorado Writers' Conference:

      - Kristen Nelson of Nelson Literary
      - Jessica Regel of Jean V. Naggar Literary
      - Rachelle Gardner of Wordserve Literary

Here's some of what they had to say:

Gardner: In-your-face spiritualism doesn't have to be a part of Christian writing anymore. Today's Christian and inspirational books have subtle faith-based themes such as redemption and soul searching. The stories are still "clean," though, as they lean away from profanity, detailed sex scenes, or gruesome horror stuff.
Regel: The "hook" is crucial for a YA book. Echoing what Michelle Andelman said in March, Jessica confirmed that a book with decent writing (say a B-) can still get published if the hook is awesome enough.
Nelson: When trying to compose the pitch paragraph of a query letter, go to the bookstore beforehand and read the back paragraph on books in your genre. That is essentially what you are aiming to write.
Regel: Bio credits can push you over the hump. Let's say that your pitch is not good or bad but rather just OK. What can push you over the hump and get an agent to request more writing? Bio credits! That is the advantage to starting small and getting short stories and magazine articles published.
Nelson: Don't call your novel Second Chances. Everyone else has the same name. In fact, Google your title to see what comes up.
Regel: She said she is actively looking for both narrative nonfiction and middle grade works. However, concerning middle grade, she brought up some concerns about titles, as well. Her advice is to avoid the standard "Harry Potter and the Sorcerer's Stone" template for a title. For example, stay away from titles like "Timmy Tom and the Friendly Squirrel."
Gardner: Don't explain your whole story in a pitch. Pique the agent's interest and let them request more.
Nelson: She said she is actively looking for fiction that blends literary and commercial elements, such as The 13th Tale and Snow Falling on Cedars.

Check out Kristin Nelson's
Pub Rants blog here.

Want more on this subject?

How to Write a Query Letter.

What Should You Write in the "Bio Paragraph" of a Query Letter.

Why Your Manuscript Can Get Rejected, by Hallie Ephron.

10 Hidden Gifts of Rejection Letters.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Agent Advice (Agent Interviews) | Christian Agents | Guest Columns | Writers' Conferences

Saturday, April 05, 2008 7:24:22 PM (Eastern Standard Time, UTC-05:00)

Comments [1]

Friday, March 07, 2008

Agent Advice: Phil Lang of Reece Halsey North
Posted by Chuck

Agent interview by
blog contributor Robin Mizell:

"Agent Advice" is 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.

This installment features Phil Lang, the newest literary agent at Reece Halsey North in Tiburon, Calif.

GLA: You're a new agent, which can be an advantage to authors seeking representation. Tell us a little about how you got started in the business.

PL: I was attending the MFA Creative Writing Program at the University of San Francisco with Elizabeth Evans, an agent at Reece Halsey North. She had interned for Kimberley Cameron and asked if I'd be interested in reading for them a few times a week. That invitation opened me up to a side of the writing equation that I had never even considered.
I knew on the first day that I had stumbled upon a special situation. You don't find places like Reece Halsey North just anywhere, and you rarely find a mentor as wonderful as Kimberley Cameron. I started going through the submissions as an unpaid intern. Before long, I was asked to look at work from existing clients. One thing you can count on in this business is that there will always be something to read, which to an intern means there will always be opportunities to show your worth.
After some time, Ms. Cameron asked if I saw myself making a career out of this. Absolutely, I told her. She offered me a job, and I took it on the spot. Not many people get the chance in this business right out of graduate school. I know how fortunate I am to be in the position I'm in, and I'm hellbent on making the best of it.

GLA: The Reece Halsey North Web site indicates you're seeking literary and commercial fiction, including mysteries and thrillers, as well as nonfiction in the areas of biography, history, current events, music, and sports. Would you consider any other submissions?

