Guide to Literary Agents

Principles, Not Rules!

2008-05-07T10:27:00.7787500-04:00

Remember the movie Adaptation? (Second mention of that movie in a week! I know!) There is a scene where two brothers are sitting around, talking about the craft and business of screenwriting. One brother is discussing screenwriting workshops he recently attended and singing their praises. The other brother warns against workshops and instructors, saying that anyone who says they possess all the rules of writing is lying, because "there are no rules."
       The first brother counters, "Not rules, Charles. Principles. A rules says 'you must do it this way.' A principle says 'this way works, and has worked since the beginning of time.'"

Well that's what you have to keep in mind when reading my blog or others like mine. I, for one, speak in terms of principles, not rules. The thing is: Since there truly are no rules of writing, you can probably find a contradicting opinion to a lot of writing instruction, mine or others. You can't get every agent to agree on anything.

At past writers' conferences, I've heard agents say things such as:

1. "Oh, I will open unsolicited e-mail attachments."
       Sending them is generally a big no-no.

And the mind-blowing:

2. "I wouldn't say you have to have the whole novel finished before querying."
       Are you kidding? Can't we agree on anything???

Agents all have their little weird quirks that go against general principle. Some wants things this way. Others like to see this and that. You just have to look for these weird quirks in their submission instructions.
       I am not an agent. I don't factor in a single agent's strange likes and weird quirks. I speak to you from having interviewed and met many, many agents and hearing their general advice and instructions for submitting. Just keep that in mind...

"Wow them in the end, and you've got a hit."

Agent Advice: Paul S. Levine of Paul S. Levine Literary

2008-05-06T14:55:02.7310000-04:00

"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 Paul S. Levine of the Paul S. Levine Literary Agency. Paul has 27 years experience as a lawyer and has helmed his agency since 1996.

Paul S. Levine

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

PL: I just sold a fantasy book—it’s the first fantasy book I’ve ever sold. It’s by an author named Steve Savile, who is a British author living in Stockholm, Sweden, and I sold it to a brand new start-up publisher called Variance Publishing.

GLA: If you don’t usually rep fantasy novels, how did this one fall in your lap?

PL: Steve was referred by another client. It just goes to show you once again that the best way to get an agent is th rough a referral.

GLA: When you go through the slush pile, what are you looking for but not getting?

PL: A professionally written query with something I can sell. In nonfiction, I’m looking for self-help and how-to books with authors who have a so-called "platform"—people who are experts in their field, who can get out and promote and publicize and sell their book. For fiction, I’m looking for commercial, salable mysteries, thrillers and chick lit, among other things.

GLA: You once told me that you’d like an emotional connection to a book, but more so, you are looking for projects and novels you can sell. How long does it take you to size up a book proposal and judge whether you’re interested?

PL: Two minutes. After I look at the overview, I flip to the most important sections: the “Marketing” section and the “About the Author” section. I can size up a query letter in three seconds.

GLA: 75% of your clients are new and unpublished. That’s high for an experienced agent. Are you plucking people from the crowd and getting them to write good books?

PL: I represent new and upcoming authors who I hope will become the next Stephen King. We’re all looking for that author who will break out of the pack and become a bestseller. I like to take on beginning writers who have potential. Obviously, my agency is not an ICM (International Creative Management), so I can’t attract writers who have 10 or 15 books published.

GLA: You bridge gaps between a lot of areas in the literary world. You rep fiction, nonfiction and some movie rights. You’re also a lawyer. How does having your toe in all of these pools help you excel at what you do?

PL: I started off as a lawyer representin g a large book publisher here on the west coast, so I know the kinds of tricks that publishers try to play when they issue their contracts. When a client signs with me, they get a 2 for 1. In addition to selling their work, I will also look over their contracts.

GLA: Do you also represent TV writers and screenwriters?

PL: No. I don’t represent screenplays. I only deal with the movie and TV rights for literary projects I’ve sold. I have rarely, if ever, been able to sell a project to a Hollywood producer or studio without a publishing contract first.

GLA: Talk to us about the process of “vetting” a manuscript. How does that work and when does a manuscript need someone like you to vet it?

PL: Vetting is when you look for libelous content – something that is a false statement of act that tends to lower one’s reputation in the eyes of the relevant community. That’s the legal definition. I look for anything that would remotely defame or libel a thir d party.
        When I vet a true crime book or some other supposedly true story, such as a memoir, I’m looking for backup for anything that the author says that may be libelous or slanderous. There has to be some independent corroboration of what’s being alleged. For example, if a memoir accuses somebody of committing a murder, but person was never convicted of murder, then that’s a problem. A complete defense to libel is truth.

GLA: Speaking of memoirs, what is the current market for selling them?

PL: After James Frey, memoirs are really, really tough to sell. Publishers are shying away from anything even remotely controversial. Unless you’re Lindsay Lohan or somebody like that, I’m not taking on your memoir.

GLA: What are some basic tips and info on copyright you think all writers should know?

