Guide to Literary Agents - Agent Advice (Agent Interviews)

Agent Advice: Catherine Drayton of Inkwell Management

Chuck — Thu, 02 Sep 2010 03:37:01 GMT

"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 Catherine Drayton of InkWell Management. Catherine graduated with a Bachelor of Arts/Law from the University of Sydney and a Masters of Law from University of New South Wales. She worked as a copyright and defamation litigator in Sydney for four years before moving to the United States in 1995. She had a brief stint as a literary scout and then joined Arthur Pine Associates in 1998.

She is seeking: "both fiction and nonfiction. She has had considerable success with books for children and young adults."

GLA: How did you become an agent?

CD: I am a lawyer by profession. When I moved to the U.S. in 1995, I decided to pursue my love of literature. I began working as a scout and then joined Arthur Pine Associates, which subsequently became InkWell, in 1998.

GLA: What's something coming out that you're excited about?

CD: Hereafter by Tara Hudson (HarperCollins), Crescendo by Becca Fitzpatrick (Simon & Schuster), Jacob Wonderbar and the Cosmic Space Kapow by Nathan Bransford (Penguin), Leverage by Joshua Cohen (Penguin), and Cleo (Citadel).

GLA: On your online profile, it says you work with writers of fiction, nonfiction and kids. That's very general—can you tell us more about what you want to see in submissions and what you don't?

CD: I tend to concentrate on all genres of children's books (picture, middle-grade and YA) and women's fiction. In young adult, I love the very literary novel such as The Book Thief by Markus Zusak or The Anatomy of Wings by Karen Foxlee, but I also enjoy compelling commercial projects such as Hush, Hush by Becca Fitzpatrick and Ranger's Apprentice by John Flanagan. I look for high-end women's fiction such as Saving Ceecee Honeycutt by Beth Hoffman and am always on the look-out for novels that will appeal to women's book clubs. I'm excited about Cleo, a memoir by Helen Brown that is about to be published, but I don't do much nonfiction these days.

GLA: I see many numerous kids books sales on Publishers Marketplace. What draws you to the realm of kids writing?

CD: I have three children so am surrounded by their books! If you can capture a child as a reader you have given them an enormous gift.

GLA: Within kids writing, what (besides simply good writing) are you looking for and not getting.

CD: I look for imagination and voice. I see a lot of projects that are derivative of published works. It's a tough market out there and there are too many books published so I want the books that I represent to be of the highest quality.

GLA: You rep a lot of YA. Can you give us your best three tips for writing for teens?

CD: 1) Remember what it is like to be a teenager. 2) Don't lecture. 3) A wry sense of humor always helps!

GLA: You're from Australia and I see you rep some Aussie authors. Do you look for nonfiction/fiction that has ties to Down Under?

CD: I represent some Australian publishers and agents so I look for the best Australian writers.

GLA: You rep Marcus Zusak, whose book The Book Thief, has gotten all kinds of acclaim and I believe is a featured book at my county's library this month, to boot. What was it like when you heard it won the Printz?

CD: The Book Thief is a brave and beautiful novel. It will be read for many years to come so I was thrilled, but not surprised, when it won.

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

CD: I don't attend many conferences. Writers are welcome to query me by e-mail and I do read and respond to my own mail. [Chuck's note: Online at Inkwell's website, it says all queries should go to submissions@inkwellmanagement.com. I would suggest writing "Query for Catherine" in the subject line.]

Writing YA? Check out author K.L. Going's
resource Writing & Selling the YA Novel

Agent Advice: Sally van Haitsma of van Haitsma Literary

Chuck — Sat, 28 Aug 2010 20:00:03 GMT

"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 Sally Van Haitsma of van Haitsma Literary.
Sally earned her B.A. and Masters of Communication from the University of California, San Diego. While in graduate school she was co-owner of Altitude, an upscale retail store for tall women. Transitioning to publishing, she worked at an alternative weekly newspaper, the San Diego Reader, before agenting at the Castiglia Literary Agency. Sally lives with her husband Dirk Sutro and an eclectic library of books, in Encinitas, Calif.

She is seeking: specializes in commercial and literary fiction, narrative nonfiction, memoir, pop culture, education, business and current affairs. Although we do not represent genre fiction (historical, romance, horror, fantasy, sci-fi), we are interested in works of a more literary bent that include these elements.

GLA: How did you become an agent?

SVH: My path to agenting was circuitous. As a teenager, I worked in the school library and read one or two novels a week for pleasure. I considered a life in academia, earning my Masters in Communication at UC San Diego, but was drawn toward the publishing world. Meanwhile, I supported myself as a civil litigation paralegal, honing my business and writing skills. After a brief sojourn in New York City I landed at the San Diego Reader, one of the largest alternative weekly newspapers in the country. A few years later I apprenticed at Sandra Dijkstra’s agency and caught the bug to become a literary agent. Julie Castiglia offered me this opportunity, and I agented for her six years before launching my own agency in March 2010.

GLA: What is a book coming out you repped that you’re excited about?