PL: When people ask what genres I'm interested in, my answer is always the same: I'm interested in the great writing genre. I'm not seeking fantasy or YA, but if it—whatever it is—is great, then I'm interested.
There is also another aspect to this question that people often overlook. I seek out the genres listed above because those are the genres where I am most confident in my assessment of talent. Asking me to represent fantasy would be like someone asking me to represent his or her punk band. I would like to think that I could hear some undiscovered Ramones and identify them as a great band, but I'm not in that scene, and I am not familiar with the nuances of quality punk music.
Greatness is apparent to most anyone, but it's the separation of everything that falls below the fantasy equivalent of the Ramones where I would have a hard time distinguishing the very good from the everyday.

GLA: What kinds of credentials do you look for when you receive a query?

PL: It depends on the genre. Fiction and nonfiction are entirely different beasts. Platform plays a big role in nonfiction, whereas I'm much less concerned with that on the fiction side of things. Now, I'm not saying a publication credit in The New Yorker means nothing to me, but there's more leeway in fiction. Thank God.

GLA: How do you prefer to be contacted by writers seeking representation?

PL: E-mail. It's the lifeline of the office. It may take a little while for me to respond, and on rare occasions queries are lost in the junk file, but it's without question the best way for someone to get a hold of me. We've phased out mail submissions in the office, and our response time has been cut in half.

GLA: If a writer submits a promising query that happens to be outside your specific areas of interest, would you pass it along to one of your colleagues at Reece Halsey North?

PL: Of course. I do every day. This is a small office, and the three of us (Kimberley Cameron, Elizabeth Evans, and I) are very tight. We each have a hand in every project that goes out the door, and we all are responsible for every query that lands here. What's good for the agency is good for me. I've heard horror stories of highly competitive agencies, and they always befuddle me.

GLA: How can writers get to know your particular tastes and preferences?

PL: Believe it or not, I labored over writing my bio on our Web site. It's a bit embarrassing, but what the hell. It took me a few days to write that damn paragraph! The reason for that is because I knew it would be the best place for people to get an idea of the writing I seek.

GLA: What's your defining personality trait?

PL: Persistence. I'm about as easygoing as they come, but I quietly go after what I want until I get it. (Is there any way to answer this question without coming off self-indulgent?)

GLA: Good point. It’s not always easy to describe yourself. How would you describe your ideal client?

PL: One whose books sell. I kid, but it's the truth. The ideal client is a person who understands that publishing a book is a collaborative process. This may sound obvious, but publishing a book takes time, many minds, and almost always involves more than a couple rejections. An ideal client, like a veteran ballplayer, never gets too high and never sinks too low. The ideal client knows that we're in this together and no one wants to sell the manuscript more than I do.

GLA: Tell us about your band.

PL: I started Bloomsday Rising with a fellow MFA student a little over a year ago. (What? You didn't think I was going let this prime opportunity for a plug slip away, did you?) It's a no-frills rock ‘n roll band, and it's the most fun I've had since Little League.

GLA: Will you be attending any conferences or events in the future where writers can meet you?

PL: The Santa Barbara Writers Conference (June 23-24); the Willamette Writers Conference in Portland, Ore. (August 1-3); the Book Passage Travel Writers & Photographers Conference in Corte Madera, Calif. (August 14-17); and the North Coast Redwoods Writers’ Conference (TBA).

GLA: Can you tell us about your own writing?

PL: I've spent the last few years working on my novel Home, Approximately. Like everyone and their dog, it's more or less completed, but I'm still making some final adjustments. The basic premise is that a young painter, five miles from a new life in New York City, is called back to the farm when his parents are killed in an accident. He spends the summer tending to his father's crops, stuck in the place and life he's wanted to leave since he was a boy. His greatest inspiration for his paintings is his hometown, Maple Valley, and the images of his father at work. His greatest fear is that he will become his father and never leave Maple Valley. Mix in a love interest, a young priest questioning his faith, and an ominous augur, and you have Home, Approximately.

GLA: To a writer looking for an agent, can you offer any advice about something we haven't discussed?