PL: Register your work for copyright the moment you’re starting to circulate your work to potential agents and publishing houses. Register each substantial revision to the work. If you make minor changes, those don’t warrant a new copyright, but if you make some major revisions, then you should register the revised work. Spend the $45 and download the form “TX” from the copyright office web page. Register your work as soon as it’s finished, so that’s it’s registered prior to the date it’s ripped off. An ounce of prevention is worth a pound of cure.
        In the nonfiction area, registering the book proposal with the copyright office is basically useless. What a copyright protects is not the ideas, but the words themselves – the expression of the idea. A copyright for a proposal is not appropriate.
        By the way, the most fun an author will ever have is to fly to Washington, D.C., go to the Library of Congress and check his or her book out, because the Library of Congr ess is just that – a library.

GLA: You have an online submission form – is that the best way to query?

PL: That’s a good way, sure. But I also take e-mail and snail mail queries. I’m also open to carrier pigeons and strip-o-grams, but no writer has yet to query me like that.

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

PL: I’ll be at the Writer’s Digest Books Writers’ Conference in Los Angeles (May 28), the Santa Barbara Writers’ Conference (June 21-26), the Great American Pitchfest (June 20-22), and the Cuesta College Writers Conference.
        This summer, I’ll also be teaching classes as part of the UCLA extension and writers program. Starting June 7, I’ll be teaching “Fiction and Nonfiction Writers’ Essential Guide to the Legal and Business Aspects of Getting Published.” On Aug. 9, I’ll start “Filmwriters and TV Writers’ Essential Guide to the Legal and Business Aspects of Getting Published.”

GLA: Best advice on something we haven’t discussed?

PL: Keep plugging away.

No More Excuses: Find a Writers' Conference Near You

2008-05-05T15:30:39.8720000-04:00

I know how important writers conferences are to writers. They energize us, allow us to network, and give us the chance to meet agents face to face and increase the chances of snagging one exponentially.

That's why I have listed about two dozen conferences below. I have tried to find at least conference for every state that's either smallish in size or population, so people can no longer use the excuse, "Well I would but there's none around here." The only state without a conference is South Dakota. Note: Not all states are listed here, because plenty of states have multiple conferences and finding them should be no problem.

Here you go:

Alabama: Writing Today, Birmingham, AL
Alaska: Alaska Writers Guild Speculative Fiction Conference, Anchorage, AK
Arkansas: Ozark Creative Writers Conference, Eureka Springs, AR; Arkansas Writers Conference (PDF), Little Rock, AR
Connecticut: Wesleyan Writers' Conference, Middletown, CT
DC: Washington Writers' Conference, Washington, DC
Delaware: Writers at the Beach: Seaglass Writers' Conference, Rehoboth Beach, DE
Hawaii: Maui Writers Conference, Honolulu, HI
Idaho: Idaho Writers League Writers' Conference, location varies; Sun Valley Writers Conference, Sun Valley, ID
Indiana: Midwest Writers Workshop, Muncie, IN
Kansas:Kansas Writers' Association's Scene of the Crime Conference, Wichita, KS
Kentucky: Kentucky Christian Writers' Conference, Elizabethtown, KY; Kentucky Women Writers' Conference, Lexington, KY
Louisiana: Words & Music, New Orleans, LA
Maine: Writers' Conference at Ocean Park, Ocean Park, ME
Mississippi: Mississippi Writers Guild Writers Conference, Vicksburg, MS
Montana: Flathead River Writers Conference, Whitefish, MT
Nebraska: Nebraska Summer Writers' Conference, Lincoln, NE
Nevada: Las Vegas Writers' Conference, Henderson, NV
New Hampshire: Keene State College Writers Conference, Keene, NH; Seacoast Writers Association Conference, Chester, NH
North Dakota: University of North Dakota Writers' Conference, Grand Forks, ND
Ohio: Columbus Writers' Conference, Columbus, OH; Northwest Ohio Writers Conference, Toledo, OH; Cleveland Rocks Romance Writing Contest, Strongsville, OH
Oklahoma: Oklahoma Writers Federation Annual Conference, Midwest City, OK
Rhode Island: Northeastern Writers' Conference, Bristol, RI
South Dakota: None!
Utah: BYU Writing and Illustrating For Young Readers Workshop, Provo, UT
West Virginia: West Virginia Writers Spring Conference, Ripley, WV; West Virginia Writers Workshop, Huntington, WV
Wyoming: Jackson Hole Writers Conference, Jackson, WY

By the way, there are several conferences in Canada, as well. I've also found international conference (with English-speaking presenters) in Paris, Italy, Geneva and Tokyo. Note that cities (locations) can change year to year. For example, the Pennwriters Conference (PA) has its conference each year in a different city around the Keystone State.

How Many Words Constitute Plagarism? I Want to Know What You Were Taught in High School.

2008-05-05T14:04:42.3560000-04:00

So I just blogged a little about what constitutes "fair use" and how it's all debatable. On this note, I want to talk about plagarism. Now I'm not really interested about talking about the law, per say, but rather what you were taught.