SVH: Actually, I have three books coming out in short order regarding particularly timely topics. This August, Craig Brandon’s The Five-Year Party exposes the crisis in higher education—how we are paying more and learning less. It's made a huge splash. It got a terrific review in the Wall Street Journal that catapulted it to a top 100 Amazon book for a while, and the author has been featured in Forbes, Huffington Post, ABC & Fox news and a myriad of other media outlets.
A couple months later, foreign policy expert Sarwar Kashmeri’s second book NATO 2.0: Reboot or Delete? reveals the troubling state of our international alliance now fighting in Afghanistan. And in our own back yard, novelist Raul Ramos y Sanchez contemplates civil war as the blow-back from our failed immigration policy in House Divided, the second installment in his America Libre thriller series.

GLA: You say you’re looking for commercial fiction but tend to stay away from genre fiction. Does your interest lie in so-called mainstream or upmarket fiction? Book-club stuff?

SVH: Yes, I definitely look for upmarket fiction that has book club potential. Michael Zadoorian’s The Leisure Seeker is an example of a work that bridges literary and commercial fiction. At its core, it’s a classic American road trip and love story with a nod to Raymond Carver. That it just so happens to broach end-of-life questions (the main characters are in their 80s) makes it all the more book club worthy.

GLA: Most common problems you see that make you stop reading a fiction partial?

SVH: Poor word choice, exposition that doesn’t serve the narrative, and excessive attributions that suck the life out of the reading experience. If I find myself second-guessing words or phrases within the first few pages, I’ve already lost confidence in the story.

GLA: In addition to fiction, you rep a lot of nonfiction and have plenty of sales in that arena. Do you usually go out and find pros to write books, or are there coming through the slush?

SVH: I’ve sought out journalists and bloggers, but I’ve mostly met my nonfiction clients through writers’ conferences or referrals, or they find me through reading interviews like this one.

GLA: A lot of nonfiction writing tips are pretty simple concerning book proposal writing. But you have sold so many books, I just have to ask if you have any wisdom about getting a nonfiction book published that you would like to share.

SVH: The author platform is so critical these days with regards to nonfiction projects that I encourage authors to develop their professional and social networking at least one or two years in advance of approaching an agent. For example, join national organizations that pertain to the topic or themes of your project, get on their e-mail and newsletter list. Most authors today have websites and/or blogs, so be sure yours is interesting to read and look at, and update it regularly to give visitors an incentive to return and recommend your site to others. And remember, writers are members of a global community, so whatever you can do to help other writers thrive while you pursue your own path to publishing will serve you well.

GLA: You seek pop culture books. These seem tough in my mind because pop culture fads can pass so quickly. How can writers capitalize on a good pop culture idea?

SVH: I think you can look more broadly within social trends and discover topics that aren’t ephemeral. Blogging about a particular slice of pop culture has proved to be a terrific way to convince publishers there is a huge audience for your idea. Several new books are based on provocative, well-written blogs that either created or capitalized on emerging trends—there’s the cute cheeseburger-loving kitties, and the foul-mouthed dad, and the spoof on white people. The plethora of zombies and vampires certainly speaks to our conflicted attitude towards death. That’s why I’d consider my client Robert Webster’s forthcoming book, Does this Mean You’ll See Me Naked?—Field Notes from a Funeral Director to fit within the pop culture category.

GLA: Interested in any kids stuff?

SVH: No, I don’t represent children’s or young adult. However I do represent parenting books.

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

SVH: I just attended the Mendocino Coast Writers Conference this July, and will be heading to the South California Writers Conference in Irvine late September 2010 and the La Jolla Writers Conference in November 2010. My agency website lists a full conference schedule which I update regularly.

GLA: Something personal about you writers may be surprised to know?

SVH: I can walk away from cookies and ice cream, but have absolutely no will power when it comes to hot popcorn.

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

SVH: Perfecting their writing craft is obviously the most important thing an aspiring author can do, however approaching the goal of becoming published in a professional manner is also important. A succinct and lively pitch letter makes a strong first impression, and speaks volumes as to the writer’s ability to execute their ideas well. And if an agent turns you down or offers constructive criticism, don’t take it personally. Agents want to work with authors who are receptive to improving their work and who can handle the highs and lows of the publishing business. Perseverance is essential.

If you need some book
marketing tips, check out
Author 101: Bestselling Book Publicity

Want more on this subject?

The Knight Agency talks book marketing.

Children's agent Sarah Davies talks book marketing.

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: Sarah LaPolla of Curtis Brown, Ltd.

Chuck — Wed, 25 Aug 2010 13:50:15 GMT

"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 Sarah LaPolla, an agent with Curtis Brown, LTD. She had been working with CB since 2008. With her own MFA in Creative Writing from The New School, Sarah loves getting to work directly with new and developing authors.

She is seeking: literary fiction, narrative nonfiction, urban fantasy, paranormal romance, science fiction, literary horror and young adult fiction.

GLA: How did you become an agent?

SL: I interned with a small boutique agency while I was getting my MFA. In college, the big dream was to move to New York and become an editor. I didn’t really know what an agent did. I just had the vague definition of agent being “a person you need in order to get published.” When I moved to New York and started interning at an agency, I realized that was true, but that they are also editors and publicists and cheerleaders all rolled into one. I knew I wanted to stick with agenting. It just felt like the best way
for me to work with writers from the beginning stages and watch their careers grow. To be a part of it. A job opened up with the foreign rights department at Curtis Brown, which has been such a great experience. Learning about foreign markets is so important in being a good agent, so I’m grateful to have that knowledge. And now, two years later, I am an associate agent with CB!