PL: Above all, remember the following:
      1. You will be rejected.
      2. You will be rejected.
      3. When you're at the stage of catching an agent's eye, your query letter is as important as anything. Polish that baby!
      4. Your first 10 pages hold your fate. Forward momentum is critical. It's not fair, but you have to give an agent a reason to turn the page. Know that you are one of 100 queries he or she will read that day. You don't have the luxury to meander.
      5. Give them exactly what they ask for. If they ask for a one-page synopsis, don't give them a page and a half. If they ask for the submission to be sent as a Microsoft Word attachment, don't send a submission in the body of the e-mail. I know that agents seem like a disgruntled bunch with classic Napoleon complexes, but I assure you that we are diehard fans of writing who want to contribute to the world of books.
      6. Do not call if you haven't heard back from an agent after a week, or even a month. I wish it weren't true, but it takes time to get through submissions. If you haven't heard back in a few months, then drop a polite e-mail, but after that, you have to let it go, which is why...
      7. You should send out simultaneous submissions. There is no reason you should be expected to wait on an agent before you send your work to other agents. It's simply not fair. Do not hesitate to send out submissions to as many agents as possible. What's the worst that could happen? More than one agent is interested in your work. Call me crazy and unethical, but I am willing to bet this is a problem any writer without representation would welcome.
      8. Your writing is worthwhile. Do not listen to the skeptics. They are just jealous because you've found something in this world that you're passionate about.
      9. Oh yeah, you will be rejected.

The Reece Halsey Agency, established in 1957 by Dorris Halsey, represented clients such as Aldous Huxley, William Faulkner, Upton Sinclair, and Henry Miller. In 1993, Kimberley Cameron became a partner in the agency and shortly thereafter founded Reece Halsey North and Reece Halsey Paris. Phil Lang joined Reece Halsey North in 2006 and is actively seeking new clients with “distinct voices and original perspectives.” The agency does not handle screenplays or teleplays. Additional submission guidelines are listed on its Web site.

Agent Advice (Agent Interviews) | Genre Writing | Guest Columns | Queries and Synopses and Proposals

Friday, March 07, 2008 10:19:35 AM (Eastern Standard Time, UTC-05:00)

Comments [1]

Tuesday, January 15, 2008

Some Query Letter Tips: Part 1
Posted by Chuck

Unless you're meeting an agent in person at a writers' conference, a query is your first method of contact with an agent - so it better be good. A query letter, simply put, is a one-page letter that you send to an agent (or editor) that details: 1) What are the details of the work? 2) What is the story? 3) Who are you?

Writing a good query is a crucial step to snagging an agent. With that in mind, here are some Tuesday morning query writing tips for everyone:

Queries are single-spaced. The paragraphs are pushed left and separated by a blank line.
Keep the font simple, such as Arial or Times New Roman.
Always personalize your query. No "Dear Agent" stuff.
Stick to the basics. You don't need to throw in personal information about yourself, such as your age, the writers you admire, or your history as a dirt bike racer.
Always include your contact information. Typically, you can put everything at the top of the page, centered.
Be professional and humble.
Don't promise anything outside your capability. If you write a nonfiction query and throw in tidbits concerning how you will publicize the book, don't mention you can get on MSNBC if you have no means to do so.
Avoid saying "My novel is..."
Don't mention how long it took you to write the novel, or how many other agents you've queried, or that the story takes place in your hometown of Pleasesignme, Ohio.
Always include the basic info early. Here's a sample line: "I think you would be a great literary representative for my completed 90,000-word thriller, Dead Cat Bounce." Notice that, in one simple sentence, I told the agent the title, the word count, the genre, and the fact that it's completed.

Want more on this subject?

How many agents should you query?