In high school, I had a strict English teacher who said anything up to and beyond "three distinct words" was plagarism. Now that didn't include proper nouns and such. So "the United States of America" only counted as one distinct word. But you couldn't lift the words "(1)detrimental to the (2)country's (3)future" from a source without a direct quote. Now, granted, even if you took the gist of the material and reworded it, you still had to attribute it with an endnote, but we're talking quotes, not endnotes.

When I got to college, it would be junior year before I heard any teacher address how many words you could get away with, but I was very surprised to hear my prof say "10 words." Whaaaat? 10 words? Heaven!!!

So ignore the law for now. Just let me know what you were taught back in the day. How many words could you use in sequence before you had to quote?

Mrs. Walker, my high school English teacher
(who is still teaching today at my school).
I was quite the troublemaker and
would often test her nerves.

Literary Definitions: Vol. 6

2008-05-05T13:49:04.6068750-04:00

Ever come across a publishing term and wasn't sure what it meant? (Who hasn't?)

The Buried Editor and I are
pairing up to start a series to
help define some oft-used
terms in the publishing world.
Here's Volume Six:

Attribution (Levels)
       On the record - When everything in an interview is fair game to be printed and attributed normally. This accounts for 99.9% of interviewing for most writers.
       Off the record - When a source explains something not for publication by any means, but just as a personal explaination to the interviewer. To be truly off the record, both the source and writer must agree to it. If a source simply says "Off the record" and gives their thoughts without the writer agreeing to stop reporting, then the conversation is not truly off the record, and the writer must determine whether to use the material.
       Unattributable - This is the current term for when you quote a source but keep their identity anonymous.
       On background - What's said cannot be quoted nor can the source be identified, but the gist of what's said may or may not be printed. For example, "A source inside the McCain campaign, who wished to remain anonymous due to the sensitive nature of this information, hinted that they may be as few as only two names on McCain's short list of potential vice presidential candidates."

Boiler Plate Contract (also know as a "standard contract") - (n.) A standard throughout the industry written document between the publisher and the authors that determines the advance, royalty rates and subrights distribution.

Faction - (n.) Works that are presented as fiction but that use actual facts, events and persons in their story and plot lines. Fictional characters are often incorporated as well, which separates the "factional" novel from the nonfiction novel. (In the latter, the documentary facts, characters and plot are based on real events.)

Fair use - The amount of copyrighted material that may be quoted - especially for the purposes of criticism, news reporting, teaching or research - without infringing a copyright. Fair use is usually determined by four factors:
       1. the purpose and character of the use (for example, commercial or not-for-profit educational)
       2. the nature of the copyrighted work
       3. the amount used in proportion to the copyrighted work as a whole
       4. the effect on the market value of the copyrighted work

Imprint - (n.) A smaller line of books within a larger publishing house. These often run kind of like a small press within a larger press. They have their own editorial staff but will often share other departments with the rest of the publishing house.

Subsidiary Rights - (n.) Rights associated with the publishing of a book that do not deal with the actual physical book. This can include film rights, merchandising rights, foreign rights, and electronic rights. Some authors are able to keep all of their subrights, but this is rare and generally requires your name to be J.K. Rowling or Stephen King.

Writer's Block - (n.) An unfortunate occurrence where an author can not think of a single phrase, thought or word towards his/her current project. Although often remedied by a good night's sleep, these writing slumps can occassionally last for weeks or months. Let's use the word in a sentence: When trying to think of words for this list, I suffer from writer's block.

Writer's Block: "Maybe I should write a few pages
and reward myself with a muffin. OK, I need to
establish the themes. Banana Nut - that's a
good muffin."

Around the Properties: May 3, 2008

2008-05-02T23:58:56.5600000-04:00

Here's what's going around around the WD properties...

The launch of There Are No Rules is here. My boss, Jane Friedman, the editorial director of Writer's Digest Books, recently launched her own blog to tackle the big questions of publishing.
I remember watching Jane speak at a conference one time when an attendee asked, "How do publishers get books on those tables you see when you first enter Barnes & Noble?" (I was thinking, Good question! I have no idea...) Jane didn't miss a beat. "They pay for it," she started, explaining the whole process. If you want to know things about trends, publishers, remainders, sales and all that, Jane's blog is a great place to check.

Writer's Digest staffer Brian Klems, who runs the Questions & Quandaries blog, recently answered a pair of submitted questions:
1. Why do authors use pseudonyms?
2. What is a literary executor?

Keep your eyes on the blog for forthcoming interviews with Jacqueline Hackett, an agent at Literary-Works; as well as Bernadette Baker, an agent with Baker's Mark Literary who specializes in graphic novels.

And I won't talk much about this last part because I plan to do a bigger post soon, but the Writer's Digest Books Writers' Conference (in conjunction with BookExpo America) is set to go down on Wednesday, May 28, in downtown LA at the Los Angeles Convention Center. Be there or be square!

Why Can't I Get Past the Query?