GLA: Your bio states that you are interested in literary horror. My first reaction to this is to imagine a mass murderer sitting by Walden pond reflecting about himself. For the sake of an author who may have unknowingly written a literary horror, are there clear characteristics to look for? Perhaps a few examples of this?

SL: I think you might be onto something. I can picture a serial killer, an existential crisis, and an opening scene of him staring pensively to the other side of the ponds. Usually, when I think of literary horror, I think of writers like H.P. Lovecraft, Edgar Allen Poe, and Shirley Jackson. Style-wise, I think what makes “literary horror” its own genre is the same as what makes literary fiction different from commercial fiction. Heightened language, themes, concepts, etc. Only with horror, you get all the dark and gruesome elements too. Added fun.

GLA: Talk to me about selling literary horror or literary fiction in general? Is it a tough sell? Do you find yourself turning down good work because of the market?

SL: Selling literary fiction in general is harder, and it always has been. So many people are saying that style is “dead,” but I don’t believe that at all. It’s probably never going to be an easy sell, and I do keep that in mind when reading submissions. But, I think there will always be people who want it, especially if a novel is worth it. Maybe I’m an optimist.

GLA: You also like to see coming-of-age stories. Are you looking for children’s coming-of-age or adult or both?

SL: I like both, even though I think they’d technically need to be called something else when it comes to adults. I prefer YA coming-of-age because I think there’s more room to explore and allow the character to really change. In real life, adults don’t usually go through massive transformations, so in novels, the changes are more subtle or pertain to a specific aspect in their lives. With teens, every year of their lives is something new, and they are often completely different from who they were the year, or sometimes day, before.

GLA: You say you’re drawn to strong narrators. Do you find yourself drawn to female or male narrators more?

SL: It’s strange because some of my favorite narrators of all time are teenage boys (Holden Caulfield, Ponyboy Curtis, and Charlie from The Perks of Being a Wallflower), but I am always drawn to a strong female voice (I’m thinking of someone like Scout’s adult perspective in To Kill a Mockingbird or the protagonists in a Lorrie Moore short story). To me a strong narrator is more than just someone who’s sassy (which I see a lot of in female-narrated YA) or even someone who’s tortured. No matter the gender, good narrators need to have something to say while staying true to their character, and they need to be multi-dimensional.

GLA: Science fiction seems like a really tough genre for new writers to break into unless they have been commissioned to pen a novel in an established series (such as Star Trek). What can science fiction authors do to make themselves stand out?

SL: I love science fiction, but it is really hard to find something that stands out as “special.” I think a good thing to remember about science fiction is that there are many different genres and styles, so you need to know what you’re going to write before you write it. Otherwise, it can become a mess. Another is to establish whatever world you’ve created immediately. Once I know where I am, when I am, and what I am, it is much easier for me to just let go and enjoy it. The best way to stand out is to have a great story
that’s original and compelling. Original doesn’t always have to mean “this has never been thought of before ever” either. To me, with genre fiction especially, more often it’s the way the story is told, as opposed to the plot itself, that makes it fresh and relevant.

GLA: In your bio, you seek both urban fantasy and paranormal romance. Since these genres tend to have many of the same characteristics, do you see some subtle differences that could help authors know which category they fall under?

SL: I was talking about this recently with a colleague, and she helped me break it down in a much less convoluted way than I would have normally explained it. There is a lot of overlap in these two genres, but at its core, paranormal romance cannot exist without a romance. Urban fantasy can.

GLA: What are you sick of seeing in the slush pile?

SL: Vampires! Werewolves! Angels! Zombies! No more please. Some creatures are still OK, but I need an indefinite break from those others.

GLA: What makes you reject a query?

SL: If the execution of the query is bad, I question the writer’s storytelling ability. It might not be fair, but it’s usually a safe bet that it’ll be weaker. But most times I reject a query either because I have no interest in the plot or because it feels like something I’ve read a hundred times before. Or, of course, if there’s a vampire in it.

GLA: What kind of writer would you ideally love to represent?

SL: I’d want a writer whose work I am in love with and who will be in it for the long hull. I also like to be a part of the editorial process, so it’s important for me to have mutual trust and respect in our relationship. So far, I’ve been lucky.

GLA: Best way to submit to you?

SL: I prefer email (sl[at]cbltd[dot]com) with a query letter and the first five pages pasted into the body of the e-mail. I’m also not opposed to snail mail, but it will take me longer to respond.

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

SL: Yes, I’ll be at the Rutgers One-on-One conference in October. I can’t wait!

GLA: Something personal about you writers may be surprised to know?

SL: I was voted “Most Optimistic” in my junior high school yearbook, which I later discovered was because most of my friends thought it would be funny. The irony is that at the time, I was a typical angst-ridden teen, but now I am a legitimately optimistic person. Most of the time.

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

SL: My grandmother’s favorite piece of advice to hand down to us grandchildren when we were little was “Think before you write.” I think that’s still a valid point.