How to write a query letter: The 3 parts

Interview with "Query Queen" Wendy Burt-Thomas

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns | Queries and Synopses and Proposals

Tuesday, January 15, 2008 11:08:58 AM (Eastern Standard Time, UTC-05:00)

Comments [2]

Friday, September 21, 2007

How Royalties and Advances Work
Posted by Chuck

If you're going to wheel and deal with agents and editors, you'll end up spending more time than you'd like discussing rights, contracts, advances, royalties and a whole lot of other ~~boring~~ important stuff. That said, I want to address a recent question that came in over e-mail regarding how advances and royalties work. In other words, how does the payment process work when you sell a book?

For this example, I'll keep it real simple (for my own sake and well as yours). Let's say you acquire an agent and sell a novel. The publishing house offers you royalties of $3 per book sold.
It's probable that you'll be given money in advance - more specifically: an advance against royalties. What this means is that they give you a lump sum of money before the book comes out as payment that's yours to keep - say, $60,000. However, the money is not in addition to royalties, but rather part of royalties - meaning they've given you royalties for the first 20,000 books (times $3/book) upfront. Since they've already paid you the royalties of the first 20,000 books, you will not starting actually making $3/book until you sell the copy 20,001.

Think of it like this. When you get hired at a new job, you ask for several months pay upfront and the boss agrees. It's not a separate signing bonus you're getting - it's your hard-earned money paid to you early. You get the lump sum quickly, but then you don't get paid again till the regular checks start months later.

Many things to consider:

Royalties per book vary greatly. If you get $3/book, that's pretty darn good. If you write a typical nonfiction book, you may just get $1/book.
Advances against royalties are a pretty sweet deal. You get a lump sum upfront, which you get to keep even if the book fairs poorly. (Repeat: The advance is yours. Period.) But if the book takes off, you will start getting royalties down the road.
Reality check: Be aware that the money amount promised will hit your bank account as a lot less than expected, as Uncle Sam will take a big cut and your agent takes 15%.
You may run into a "flat fee" situation, where a publishing company pays you one sum of money upfront with no talk of royalties. This is legitimate - just make sure it's what you want.
It's common for a house to break up the advance. They may give you $30,000 when you sign the contract and then $30,000 upon completion of an acceptable manuscript. On this note, make sure you turn in an "acceptable manuscript," so that you get to not only receive the second payment, but also keep the first one, and not have a publisher demand it back.
Read your contract thoroughly. It's all spelled out.

Contracts and Copyrights and Money | Guest Columns

Friday, September 21, 2007 3:25:38 PM (Eastern Daylight Time, UTC-04:00)

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Friday, August 24, 2007

Why Your Manuscript Can Get Rejected (Part 2)
Posted by Chuck

Keep in mind that the panelists were discussing why a manuscript will be rejected, not a novel synopsis or query letter. They were talking about problems within the writing.

Panelist No. 2: Donna Bagdasarian

Agent at Maria Carvainis Agency, Inc.
Formerly at William Morris
http://www.authorsontheweb.com/features/0105-literary-agent/carvainis.asp

Donna's top reasons why your manuscript can be rejected:

1. Problems with basic writing skills—grammar, syntax, defining who the protagonist is. To be successful, aspiring writers must learn how to write—well.

2. Bad dialogue. Write like people speak.

4. Not having the protagonist involved in the climax.

5. Spending too much time at the beginning of a story on a character who seems to be the protagonist, but isn't.

6. Supplanting quality for a gimmick. Take a moment and examine certain gimmicks, such as the following:
- Writing in the second person

      - Having many points of view
      - Having your book be very, very dark in nature
      - Having scenes in a backwards order

- Hopscotch (where you can jump around anywhere and the story still makes sense)

8. Know how much is too much. If you can cut a scene and the story still works, you must cut it. Ask of the scene: "Why is it here? What does it do to further the plot?"

9. Purple prose—writing where the reader is conscious that these are the author’s thoughts, not the character's. This is prose where the language is excessively flowery and/or lyrical.