2008-05-02T23:20:49.4500000-04:00

Q. I know this will sound trite, but I have exhausted a multitude of possibilities, and have come up with a dismal fact. Unless you are a well-known actor or perhaps a sports personality, having a manuscript even looked at is like urinating on a rope and expecting the flow to reverse itself ... so that it travels against gravity.
I won't bore you with what steps I've taken, but suffice it to say that my lack of success isn't due to the manuscript's quality - or lack thereof, since nobody will even respond to heartfelt pleadings of even a 2-3 page read! What must a person do to become a success? I have paid thousands of dollars to "vanity publishers" on my first two books, and just will not do it again on this - my best and third book. It's a political horror (Is there any other kind?) and the word count is 270K. Entitled: Necromancer, and if you read that alone, and knew anybody with a shred of curiosity, then you've at least digested the title, could you provide the name of an agent for me to e-mail or call? The book is worth it, and promises to entertain even the most selective of publishers/agents.
- David

A. OK, David. Let's tackle this problem one part at a time.
      First off, 270,000 words is not only too long, it's crazy long. A typical horror novel would run aboyt 90K, so if you mentioned the word count in your query, that alone could explain why no one requested more.
      Second: the title. First off, it's "titled," not "entitled." Second, I don't even read horror, but Necromancer seems like kind of a cliche title. I would change it. On this subject, what is "political horror"? I've never heard of that subgenre. Can it just be called "horror"? If you make up your own subgenre, then it might scare agents off.
      If you change your query to meet my suggestions and don't get requests for pages, then it's safe to say the problem lies completely in your query letter. I met a writer the other day in Texas who had a great background in journalism and a great premise for a novel. "Why won't any agents read a sample of my work, Chuck?" he asked. "Well, sir," I told him. "If you have good credentials and a good premise, then it's obvious that your query needs work."
      Lastly, the very fact that you say it will entertain "the most selective of publishers/agents" is not good news. Horror is a very specific niche, and I have never even heard of "political horror." So - on the contrary - very few agents and publishers will be interested in something like this. Your difficult job is finding a horror agent who will be interested.

"It's a lonely life - the way of the necromancer.
Oh yes. Lacrimae Mundi - the tears of the world."
- Merlin, Excalibur

Agent Advice: Michelle Brower of Wendy Sherman Associates

2008-05-02T16:17:52.3610000-04:00

"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 Michelle Brower of Wendy Sherman Associates.

GLA : Tell us a little about yourself. How did you come to be an agent?

MB: I pretty much always knew that I wanted to work with books in some way, but I started out in academia rather than publishing. While I was discovering that studying literary theory was actually not keeping me involved with contemporary writing, I happened on a Craigslist post for an agency assistant position with Wendy Sherman Associates. I've been here ever since, and started representing my own clients about two years ago. Every day, I wake up and am excited to go to work- I get to read and develop the work of exciting new authors, match them up with editors, and see their books hit the shelves! Who wouldn't love that?

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

MB: Most recently, I sold Breathers: A Zombie's Lament by Scott Browne to Broadway Books - it's an amazing debut novel narrated by a loveable zombie who just wants a little respect. I love zombies and see a lot of zombie-oriented books, but this one st ood out to me for the amount of heart and humor Scott was able to put into the story.

GLA: You rep both memoir and literary fiction. These are two categories where cold submissions tend to be a lot more bad than good. What do you look for? What gets you to keep reading?

MB: Memoir and fiction are both difficult categories to get editors excited about right now - they just see so much, and it's much easier for them to sign up a miss than a hit. So I, too, must be really selective. In both, I'm always looking for a really good hook or well developed c oncept that makes the book immediately interesting, even if I haven't read a word of the sample. Unfortunately, an extremely well written, lyrical book without a pitchable subject just won't work for me. For memoir, there really must be something unique about your life, or you have such an amazing voice that you can turn the normal into the riotously funny. Once I have something with an interesting hook, I need the material to deliver on that promise.
        In literary fiction, I often look for a track record of previous publications. If you've been published in Tin House or McSweeney's or GlimmerTrain, I want
to know. It tells me that the writer is in fact committed to their craft and building an audience out there in the journals. But if you have a good story and are a brilliant writer, I wouldn't mind if you lived in a cave in the Ozarks. For the record, I have yet to sign anyone who lives in a cave in the Ozarks.

GLA: You also rep narrative nonfiction. What gets mistaken for narrative nonfiction but is definitely not?

MB: To me, narrative nonfiction is a true story about a subject that is from the perspective of the author. Memoir and narrative nonfiction have a lot of overlap, but I see narrative nonfiction as reaching out into the world more so than memoir. For example, a client of mine is writing about her experiences farming in downtown Oakland. It's her personal tale, but she also incorporates farming history, the history of her city, and a portrait of the people around her. When I see an article that I love or read about an interesting person, I try to reach out and see if the author is interested writing a book. How-to is definitely not narrative nonfiction.

GLA: What are you looking for that you're not getting? What never seems to be in the slush pile?