This interview by Jennifer Benner, 2010 summer
intern for Writer’s Digest and senior at
Grace College. She spends her time working
on a novel and talking to other writers.
Check out her blog.

Want more on this subject?

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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: Adam Friedstein of Anderson Literary Management

Chuck — Fri, 20 Aug 2010 14:52:26 GMT

"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 Adam Friedstein of Anderson Literary Management, LLC. He was previously at Trident Media Group.

He is seeking: He primarily represents debut literary fiction, literary thrillers and suspense, young adult fiction, memoir, and narrative and serious nonfiction (politics, education, biographies and more).

GLA: How did you become an agent?

AF: It wasn't my plan after getting my B.A. in Comparative Literature. I thought I was going to be a tweed-sporting academic, but I ended up moving to New York and using my only employable skill to get a job as a painter. It was a nice intellectual respite but I soon felt myself wanting to be involved with books as I had my whole life. Academia wasn't it, though—I wanted to be close to the writing process and have a hand in the dissemination of great books. I applied for an internship at Writers House and though I wasn't accepted, I went to work part time in their accounting department, and soon after in the foreign rights department at Harold Ober Associates. I realized then that I really did want to be an agent—to be involved in the first stages of the representation process, so I moved to Trident Media Group where I came to get excited about the relationships built with authors and the entrepreneurial aspect of agenting. when an opportunity to build my own list came along, I knew it was what I wanted, though I do own some tweed.

GLA: You seek literary fiction and even thrillers in a literary style. What draws you to literary writing? Is this your first love?

AF: What draws me to literary writing is a certain reverence for and inventiveness with language that's on par in resonance with the attention to the novel's arc and structure. There's a creative, artistic intent you could say, and great literary fiction can transmit truths no other writing can. My first love, though, was nonfiction, particularly philosophy and psychoanalysis. I spent a lot of time in middle school and high school devouring the likes Freud and Kant at the public library. As far as fiction goes, my first loves as a young Jewish boy from Massachusetts were Kafka and Elie Wiesel, so even my fiction tastes were historical bent.

GLA: Besides "good writing," what, specifically, are you seeking that never seems to land in the slush pile?

AF: I love the sport of pool, and hustler lore. I'd love to see a novel centered on that. I'd also love to see a narrative nonfiction book about the pool tables, bars, and halls of New York City. I'd also like to see a humorous novel about the transition from college to the workplace.

GLA: Some agents love the synopsis; some hate it. Where do you stand and why?

AF: I can understand both perspectives. I don't hate synopses, though I do prefer to experience a story for myself, especially if it's already piqued my interest with a well-written and creative pitch.

GLA: You're looking for "serious nonfiction." Does this mean any kind of nonfiction written by a qualified pro?

AF: Terms like "serious," or "literary" are pretty malleable terms in publishing, and memoir can be serious ... or not so serious. What I consider to be serious nonfiction are biographies, histories, extrapolated critical essays, travel books, etc. Books researched and written by authors with appropriate qualifications, sure. While I'm not that interested in celebrity memoirs or prescriptive dating and weight loss books, I am interested in pop science writing, idea books in technology, politics, education. Memoir, and pop culture books as well.

GLA: With memoir, do you like to see the full ms, or a proposal?

AF: If it was something came in that I wanted to see more of, I'd request a full manuscript rather than a proposal.

GLA: You seek YA. Any category within YA?

AF: I have never been a big sci-fi or fantasy guy. I do go for YA on the historical side. I like YA on the darker, older side as well—quirky stories that remind me of the pathos of adolescence in a creative way.

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

AF: Unfortunately I don't have anything planned at the moment, but I encourage authors to check out our website and submit to me via e-mail that way: adam[at]andersonliterary[dot]com.

GLA: Something personal about you writers may not know?

AF: Hm. I'm a trained jazz percussionist.

Writing memoir? Steve Zousmer's book,
You Don't Have to Be Famous, shows
writers how to capture and record
life stories and memories on paper.

Want more on this subject?

6 Keys to Revising Your Fiction.

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4 Ways to Beat Writers Block and Write From Anywhere.

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: Louise Fury of L. Perkins Associates

Chuck — Sun, 15 Aug 2010 17:15:47 GMT

"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 Louise Fury, of L. Perkins Associates. Louise runs her own blog here. You can follow her on Twitter: @LouiseFury.

She is seeking: High-concept young adult fiction and fun, imaginative, and engaging middle grade fiction–-think humor, adventure and mystery. The characters must be authentic and original. Louise really loves historical (especially Regency and Victorian), paranormal, steampunk romance, mystery and epic horror. She’s passionate about connecting with South African authors–anything about South Africa, or by a South African author is on her wish list. In nonfiction, she is looking for pop culture, humor, gift books and witty memoirs.

GLA: How did you become an agent?