Agent Advice (Agent Interviews) | Craft and Story Beginnings | Guest Columns | Writers' Conferences

Friday, August 24, 2007 4:19:57 PM (Eastern Daylight Time, UTC-04:00)

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Thursday, August 23, 2007

Reasons Why Your Manuscript Can Get Rejected (Part 1)
Posted by Chuck

Keep in mind that the panelists were discussing why a manuscript will be rejected, not a novel synopsis or query letter. They were talking about problems within the writing.

Panelist No. 1: Hallie Ephron

Author of several mystery novels
Book reviewer for the Boston Globe
Author: Writing and Selling Your Mystery Novel (WD Books)
www.hallieephron.com

Hallie's top reasons why your manuscript can be rejected:

2. Predictability—using the same plot as others. For example, a cliche mystery plot opening hook is this: A P.I. picks up his office phone and his ex-wife is on the line. She's in trouble, but can’t say why. They agree to meet later at a bar or parking lot, but she never shows because she’s been murdered.
"I want twists. Surprise me in the first chapter and I'll keep reading."

3. Too many killers. A recent manuscript she read revealed six people were actually complicit in the book's murder. It’s convoluted, confusing, and shows that the author had to pull six rabbits out of a hat at the end to wow us. This problem is likely because of earlier problems in Act II—a.k.a "the muddy middle."

4. Point of view that’s out of control. If you’re in a character’s head, stay there until the scene is over.

5. Prologues that don’t work—where writers have a boring opening, so they simply pluck out an exciting scene from the middle, put it at the beginning, and call it the prologue.

6. A plot with no spine. When the scenes seem to jump around—you’re here, you’re there, now you’re there—the book has no backbone. "You have to get me to care about the main plot for me to keep reading."

7. Getting stuck to an outline. "Don’t let your plot trap your characters." If you write an outline and, in the middle of the story, the protagonist is supposed to run into a burning building, that’s fine. But as you begin the flesh out your protagonist and write the book, you may craft a character who wouldn’t realistically run into a burning building—perhaps he’s too smart, or too cowardly or whatever.

Her final tips: "Surprise me. Make me laugh. Make me care about your characters. Don’t let the frustration get you down. We all go through the 'It’s a piece of sh*t' stage."

Craft and Story Beginnings | Guest Columns | Writers' Conferences

Thursday, August 23, 2007 10:22:57 AM (Eastern Daylight Time, UTC-04:00)

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Wednesday, July 25, 2007

Concerning Literary Agents and Self-Publishing: Part 2
Posted by Chuck

Note: This is an ongoing series about both self-publishing and literary agents. See the first post here.

This past weekend at a writers' conference, I heard a lot of good information from fellow presenters regarding why many books are self-published, as well as the realities about how self-published books that tell a writer's personal story almost never get picked up by big houses.

Both writer Bob Mayer and literary agent Chip MacGregor said that writers' first books are often about their personal stories. Many people draw upon unusual or "rough" aspects of their life: their father was a traveling inventor, they have a loveless marriage, they were abused as children, they dealt with a parent who was addicted to drugs, they went to 16 different schools as a child because their mother was paranoid of alien abductors, etc. These writers then take their personal stories and make them into books—either nonfiction accounts of their life, or as novels, with the characters based on real people.

The problem with these stories is: There are way too many of them. It's not to say that your story doesn't matter and isn't tremendous, it's just that there are too many personal stories out there for yours to stand out. I know that, to you the writer, it's demoralizing to think that your life story is one of countless others flooding the self-published book pool. Writers believe their story will be of interest to many; that's why they self-publish. The feeling is, as Jack said in Sideways: "Publish it yourself. Just get it out there; get it reviewed. Let the public decide." But the reality is that almost no publications review self-published books. There are just too many. Following the book's printing, writers may try to get an agent to take on representing the book and selling it to a large publisher. This is a difficult task.

First of all, remember that many, many people self-publish their personal stories—so the world is full of such books. Also, it makes little difference to an agent whether your story is told through so-so writing versus those that are told through good writing. The reason: "Personal story is dead," says MacGregor.

