Jessica Sinsheimer

GLA: How did you become an agent?

JS: I was lucky. My college roommate had an internship at a large agency in New York and, when she finished, got me an interview. At the time, I was fresh from small-town California—there were literally sheep across from my high school—and had no idea what an agent was. But I arrived, loved it (who wouldn’t love reading and talking to writers and editors all day?), and kept on. The same friend got me another internship at a small publishing house, and when I graduated, I was hired with my current company.

GLA: Tell us a little about yourself – what are your interests?  Your hobbies?

JS: In addition to the usual publishing-type interests (bookbinding, quill pens, wax seals, old books), I enjoy hiking, kayaking, traveling, browsing for heirloom produce at the farmer’s market, making homemade pasta, throwing dinner parties, undertaking unusual arts and crafts projects, keeping up handwritten correspondence, digital photography and exploring the city. In the next year, I’d like to study a new language, find a karate studio, and get involved with an environmental organization.

GLA: What draws you to literary fiction?  Why the love for that category?

JS: I’ve loved literary fiction since a very young age, and I love when manuscripts come across my desk that make me sit up after a brilliant sentence and pause to savor the image—to think, Yes, this is why I love books. 
      I’ve just finished Robert Goolrick’s A Reliable Wife, which is an excellent example—because the writing is so beautiful, the book transcends the subject matter. If you can write a book that’s officially about one thing but really, actually, about so much more, I will bother everyone in the office until they read it (“How about a cup of tea and this manuscript? How about right now?”) and then, as they read and laugh if it’s funny and make appreciative sounds, and we get that incredible We’ve found something really special glow, I can’t imagine doing anything else. I always love my job, but especially in those moments.

GLA: Concerning the “edgy young adult” fiction you seek, can this be any genre?  Can you help writers understand more about what you do and don’t want to see in YA submissions?

JS: Yes, of course—there’s a freedom to this work because it’s for readers who haven’t yet settled into the rational, routine, this-is-possible-and-this-isn’t adult mindset. With that in mind, I’m happy to see YA works of any subgenre. Young Adult can be more tender -more emotionally raw, and messy, and thus truer to life than works for adults.
      That said, my personal preference is for YA that would be of interest to young women. We’re primarily looking for YA crossover—works that are multilayered so that they are interesting to adult readers as well. My favorite manuscripts include but also deal with larger concepts than shopping/romance/school issues: they examine the emotional nuances of this life stage, with writing that is beautiful but accessible to young adults.

GLA: When reading a YA partial, what are the 1-3 most common reasons you stop?  Where are people going wrong?

JS: Once we’ve determined that the writing is strong enough, it’s usually a question of plot (we receive many works that are derivative or otherwise unoriginal) or voice. As we know from the young adults in our lives, anything that sounds even vaguely parental will not be well-received. And there’s nothing worse than narration that reads like a text message from a grandmother. 
      In the past month, I’ve received twenty-nine YA partials. Looking back on my notes, I see that I rejected eight for writing, seven for voice, six for derivative or unoriginal plots, four because they were inappropriate for the age group, and two that simply weren’t a good fit for the agency but may find a home elsewhere. Then there were two I liked and passed them on to others in my office. 
      Also, I think a lot of writers, seeing the success of Twilight, have tried to force their manuscripts into this genre. I know you’ve heard it before, but it’s so true: write what you are meant to write—don’t write what you think will sell.

GLA: According to your BEA bio, literary and edgy YA is the only fiction you are looking for.  Is that still so?

JS: Not at all! I’d especially love to see women’s fiction, literary fiction, food memoirs, travel memoirs, Parenting, Psychology, and cookbooks. Naturally, many works are some combination of the above. I also have a lot of respect for writing of the Aimee Bender/Amy Hempel variety, but know this is hard to find in full-length form. If the writing was extraordinary, I’d consider anything—though violent works about alien wars would, admittedly, have an uphill battle.

GLA: You seek a few nonfiction subjects.  When you start reading a query letter for a nonfiction book, what do you immediately look for in the letter?

JS: I always look for a strong narrative element. Nonfiction isn’t just about facts; it’s about the narrator—usually the writer—discovering the subject matter, how it relates to others, and what it means for the reader. Platform is, of course, necessary for some nonfiction, but it isn’t the first thing I notice. I’d say first writing, then narration, then professional background.

GLA: Will you be at any upcoming writers’ conferences where people can meet and pitch you?

JS: Absolutely. In the past six months, I’ve taught workshops, presented on panels, and done author-agent speed-dating, which I love. I’ll be at the Writer’s Digest conference in September and expect to travel more throughout fall and winter. See my blog for updates: http://agencygatekeeper.blogspot.com/

GLA: What’s the best way to submit to you?  Just a query?  Something else?

JS: A query is best—preferably via e-mail—to Submissions@SarahJaneFreymann.com. I won’t object to a few sample pages (attach them as a Word document, please): I know that writing queries is a skill separate from writing manuscripts.

GLA: I know this may be a tough question, but what are your thoughts on the future of publishing?  What can you tell writers?

JS: We need to remember that many of the major publishing houses predate the Great Depression. Yes, there have been scary moments, and the industry is changing. But I don’t think it will be technology that brings on this change. I’m with Nicholson Baker (in this week’s New Yorker): though ridiculously convenient, the Kindle can turn otherwise extraordinary content, like the New York Times, into something the resembles a blog. A reliable blog, but a blog. I think great writing deserves more than that.

GLA: Best piece(s) of advice we haven’t discovered?

JS: Keep in mind that we are not looking for, and representing, every work that is devoid of flaws—we’re looking for the work we fall in love with.
      Ensure that the first line of your pitch proves that you’ve done your research: I spent six months gathering data on why I reject authors (there’s a pie chart on my blog), and the number one reason is a lack of research into agents. It’s not necessarily genre, here, but fit: a certain feel that makes a work compatible with that agent’s sensibilities. I immediately have more respect for authors who have done their homework. Use the books available and your intuition.
      Your pitch letter may change your writing life forever. Do not simply cut and paste, and certainly do not BCC. Tailor each one. Say something like, “I see that you represented [name of book]; I liked X, Y and Z about it” or “I loved what you said at [conference name]” or “I see you like [name of TV show]—my work is similar.” Vary your sentence structure, use strong verbs and advanced punctuation—and do so correctly. Prove with your writing that you love the language. 
      Be cordial: we’re considering a long-term working relationship. The best writers are often the kindest. Don’t be impatient, but follow up graciously if you’re not sure we received your work. 
      I wish I could take authors into the office—a sort of field trip, with free coffee and souvenir letter openers—so that you could see the kind of consideration we give everyone’s work. We read every query carefully, we discuss many of them, we consider a million factors that have nothing to do with whether or not you have what it takes to be a writer. Sometimes we have something too similar to your work; sometimes we just don’t feel we’re the very best agency, of the many, many agents out there, to champion this project.  Have faith that we do this out of love of writing, and take our responsibility toward the future of books very seriously. We’re here not just to sell your work, but to make it—and you, as an author—all that you can be.

Want more on this subject?

• Previously, I interviewed another agent at Sarah Jane Freymann Literary: Katharine Sands.  See her interview on the blog here.
  
• If you're interested in meeting Jessica in person, she will be at our writing conference in New York, Sept. 18-20.  Learn more here.
  
• 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 2011 Guide to Literary Agents today!

"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.