LF: Six years ago, my journalist husband wanted to write a book. I jumped in head first and together we set about researching editors and publishing, query formats and synopsis specifications. We spent our time researching the market and the right way to go about a nonfiction submission. We sent out 10 queries and received an offer before the week was up. I have a marketing background and since that first sale, I have been involved in the publishing industry in as many capacities as I could manage: Reviewer, marketing consultant for authors, both e-pub and print as well as for a literary agency. Because of those various capacities I started to take note of market trends and I loved the idea of helping someone make their dreams a reality. When Lori Perkins and I started working together, we discussed various ways to put my talents to use. We brainstormed my dream client list and because she was no longer accepting new clients, she wanted someone who knew the market, had contacts in the publishing industry and would work hard with her current team of agents to maintain the integrity of the agency she had started.

GLA: I know L. Perkins Associates specializes in romance and you are no exception. But within the genre of romance, can you tell us more about what you like and dislike? Regency? Paranormal? Series? Single title?

LF: If it is a well-spun tale, I will probably love it. I am a historical romance fanatic and I love the Regency and Victorian eras. I am also on the hunt for well-written gothic novels. I am always looking for original paranormal ideas and I adore all forms of steampunk.

GLA: Romance follows a certain form. How can writers keep their stories fresh? Is it as simple as good characters and voice?

LF: Good characters are essential to a good story and originality is important. The plot can be tried and true, but your characters have to be authentic. Grammar can be fixed, but unless you have a good voice and a great hook it can’t work. And even then sometimes a perfect manuscript is rejected.

GLA: I didn’t even know there was steampunk romance, but there must be, because it’s on your wish list. Are there any good examples people could seek out to see how this mix of genres works?

LF: I am looking forward to reading The Iron Duke by Meljean Brook. Clockwork Heart by Dru Pagliassotti has gotten some great reviews. Soulless by Gail Carriger is a fun, mild steampunk with a lovely romantic element. I have a fantastic one I am shopping around right now, but there is not much steampunk romance out there. Please ask your readers to send me some!

GLA: Concerning historical romance, is there anything that’s been overdone? Anything undertapped? For example, have people seen too much set in London? (Or can there never be too much set in London?)

LF: I think the fairytale element of London, royalty and fashion creates a fantasy we women have imbibed on since reading Cinderella and Sleeping Beauty as children. I don’t think there can ever be enough London. Historical Romance is like a grown-up fairytale filled with balls and men with titles. I think the underclass is undertapped in historical romance. We all love the Cinderella story, after all it’s like the American dream, and I love stories about people in service: The stories of women who made ends meet as fortune tellers and writers or seamstresses. I know they had scandalous adventures, too. I would love to see more of that.

GLA: What drives your love for kids’ fiction?

LF: I have worked and been surrounded by children my entire life. My mother took in many underprivileged children. I babysat in high school and college. I was the host of a Road show for children. The youth market was my target demographic in my advertising job straight out of college. I spent a year as an au pair; I have worked with underprivileged kids in foster homes and spent my life entertaining this market. It has always seemed natural to include the youth demographic into my job, no matter what the career.

GLA: Besides general YA and MG, what are you really looking for? For example, less vampire, more boy books, etc.

LF: I love a good vampire story. As far as middle grade, I would love to see more mischievous girl characters—girls who have good intentions, but get up to mischief for a worthy cause.

GLA: Tell me about your interest in South Africa. Are you from there?

LF: Yes, I was born in Cape Town, South Africa, and moved to America more than ten years ago. There is so much talent in South Africa, but the publishing industry is almost nonexistent there. People don’t have money to buy books or e-readers; it is really shocking to me. Talented writers who are published in South Africa have very little exposure to the rest of the publishing world. I want to help them break out into the international market.

GLA: Three most common problems you see in query letters?

LF: Sending queries to agents who don’t represent your genre. Queries that are way too long and/or include links to other sites where I am supposed to search for information. Queries that include a list of multiple books, many of which are incomplete.

GLA: Will you be at any upcoming conferences where people can reach meet/pitch you?

LF: The New York City Golden Apple Awards in September. The New Jersey Romance Writers of America Conference in October. Push to Publish in Pennsylvania October 2010.The 2011 DFW Writers' Conference in February in Dallas.

GLA: What’s the best way to submit to you?

LF: E-query me at lfury[at]lperkinsagency[dot]com Include a brief, well-written paragraph describing your work as well as the first 5-10 pages in the body of the e-mail. No attachments please. I also post submission calls on my personal blog at www.louisefury.blogspot.com.

GLA: Something personal about you writers may be surprised to know?

LF: Way back in the ‘90s, I made my screen-acting debut on national television in a South African television series.

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

LF: 1) Be nice. Be gracious. Keep your cool and try not to get involved in the cattiness of online bickering. 2) You cannot write in a vacuum, so get out into the world and work, meet people and interact with other writers. 3) Sometimes the best writing can originate from an overheard conversation. But you have to experience the world in order to write about it. I believe that you have to live in order to write. You have to live. Period!

Looking for some help on your journey to find
an agent? Attend my (Chuck's) webinar on
Aug. 26, 2010: "How to Land a Literary Agent."
Find out much more details here.

Want more on this subject?

How to publicize your book with courage.

The Knight Agency talks book marketing.

Children's agent Sarah Davies talks book marketing.