MB: I would love to see more accomplished literary fiction in my slush pile - a good story with the writing to match. With most of my literary fiction, I tend to read a story I like and then find out if the author is working on anything of book length, but I have seen some lovely surprises in the slush and really welcome more. I'm always on the look out for what's being called "book club fiction"- fiction that has a central issue or story that sweeps you off your feet and gets you talking. I adore slipstream fiction that mixes elements of genre with literary execution, and want to see more of that too. Commercially, I like genre with breakout potential, a la Neal Stephenson and Neil Gaiman - something that a non-genre reader can pick up and really enjoy.
        I also am actively building my YA list, and want to see YA that doesn't necessarily have to take place over a trilogy. Trilogies are fine, but that first book has to persuade me on its own.
        Some specific wishes running through my brain right now: a literary ghost story, a book club novel that explores another culture, and a YA that I can really sit down and enjoy as an adult.

GLA: Do you feel like the economic recession is hitting the publishing industry?

MB: I have noticed a little bit more of a squeeze from publishers on what they're buying. In the past few years, it seemed a little easier to sneak an interesting but atypical project into an editor's line up. It still happens plenty, though, it's just more of an uphill battle. We're seeing the biggest impact in bookstores, where sales are slowing and independents are often shutting down. But as long as there are books out there that find their audience, I think we can be optimistic.

GLA : Do you have any strong likes or dislikes when it comes to queries?

MB: My main dislike is when the author doesn't tell me what their book is actually about. That's why the query letter is there in the first place! And if you find that you can't distill the story into a pitch, that might signify a larger problem.

GLA: What is the most common problem you see in a synopsis?

MB: Sometimes I'll see a synopsis with too much detail. Focus on the main conflicts and turning points, not the color of your protagonist's outfit (unless that is in fact a major part of the story!).

GLA : Will you be at any upcoming conferences where writers can pitch you?

MB: I'll be at Thrillerfest and Sewanee this summer, both in July.

GLA: Other piece(s) of advice concerning something we haven't discussed?

MB: The writers who are dearest to my heart are those who've gone out and done a little bit of legwork by making a website/blog, belonging to organizations, publishing in magazines, podcasting, etc. Once your book is published, it takes that sort of self-promotion to make it work anyway, and it helps if you are laying the groundwork ahead of time. If I can present you to an editor as a promotional whiz, they are more likely to consider working with you.

        Michelle Brower has been with Wendy Sherman Associates since 2004, and has also previously worked with Joelle Delbourgo Associates. She enjoys working directly with emerging writers and is interested in representing literary and commercial fiction, YA, memoir, pop culture, humor, graphic novels, popular science and narrative nonfiction. Books that capture elements of the strange and wonderful will always pique her interest, and she also looks for those that offer a unique perspective of the world. She has a MA in Literature from New York University.
       Submissions to her by mail and e-mail are equally ok. Please include a SASE for snail mail response, and no attachments in an e-mail.

Should You Include Pages With Your Query?

2008-05-02T16:00:59.0010000-04:00

Q. When a listing [agent] says they get back to us on queries in X amount of time and on manuscripts in Y amount of time, what does this mean? Unless the listing specifically says no manuscripts without queries first, is it all right to send a manuscript without a query?
        - Dan

A. The first part of your question is pretty simple. It means that if you send in a query for review and they promise to get back to you within six weeks, they will do just that. They will either say "no thanks" or say "Interesting. Send more so I can read it." Manuscripts take longer to review, so an agent's timeframe on that is longer. When writers send in their work, they want to know how soon they will hear back with a yea/nay. This is just an agent's way of answering that for them.
       Usually an agent/agency will request exactly what it wants in terms of a submission. If an agent says "Query. Send no mss," then it's obvious that you should query only. However, if an agency says "Query us," that, too, means send a query only. Just because they didn't specifically stop and say not to send a ms doesn't mean they want writers to include it. Simply follow their guidelines to a T.
       Even if you disagree with me on this (and I know some of you do) and will send in pages regardless, I highly advise sending only the first five pages, not any more let alone the whole ms. (You are just wasting postage.) And if you're saying, "But my story doesn't get good till page 7! Can't I just send in the first 10 pages?", then you need to go back and rewrite your first chapter so it gets interesting quicker.
        But again, do what the agent requests. That's my best advice.

Sharing Your Ideas For Critiques

2008-05-02T15:51:48.9360000-04:00

Q. I would like to have someone with knowledge read the first draft of my first few chapters of my story to see what they have to say about it, good or bad, and tell me if I need to go back to college. (chuckle!) Do I need to pay for that service? My husband thinks that if I send my work to another (person), it may be stolen and plagarized. He and all my friends like my writing, but I need a professional opinion.
       - Jan

A. First of all, you may want to wait till you finish the whole manuscript before you get a critique. Yes, I understand you want to make sure you're on the right track, but as you complete the book, you may learn some things about the story and your writing, and go back to revise those first few chapters.
       You likely do need a professional opinion. The best option always is to get involved with a reputable writing organization in your area. Some peers will critique your work for you in exchange for you offering your opinion on theirs. But be careful that you do indeed hook up with good people. As I've said before, editors and agents don't steal writers' ideas. Writers steal writers' ideas.
       Professional editors are an option, and your work should be safe in terms of stealing ideas, but a good editor is not cheap, so you either have to cough up the dough, or risk going with someone who may or may not give you the best feedback possible.