According to MacGregor, the best (only?) way to deal with a powerful personal story book is through BOR sales—"back of the room" sales. If you have the opportunity to speak to various groups of people and give a presentation that relates to your personal story, you can sell your books at such events. "The fact is, it probably works better as a self-published book that's sold 'BOR' than it is at a regular royalty publisher, because without you there, the book won't sell," MacGregor says. "They are buying you and a piece of you, and consequently, those books are better self-published."

If you're writing a book about (or based on) your personal story, ask yourself: Who is the target audience? Friends and family? College students? Can you reach the target audience yourself? If you can, you're in business. If you can't, and your goal is to get it reviewed (and noticed!), then you're fighting a tough battle. Very, very few self-published books are picked up by agents because very, very few self-published books will sell well in the general market.

Agree? Disagree?

Guest Columns | Self-Publishing and Agents

Wednesday, July 25, 2007 1:32:06 PM (Eastern Daylight Time, UTC-04:00)

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Monday, July 23, 2007

Words of Wisdom: Author Bob Mayer
Posted by Chuck

Searching for some fiction writing advice? Look no further than Bob Mayer, a man with many accomplishments. Mayer has written more than 35 novels, has been on just about every bestseller list out there, and is now with his fourth literary agent.

He presented at the HAWC this past weekend; here are some of his precious nuggets of wisdom for fiction writers:

If you're writing genre material, it's probably best to "frontload" the work, meaning you can outline heavily before delving into the work.
Don't start your query letter with "I've just written a novel..." The agent realizes this.
Know the difference between lecturing the reader and entertaining. "As fiction writers, we are entertainers," he says.
Writers often don't sell their first novel because the story is about the writer's life and problems. "First novels tend to be blood-lettings," he says, "and they're focused on you, not the reader."
Agents look for solid characters in fiction work. To demonstrate this point, Mayer brought up the TV show, "The Closer," which is essentially just one of countless cop shows, but succeeds because of great characters.
The protagonist must be reluctant to get involved. They should also be likeable and interesting, but also different and flawed.
Give your work high stakes. What will happen if the protagonist fails?

Bob Mayer (right) speaking with
an attendee at the HAWC.

Want more on this subject?

How royalties and advances (money) work.

Don't put all your eggs in one basket with just one book.

You have a contract but no literary agent - what to do.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Craft and Story Beginnings | Guest Columns

Monday, July 23, 2007 12:44:34 PM (Eastern Daylight Time, UTC-04:00)

Comments [1]

One Story? You Need 5 Versions
Posted by Chuck

I've seen a lot of novel synopses recently, and thought I should post some information on how writers need many versions of their one tale.

OK, so you've written a novel and had it edited by peers or a professional. Now you need a literary agent. Along the road to an agent, you'll constantly be asked for shorter versions of your story. Here are five versions of your work that you should have on hand.

1. The pitch line: This is a one-sentence pitch of your work. (In films, this is called a "log line.") Example: A treasure hunter travels to the Himalayas to find a fabled artifact. Writers can put this pitch line at the beginning of their full synopsis, so agents immediately get the gist.

2. The pitch: This is a one- to two-paragraph explanation of your manuscript. You will include the pitch on your query letter to agents, and you'll essentially say the pitch out loud when talking with agents in person. The pitch is commonly called "an elevator pitch," because you must keep it short enough so that an agent can hear your idea while traveling in an elevator. Appropriate length: 3 to 6 sentences.

3. The synopsis: A long description of what happens in the book (i.e., a summary). I will post more on writing a synopsis soon. For now, know that synopses are usually 2-12 pages in length and introduce all the major characters, as well as their backgrounds and motivations. The average synopsis should be double-spaced and approximately 6-7 pages.

4. The short synopsis: All agents have their specific requests for what they like to see in a submission. Some agents will request a 1-page or 2-page synopsis. Now your challenge lies in taking your long synopsis and cutting it down as much as possible—just in case an overly particular agent wants a super-short plot summary of your work.