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: Jessica Papin of Dystel and Goderich Literary Management

Chuck — Sun, 01 Aug 2010 18:26:15 GMT

"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 Jessica Papin of Dystel and Goderich Literary Management. With a background on both sides of the proverbial desk, Jessica loves working collaboratively with clients to shape and refine their work. Her stay in the Middle East (she still represents many works of modern Arab literature through the AUC Press) has given her an abiding interest in the history and politics of the region, as well as the broader Islamic world.

She is seeking: literary and smart commercial fiction, narrative nonfiction, history with a thesis, medicine, science and religion. In every case, she looks for passion, erudition, and storytelling skill. She is also interested in health, psychology, and women’s issues.

GLA: How did you come to be an agent?

JP: I had been an editor at what was then Warner Books, now Grand Central, for seven years, and while I loved working closely with my authors, my interests were almost too wide-ranging—from literary fiction to practical nonfiction to narrative history, popular science and “big think” books on business and economics. Warner was a dynamic, collegial and altogether terrific place to work, but my eclectic tastes and my acquisition mandate (strictly commercial) were not especially well-matched. Given that there are few editorial positions that allow for the kind of latitude I longed for, I thought agenting might prove more flexible. Once I began thinking seriously about pursuing a career as an agent, I spoke to perhaps a dozen agents, all of whom were generous with their time and their advice. I loved the autonomy, the entrepreneurial aspect, and variety that agenting offered. It was also clear that editing—something I love to do—was still very much part of the job. When Jane Dystel offered me a place at DGLM back in 2003, I was pleased to accept, and even more pleased to discover that the work of the agent/editor/advocate was as rewarding and absorbing as I had imagined.

GLA: What’s something coming out that you repped that you’re excited about?

JP: As it happens, this week marks the release for a marvelous debut novel from Dori Ostermiller called Outside the Ordinary World (Mira books). It occupies that sweet spot between literary and commercial, in which the writing is a marvel—Dori is a gifted wordsmith—but the storyline is robust, well-paced, and deeply compelling. It tells the story of a woman who, as a girl, became a secret accomplice in her mother’s adulterous affair, with disastrous consequences. Years later, as a grown woman with children of her own, in a stable, albeit predictable marriage, she finds herself drawn—subtly, but almost ineluctably—to follow in her mother’s footsteps. Provocative, beautifully-observed and compulsively readable, I think the book will find an eager readership among fans of smart, story-driven fiction.

GLA: You were at D&G for a while but traveled to Egypt to work as an editor. How exciting! Tell us a little about how this venture affected you and what you look for from writers.

JP: Actually, I was the foreign rights director of the American University in Cairo Press, so I was essentially agenting on behalf of the Middle East’s leading English language publishing house. The AUC Press translates and publishes a veritable who’s who of writers in the Arabic-speaking world, perhaps most notably the late Nobel laureate Naguib Mahfouz. Although I was based in Cairo, I was selling projects here in the United States as well as to houses all over the world. The experience of living in Egypt was, in itself, wonderful, but so too was the opportunity to glimpse publishing from a far more international perspective than working in NYC had ever afforded. I saw just how robust the global market is for fiction in translation, and how, by comparison, the US market is intensely, sometimes embarrassingly, inward-looking. By virtue of attending various international book fairs, including Frankfurt, London and Cairo, I was fortunate to get to know editors and agents all over the world.

GLA: When you returned after three years, how had the industry changed (in your eyes)?

JP: Vampire books took over! Seriously, after three years spent working primarily on literary fiction in translation, it was fascinating to return to the US, where we seem very much lodged in a paranormal moment (perhaps now giving way to a Swedish one). In addition, it was clear that the market for practical nonfiction, like health and wellness titles, had moved ever further from a backlist orientation to a frontlist approach. In addition to credentials, experts are now required to have established platforms, and ideally, a built in readership. Of course, platform has always been important to publishers, but it was eye opening to see the degree to which the bread and butter backlist book is in eclipse.

GLA: You sell a lot of nonfiction. Are you getting good queries through the slush for nonfiction, or are you going out and finding experts?

JP: Nonfiction clients come to me through slush, via professional referral, friends and family, and through my own outreach.

GLA: A lot of nonfiction writers still don’t have the platforms they need to take off. What are some bite-sized tips you can give to writers in terms of building a platform?

JP: Use what you’ve got: Begin with your own professional community, and see if you can arrange speaking invitations/lecture tours through the organizations with which you may be affiliated.
Embrace social media: Avail yourself of the blogosphere—set out to become a recognized voice in your field. Comment on well trafficked blogs. Tweet if it makes sense. Start your own blog if you have the inclination and the discipline to keep it up to date.
Try and publish an article length version of your work in some prominent venue. True, it’s not easy getting an essay published in the NYT or The Atlantic, but it can give you and your project much-needed visibility. The NYT Modern Love column alone has been the starting point for any number of book projects.

GLA: Across several categories of recent sales, I am seeing themes emerge: zest for life, and making the world a better place. Are these themes that always tend to catch your eye?

JP: Re: Zest for life, that sounds about right to me, but it is probably too amorphous a quality to guide someone who might be considering whether or not to send a project my way. As for making the world a better place, yes, I do see this as a kind of through line in the nonfiction projects I take on, whether it’s an argument by two prominent physicians that resuscitating the endangered art of diagnosis can revolutionize medicine, or an economist who contends that the much bemoaned “rise of the rest” is in fact good news, and the biggest and most overlooked story of our time is the fact that millions of people once excluded from the global economy are now emerging from poverty, or a psychologist exploring new methods for solving seemingly intractable conflicts—I suppose it’s clear that I believe books can influence public discourse for the good. And as for fiction, it is an incontrovertible fact that good novels make the world a better place.