New Agency Looks for Romance

2008-04-29T00:01:37.7280000-04:00

Bressler|Scoggins Literary Management, a new agency, recently contacted me and said they are shifting their attention from a large array of subject to a narrower focus: romance. Here is the news from Becky Scoggins herself:

"After receiving hundreds upon hundreds of submissions, we have decided to specialize in romance categories, including romantic suspense, paranormal romance, contemporary romance and young adult romance. We also are looking for women's fiction and a very select amount of women's nonfiction (parenting, motivational, business written for women). This also fits in with our new partnership with Mamapalooza."

I have no idea what Mamapalooza is, but it sounds intriguing and it's too late to find out tonight.

My Adventures in East Texas...

2008-04-28T00:18:24.0876250-04:00

Just got back from a camp neat Piitsburg, Texas, in the eastern portion of the state, and the Northeast Texas Writers' Organization Annual Conference. The conference went well and the attendees/organizers were remarkably nice. It seemed like every person I met with was just so pleased with my advice. I think it was more their zest for life than me firing wisdom pearls all the time.

The conference was held at a Lutheran camp site essentially in the middle of nowhere, which was a rare chance for me to relive my Boy Scout days. We stayed in cabins, not hotels, and nary a TV or iron was around. There were instructions in our cabins concerning how we should treat fire ant bites. (At the risk of sounding a tad wussy, this concerned me.) I did return back to the cabin the first night to find a black spider right on my bed. He did not live long.

So these past two weekends, I've had the chance to visit northern Vermont and eastern Texas. Here's my breakdown after having visited both. Burlington is a city full of super liberals. You've got a large population of college liberals there with the University of Vermont in town; restaurants state loud and clear on menus that their food is organic and the food made locally (because this is a selling point to the "localvores" in town); and every telephone pole is covered in signs for independent rock bands. That's Burlington in a nutshell.
      East Texas is (you guessed it) the opposite. It's a hub of Baptist/Lutheran conservatives and you can't go far without a sign or bumper sticker that praises God and/or Jesus. When we were served lunch, our placemats were the American flag. Our placemats!
      But moreso than the simple difference in political ideology and lifestyle is this: Vermont is self-aware that it is super liberal Vermont. East Texas thinks its way of thinking is how the rest of the world is, or at least should be. That's Texas in a nutshell.

The Newest Genre: Quagmire Fiction

2008-04-26T16:35:02.7280000-04:00

First we had "cyberbilly." Then it was "elegant erotica." Now it's "quagmire fiction." This new genre, as coined by agent Barbara Poelle (see post just below), is found along the fringes of literary fiction, where the language is so intense and lyrical and rich (purple prose?) that the reader is just swimming is a quagmire of emotion and thoughts and intensity.

The bad news is: Consider how literary fiction is a tough sell, quagmire fiction is a really tough sell. The good news is: Barbara likes literary fiction (though not "the quag"), so she will certainly give it a look-see.

barbara@irenegoodman.com

Barbara Poelle's "10 For 10 Rule"

2008-04-26T12:44:08.2120000-04:00

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

Heacock Literary Agency Change of Address

2008-04-23T14:27:19.5578750-04:00

New address for the California agent of the Heacock Literary Agency. (Note that the agency's two reps live in different states. This is only a change of address for Ms. LeBaigue.)

Catt LeBaigue
Heacock Literary Agency, Inc.
1020 Hollywood Way, No. 439
Burbank, CA 91505
catt@heacockliteraryagency.com
www.heacockliteraryagency.com

Agent Advice: Brandi Bowles of Howard Morhaim Literary

2008-04-20T14:19:29.5260000-04:00

"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 Brandi Bowles of the Howard Morhaim Literary Agency in New York.

GLA : You're a new agent, which can be a big advantage to authors seeking representation. Tell us a little about how you got started in the business.

BB: I’ve wanted to be an agent ever since I read the book The Girls’ Guide to Hunting and Fishing, when I was about 14 years old. After college, I moved to New York, enrolled in the NYU Master of Science in Publishing program, and landed an internship with Inkwell Management, a literary agency in midtown Manhattan. I worked at Inkwell for a few months and was then recommended to Three Rivers Press, a Random House imprint that specializes in humor, music, and pop culture paperbacks.
Three Rivers was a wonderful education for me, but eventually I began to crave more autonomy and the freedom to pursue my own creative ideas. When a too-generous publisher got involved and asked if she could give my name to Howard Morhaim, I recognized it as an opportunity that I couldn’t pass up. Howard’s is a highly respected name in the industry, and I knew I could go far under his tutelage if I played my cards right. The rest is history.

GLA : You've indicated you're looking for memoir and biography; nonfiction on the topics of pop culture, music, science, and travel; and historical novels, science fiction, and mysteries. Do any other kinds of manuscripts interest you?

BB: I really love big idea books, and books about broad sociological phenomena, but will only consider them if they are written by experts in their fields. I love books that shed new light on something in pop culture, media culture, and everyday life. In terms of fiction, I also like Southern fiction, experimental fiction, and cross-cultural novels. Quirky, funny, edgy, or naughty book ideas are always welcome in my inbox, and bonus points go to any authors that can make me laugh.