5. The full manuscript: Naturally!

Guest Columns | Queries and Synopses and Proposals | Synopsis Writing

Monday, July 23, 2007 11:31:41 AM (Eastern Daylight Time, UTC-04:00)

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Wednesday, July 18, 2007

Defining Book Proposals, Outlines and Synopses
Posted by Chuck

Q: When submitting to agents, 1) Do sample chapters need to be consecutive or should they be random? 2) What is a proposal package? 3) Why send a synopsis and bio since both are in the query letter?
- Randy L.

A: Sample chapters do not have to be sequential unless you want them to be or the agent requests this. In fact, some agents will specifically ask for your book's first chapter, a chapter from the middle of the book, and then the last chapter. They do this to see if your writing quality is consistent throughout the first, second and third acts. Bottom line: It's up to you.

A proposal package (or a "proposal/outline") is a full book proposal—sent in place of a nonfiction manuscript. If you want to write a nonfiction book, you don't have to write the manuscript before querying an agent. (Seriously.)
A novel is sold on the quality of the writing, which is why the entire book has to be completed and polished before querying an agent. Nonfiction books, on the other hand, are usually sold on 1) the book's concept/idea, 2) its place in the market, and 3) the author's platform and promotional abilities. With that in mind, a nonfiction book does not need to be complete when you pitch the idea.
What's sent in place of the manuscript is a book proposal, which essentially details what the book is, why it should be written, how it will be structured, and all the means the author has to reach prospective markets/audiences. Proposals can be lengthy (say, 20-25 pages on average) and they are difficult to write, but plenty of resources exist to help you through them. The new 2008 GLA has an article on writing a proposal; also check out Bulletproof Book Proposals by Pam Brodowsky and Eric Neuhaus.

      Next, and very importantly: A synopsis is not a pitch. In your query letter, you will have 1-2 paragraphs to summarize your story for the agent. This is called "a pitch."
      A "synopsis" is a long, detailed explanation of what happens in a novel. They are anywhere from 2-12 pages usually. The synopsis allows you to take the agent/editor through the story from beginning to end, introducing all the major characters, their backgrounds and motivations, as well as the twists and turns. The ending is fully revealed and all is laid out on the table. The synopsis immediately lets an agent know what the entire story is, who the characters are, and how it ends. If that gets them intrigued, your writing will have to carry you past the finish line.
      Synopses have very specific formats, so make sure you read up on them before writing one. (In the near future, I'll post much more on how to write a book synopsis. I'm critiquing several now.)

Lastly, the bio. Although you will have some space on the query letter to write a bio, you will likely need to have a separate section within the book proposal called "About the Author," where you detail who you are, your accomplishments, and your credentials that allow you to be the best author to propose this book. For example, in the query, you may mention that you're an "award-winning short story writer." In the true "bio," you will list all your short story accolades—the publications names, the dates, the specific stories, and the exact awards.

Bulletproof Book Proposals

Guest Columns | Queries and Synopses and Proposals | Synopsis Writing

Wednesday, July 18, 2007 2:18:24 PM (Eastern Daylight Time, UTC-04:00)

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Monday, July 09, 2007

Identify the Literary Agent of Any Book
Posted by Chuck

If you want to know who agented a particular book, there are a variety of ways how to discover the individual literary rep who made the deal. Here are three ideas for starters:

1. Simply check the book's acknowledgements. Sometimes, it will be as simple as a writer saying, "And a special thanks to my agent, Randy Masterson."

Want more on this subject?

How royalties and advances (money) work.

Don't put all your eggs in one basket with just one book.

You have a contract but no literary agent - what to do.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Guest Columns

Monday, July 09, 2007 11:28:01 AM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Thursday, July 05, 2007

Keep it Secret. Keep It Safe
Posted by Chuck

In a recent conversation with a writer, we were discussing the Internet, and the writer mentioned how he was posting some of his unpublished book manuscript online for people to read. This was not the first time I'd talked to a writer who had this idea.