GLA: You also accept fiction. Besides literary fiction, what genres of fiction would you like to receive?

JP: Literary thriller (a la The Secret History), international espionage, speculative fiction in the vein of Never Let Me Go or The Year of the Flood, and historical fiction. Generally speaking, my experience with genre fiction is limited, so high fantasy, hard sci-fi, police procedural, cozy, etc. are probably not right for me, if only because my knowledge of these categories is limited. By inclination I tend not to gravitate toward serial killer novels, but I’m always willing to look at queries. In addition, although I am interested in comparative religion/current affairs as a topic of nonfiction, I do not represent Christian fiction or nonfiction.

GLA: Will you be at any upcoming conferences where people can meet/pitch you?

JP: As it happens, I am expecting a baby in September, so my conference-going over the next few months will be limited. I’ll rejoin the fray in 2011.

GLA: Best way to submit to you?

JP: Via e-mail (Jpapin[at]dystel[dot]com), with the query letter in the body of the text, first chapter as an attachment.

If you're stuck on rewrites, check out Revision and
Self-Editing to help you on your journey.

Want more on this subject?

6 Keys to Revising Your Fiction.

The Different Stages of Querying.

4 Ways to Beat Writers Block and Write From Anywhere.

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: Seth Fishman of Sterling Lord Literistic

Chuck — Wed, 28 Jul 2010 02:18:10 GMT

"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 Seth Fishman of Sterling Lord Literistic. Seth has been with SLL since 2005. He represents, among others, Maggie Koerth-Baker, Erik Bergstrom, Molly Crabapple, Theo Ellsworth, Shawn Goodman (2009 Delacorte Prize winner), Ted Kosmatka, Keren Landman, Will McIntosh, Matthew Olshan, Tea Obreht, Nate Powell (2009 Eisner Award winner), Galit and Gilad Seliktar, and Bill Willingham’s prose work (New York Times bestseller and multiple Eisner and Hugo award winner).

He is seeking: literary and commercial fiction, popular science, young adult, sci-fi/fantasy and graphic novels (of both a traditional and literary bent). He is looking particularly for original, even fantastical stories.

GLA: How did you become an agent?

SF: I studied for an MFA in England, at the University of East Anglia, where I met a number of British agents, none too keen on adding the American student to their roster. So I was able to observe my classmates interact with the agents at mixers, etc., and realized that this was where you get the firsthand contact, where it all begins. When I came back to New York, I thought it would be a better place to start off.

GLA: What is a book coming out you repped that you're excited about?

SF: I have a number of books I’m excited about, of course. But one in particular is worth mentioning, Tea Obreht’s The Tiger's Wife, due out in March of 2011. Tea is 24 years old and is the youngest on the recent The New Yorker 20 Under 40 List. The novel has already been excerpted in The New Yorker, and her writing has already been lined up or has appeared in The Atlantic, Best American Short Stories, Best American Non-Required Reading, among others. She is truly a gem, and this novel is one of the best books I have ever read.

GLA: I haven't noticed many agents remark that they're interested in short fiction, but you did. Do you accept short story collections? Or do you happen to find a lot of fiction clients through their published short stories?

SF: Actually, I mention short fiction for slightly different reasons. Most of my clients write short fiction, and I, for one, think it is extremely important to cultivate one’s short game (wow, a golf metaphor) in order to maximize one’s career potential. What I mean is, I care a lot about short fiction and essays and I have made contacts over the years at all the major fiction posts and work very very hard to place my clients strategically in these publications. Going to a publisher with a publication in The Atlantic under your belt is an enormous advantage. And it often connects the client to other writers that are in the issue, that read the issue, that care about the short fiction world.

GLA: When you say you look for commercial fiction, besides the category of sci-fi/fantasy, are you open to any other pop genre categories?

SF: My take is pretty much that I’ll do what I like. Literary fiction is my first love and I’ve been having a lot of success with these writers, so I’d like to make it clear that I shouldn’t be pegged as an ‘only sci-fi/fantasy guy’. Still, I read sci-fi/fantasy when I was younger, and am now back into it, but that still means I’m looking for the best of the best, careful creative writing and imaginative intelligent ideas. I read some thriller, post-apocalyptic, heist, and mystery, but am not really looking for classical genre. I think I’m looking for something in these categories that define a new era of thinking, like the way my client Ted Kosmatka takes on physics in his writing. I am not really into zombie books, they feel awfully repetitive, but give me a zombie book with a new twist I’ve never seen before, and I’m game, as long as it is well written. (Er, I’d prefer vampires to zombies any day).

GLA: Looking over your recent sales, I see three debuts. What's it like to sell a writer's debut?