GLA : Do you consider screenplays? Graphic novels?

BB: I don’t consider screenplays or graphic novels, but I do consider graphic nonfiction. I currently have several cartoonists and illustrators on my list, some working with writers and others developing content on their own.

GLA: How do you prefer to be contacted by writers seeking representation?

BB: E-mail! I prefer to do all of my business online.

GLA : Is the Internet dramatically changing the way you do business? If so, in what ways?

BB: I do pretty much all of my business online, and that includes scouting for clients, offering representation, e-mailing back and forth with authors, submitting to editors, doing market research, and more. I do find a lot of clients online. I read pop culture and industry blogs to stay updated on current trends. I read the New York Times online. And when I’m browsing, I bookmark reviews, articles, and blogs from new authors I love.

GLA: Do you want to receive queries from writers who reside in countries other than the U.S.?

BB: I’m a big fan of cross-cultural fiction. As long as the writing is up to par (the writer is proficient in American English) and the subjects, examples, and anecdotes hold interest in the States, I’m game.

GLA: What kinds of writing credentials or professional affiliations do you look for when you receive a query?

BB: For nonfiction queries, it is essential that the writer be an expert in his or her field. For fiction and memoir, awards and blurbs from established authors are always nice, as are mentions of participation in well-respected writers’ groups and conferences. They show me that the author is serious about his or her work.

GLA: Do you identify and acquire new clients from among contest winners, whose work is published in literary journals, or through online networking sites for emerging writers?

BB: I have acquired several clients from writers’ conferences. I have not yet picked up any writers from literary journals, but I’ve found several nonfiction writers online through sites like ASJA (American Society of Journalists and Authors) and through mentions on popular blogs (usually media and pop culture blogs).

GLA: If a writer sends you a promising query outside your specific areas of interest, will you pass it along to one of your colleagues at the Howard Morhaim Literary Agency?

BB: If the query letter is intriguing enough for me to read the material, and the material impressive enough for me to wish I sold a certain type of book, then yes, I would pass the writer along. My colleagues at HMLA also work on YA, fantasy, paranormal romance, graphic novels, history, and craft. I don’t work in these genres because they don’t interest me as much, so the query letter would have to be really good. Sometimes I pass along material that’s too literary for my list to a network of young agents. But again, the material really has to stand out for me to pass along my recommendation.

GLA : Do you read any publishing industry periodicals or blogs that might also be helpful to prospective clients?

BB: In terms of publishing industry, I read Publisher’s Weekly (both the print and online editions), Galleycat, PublishingTrends.com, Gawker, PubRants, the New York Times' PaperCuts, and Bookslut. As for other blogs and websites, I’m so all-over-the-map it would be hard to create a comprehensive list. That said, some of my regular stops are Jezebel.com, Boing Boing, Metafilter, Digg, 3 Quarks Daily, The Consumerist, Fark.com, The Believer, What Would Tyler Durden Do?, Pitchfork, and Stereogum.

GLA: We know you'll be presenting an information session and taking pitches at the 2008 Las Vegas Writer's Conference (April 17-19, 2008). Will you be attending any other conferences or events in the future where writers can meet you?

BB: I will also be attending the Pacific Northwest Writers Association Summer Conference in Seattle, the Alaska Writers Guild’s 2008 Speculative Fiction Writers Conference in Anchorage, and Words & Music in New Orleans.

GLA : You also teach a one-day mediabistro workshop with Susan Shapiro. How do you prefer to be approached by prospective clients in person at a workshop or business event—other than during a scheduled pitch session?

BB: I don’t mind writers coming up before or after any panel discussions or speaking engagements. I also don’t mind writers approaching me at cocktail or mingling parties at conferences, as long as they aren’t too heavy-handed with their pitches. That’s why those events are set up. The only times I really get frustrated are at meals, when I’m busy talking to other colleagues, or at end-of-conference type banquet events. If the event is for relaxing and celebrating, and not networking and pitching, I intend to do just that.

GLA: What do you want prospective clients to know about you?

BB: I believe that the agent-author relationship should be open and collaborative. When it comes to editing, I always want there to be a dialogue about what’s working, what isn’t, and why, and I want my clients to feel comfortable being honest with me. Writers at conferences have flattered me by telling me how approachable I am. Wonderful! I’m a firm believer in pulling back the curtain on book publishing and don’t think it should be shrouded in such mystery and intrigue. I will always strive to speak openly about the way this business works. When I sign a client, I consider from that point on that we are a team.

GLA : To a writer looking for an agent, can you offer advice about something we haven't discussed?

BB: It still surprises me how many writers are angry or defensive when agents reject their work. It’s a wasted opportunity. We invest countless hours reading book proposals and giving each proposal careful thought. We have firsthand knowledge of what’s selling (or easy to sell) and what’s not. Rather than firing off a counter-response (which has probably never convinced an agent in the history of agenting), authors should use the opportunity to find out why they were rejected and improve their future chances of success. It is not rude to ask for more detailed feedback following a rejection, as long as the request is polite. We may be able to give advice or point out character, dialogue, pacing, pitch, or structural issues that you might have missed. It could also lead to a referral or a request to resubmit.