Though something like this may seem like a good plan—especially if you're actively looking for advice and/or feedback—posting material from an unpublished book on the Internet is a big no-no if you still want to sell the book.

First of all, as detailed in a previous post on copyrights, you're inviting other writers to steal your idea. Secondly, posting material online makes it less valuable to publishers, and therefore, less attractive to agents. Material that's available online for free is less probable to sell, hence agents' hesitancy taking on such projects.

Perhaps your goal is to put good material online in the hopes that someone such as an agent or editor will come across the site and contact you. Unfortunately, the odds of this are very, very low. If you really are looking to get your work noticed by agents without going through the traditional submission process, my best advice is to get short stories published in prominent journals, or get your nonfiction articles published in prominent magazines. Agents read those publications, and they sometimes contact writers out of the blue and say something along the lines of, "I enjoyed your article in Prominent Magazine. Do you have representation? Have you ever considered writing a book-length manuscript?"

And that's when you say, "Well ... funny you mention it, because..."

Contracts and Copyrights and Money | Guest Columns

Thursday, July 05, 2007 10:52:22 AM (Eastern Daylight Time, UTC-04:00)

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Friday, June 29, 2007

Concerning Literary Agents and Self-Publishing: Part 1
Posted by Chuck

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...

Guest Columns | Self-Publishing and Agents

Friday, June 29, 2007 3:14:32 PM (Eastern Daylight Time, UTC-04:00)

Comments [5]

Thursday, June 14, 2007

How to Start a Writing Group
Posted by Chuck

Before you query an agent with that book you've spent so much time writing, it needs an edit. And then some rewriting. And some revisions. Then another edit. Maybe a polishing too...

Since you only have one chance to make a great first impression with an agent, make sure your submission is perfect, or as close to perfect as you can get it. To ensure your submission is ready, others will have to critique it. Concerning these "others," writers have two options:

You can spend the money and hire a freelance editor. There are plenty of editors in the world who will critique your manuscript for a certain amount of money per page reviewed. Good editors will provide you with good work, but they'll also charge you an arm and a leg - $3 or $4 per page, depending on the individual. This is a dangerous area for writers because scammers pretending to be professional editors prey on new scribes. If you take this route, get a personal referral from a friend. If you see an editor you'd like to hire, request their credentials and ask if they will do a sample critique (three to five pages of your work) for free, so you can gauge how they operate.

Or, you can join a writing group. If such a group doesn't exist in your hometown, you may have to start it from scratch - something that's in no way simple. Luckily for us, Sally Richards can give some good tips to get the ball rolling. Sally, a former contributor to Writer’s Digest, and all-around successful author, talked with Guide to Literary Agents at BookExpo America. She recently moved to a suburb of San Diego and had an “interesting” experience trying to form a writing group where one did not currently exist. Here are some important points she passed on to GLA:

Qualify the writers. Make sure they're peers capable of reviewing your work and providing solid feedback.
Call it a "writing group," rather than a "writers’ group." Do this so people see writing as what it is: a verb. After all, anyone can declare that they're a writer then just show up to schmooze about movies while drinking coffee.
Aim for 4-5 members, no more. Ask for a 10-page sample of a person's writing for consideration before making a decision about them.
If you seek out group members on Craig's List, be prepared to deal with crazy stalkers.
Get a new e-mail address to use specifically for dealing with potential members.
Utilize Media Bistro and Meetup.com to find members.
Build the group with chemistry in mind. Also, look for people who will work hard. If group members are writing 4,000-5,000 words per week, that’s a lot of time spent editing other people’s work.
Make sure that group members are not only passionate about succeeding, but also passionate about seeing fellow members succeed.

Sally Richards has authored several books, ghostwritten numerous others and taught university-level courses. Learn more about her at www.sallyrichards.com.

Guest Columns

Thursday, June 14, 2007 10:23:16 AM (Eastern Daylight Time, UTC-04:00)

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