Brandi Bowles has been an agent with Howard Morhaim Literary Agency, Inc., in Brooklyn, New York, since 2007. She was previously an assistant editor at Three Rivers Press. Her specialty is pop culture, and she’s an avid observer of media trends who likes the idea of making the publishing business more transparent.

Anatomy of a Bad Query Letter: When a Good Idea Gets Buried and Good Intentions Go Wrong

2008-04-19T21:45:56.2140000-04:00

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.

My Adventures in Vermont...

2008-04-19T20:55:35.3860000-04:00

Just got back from Vermont and the League of Vermont Writers' spring session, where I spoke on all things agents. Good little group up there, and everyone was quite nice.

I got to see plenty of the state (it's not exactly that big...) as we traveled from Burlington - the super green-liberal upper northwest section where the University of Vermont is - to Rutland in the middle of the state. Just like you would expect, the state is chock full of these small cities, towns and "junctions" that each have their own small white churches with steeples. Check out the pictures below to get some more Green Mountain State flavor (and I'm not just talking maple syrup).

Me taking "practice pitches" from
writers. They were practicing in
preparation for agents coming in July.

An actual covered bridge!
(Not a doctored photograph.)

I think this was a church. We passed
it so quick that I wasn't sure. But
check it out! How cool! Awesome
stuff like this was all over the state.

States visited during conference travel: 15.

WD's 101 Best Sites: Agent Blogs

2008-04-17T14:31:06.9200000-04:00

The new issue of Writer's Digest has the totally awesome "101 Best Websites for Writers" feature. It should be online for free within a few weeks. Keep you eyes peeled on www.WritersDigest.com (new design!) to see when it pops up.

As usual, it's a brainbomb of good resources and information that will shut down your nervous system if you take it all in at once. Of note are the 7 agent-related blogs that made the cut. (This GLA blog is not on the list, as WD sites are not considered.) I actually did not assemble the list, but I did give some suggestions.

1. agentinthemiddle.blogspot.com
        Let literary agent Lori Perkins guide you around the NYC agent scene. Plus, she has great insight into horror, social science fiction, dark fantasy, dark literary novels and erotica - her specialties.

2. arcaedia.livejournal.com
        With the motto "Saving the world, one book sale at a time," literary agent Jennifer Jackson shares news, notes and opinions on the industry, including a sneak peek at her query round-up.

3. cba-ramblings.blogspot.com
        Rachelle Gardner's (relatively new but still very awesome) Rants & Ramblings covers her life as a Christian literary agent and includes news, trends and advice on the publishing industry.

4. jetreidliterary.blogspot.com
        Janet Reid, a literary agent with FinePrint Literary Management in New York City, specializes in crime fiction and shares query pitfalls to help you avoid rookie mistakes.

5. nathanbransford.blogspot.com
        San Francisco agent Nathan Bransford dishes the dirt on being an agent. Also, his series, "The Essentials (Please Read Before You Query)" is, well, an essential read.

6. rejecter.blogspot.com
        This assistant at an NYC literary agency rejects 95 percent of the queries that cross her desk - and blogs about them. She also answers questions about the process and offers up advice on getting your query past her desk.

7. cbaybooks.blogspot.com
        I saved this one for last because blogger Madeline's Smoot is actually an editor, not an agent. Great site, regardless, but missclassified in the WD categories. Madeline's specialties are all things children's writing.

Next Stop: Rutland, Vt.

2008-04-15T22:53:43.4830000-04:00

Off to Rutland, Vt. in a few days for the spring session of the League of Vermont Writers. It's not exactly a conference, per say, as I am one of the only speakers. I'll be doing a lot of speaking on queries, pitching and agents so attendees can soak up info in preperation of a mini agent pitch slam that the league is hosting in July. (If you live in/near Vermont, consider going.)

I'm critiquing work and meeting with writers up there to talk. I'm looking at fiction, mostly - synopses and manuscripts. Here are some thoughts after reading samples for a while:

Always include a header on your work. That's the thing up top (not part of the regular text) that says NAME / PAGE NUMBER.
Synopses have a very specific format. I've blogged about this before, so I won't go into everything, but remember that characters are CAPITALIZED when introduced. Also, the more names you have in the synopsis (and pitch, for that matter), the more confusing it is for us.
Avoid super-general sentences, such as "She overcomes her fear to achieve self-confidence and happiness."
Avoid scenes where characters converse and summarize a scene that just happened. We were there. We remember. Perhaps worse: Try not to skip a potentially awesome scene, only to tell all about it through dialogue as someone tells another character what happened at this awesome scene we missed. This is telling, not showing.
In queries, avoid telling the agent how the story should make readers feel, such as "this will make readers smile" or "my story will hopefully brighten your day."

State and Main was set and filmed in Vermont.
GO YOU HUSKIES .