SF: This is an interesting question. Certainly there is something magical about starting a writer’s career, and oftentimes there can be more excitement around a debut than a ‘credited’ author, but all in all, selling these books are fairly similar (in a good way). I love finding new authors and helping them get their books into shape and then landing them a book deal. But I also really really love taking on new clients that already have books and are looking for new homes. In many ways, that’s a bigger challenge, having to go against what might be a tough publishing record and make an editor read the new book and not just the old book’s sales record. In the end, both groups of writers are just as happy, sometimes for entirely different reasons, and the phone call to tell them about an offer is amazing either way.

GLA: Interested in any kids stuff? Can you give us any specifics about what you do and don't want to see in the slush?

SF: I do like YA, on the older side, though I have a couple of middle grade and picture book clients. Again, it is all about the good writing and creative angle on what is probably a familiar idea. As to slush, I’d love to get material from authors who care about what they are writing. Who know we need double-spaced pages and easy to read fonts. Who reference publications in magazines (of any sort) and, as a bonus, know what kind of writing I actually like and look for. I want pages in order, not random chapters. And, certainly, ones that spell my name correctly!

GLA: Most common problems you see in the first 20 pages of a fiction partial?

SF: This is very personal, as some problems aren’t problems, they are clearly preference. But often a prologue is a problem. It usually means that there is something shoved into the beginning of the novel to add excitement. (Yes, Twilight has a prologue, but you tell me if it adds anything to the book – I’d say sloppy writing, but I suppose this is a perfect example of how subjective the industry is). Letters, people awakening in the first scene, really dramatic flashbacks/flash-forwards are often turnoffs, not because the writing is bad or you can’t do that as a writer, but to me, it is familiar, and feels uninventive. Again, there is nothing wrong with doing anything you want to start a book, but if you do the same thing everyone else is doing, you better make it stand out.

GLA: I don't know a lot about graphic novels but I see a few sales under your belt. Is the world of graphic novels growing? Shrinking? Staying the
same? Give us a peek into this world.

SF: Growing, for sure. But it is an interesting world. The trade publishers (Random House, Penguin, etc.) are all jumping into the game, some with very fine imprints (Pantheon, First Second, Del Rey). But most are not very confident in how to publish graphic novels, so they take fewer risks, don’t push them the right way, fail to take advantage of the direct market (comic book stores and conventions). It is very hard to get one sold, but we try because we love it, no? Graphic novelists have been doing some of the most amazing creative writing for years in an ostracized world, and now they are being more accepted, and it has been really wonderful seeing their creativity hit the big screen and the big publishers.

GLA: If a writer were interested in submitting a graphic novel to you, would they only submit the text? How should a submission look when it comes in?

SF: Again, this is tough. I prefer to take on writer/illustrators, that can do both. But, to submit to me I’d need a full script and about 5-10 sample pages of art, unless the artist has a portfolio I can get some info from.

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

SF: I will be at New York Comic Con, on a few panels. Otherwise, for the time being, I’ve nothing planned. But feel free to check out our website and submit to me that way.

GLA: Something personal about you writers may be surprised to know?

SF: Hmm. I am from small town West Texas. For some reason that usually throws people well off.

Writing your query? Check out The Writer's
Digest Guide to Query Letters. It's a great,
up-to-date resource for query letter writing.

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 2011 Guide to Literary Agents today!

Agent Advice: Chris Park of Foundry Literary + Media

Chuck — Thu, 08 Jul 2010 22:38:46 GMT

"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 Chris Park of Foundry Literary + Media. Prior to joining Foundry, Chris worked as an editor for several New York publishing houses (Hachette Book Group, Random House) and helped launch an independent publishing company. She has a degree in English from Harvard University and lives in a Chicago suburb with her family.

She is seeking: memoirs, narrative nonfiction, Christian nonfiction and character-driven fiction, and she enjoys working with authors to develop books that are appealing and accessible to a broad audience.

GLA: How did you become an agent?

CP: It’s not terribly interesting—just your run-of-the-mill editor-turned-agent story. I loved being an editor, but it seemed each year more of the job was being taken over by duties that had nothing to do with editing. There were entirely too many days I found myself thinking, If only I could spend all my time working with my authors. And of course publishers only reward editors for looking out for their authors’ best interests when those interests align with their own. So I was already playing with the idea of switching to the agenting side when my family decided to move away from New York so my husband could go back to school. As an editor, I had great respect for Peter McGuigan and it was quite fortuitous that he and Yfat Reiss Gendell were launching Foundry at the moment I was leaving Hachette. Not to brag but my colleagues at Foundry are the best.

GLA: What’s something you repped that came out recently (or will come out) that you’re excited about?

CP: Operation Beautiful by Caitlin Boyle. An extraordinary movement that came out of an ordinary moment that we know all too well—picking ourselves apart in front of the mirror. Caitlin got sick of it one day and slapped a note with the words “YOU ARE BEAUTIFUL” on a mirror in a public bathroom—the note that launched a thousand Post-its! Notes on gym lockers, magazines, diet shakes in the supermarket, you name it. I’m not a big inspiration person, but the message and the means of transmittal were so empowering, and almost subversive in the way it took on all the negative messaging out there about image and beauty. The book is filled with stories and notes that are pretty inspiring—some from women fighting eating disorders, fighting cancer, fighting in Iraq.

GLA: How does your editing background influence your tastes and skills?

CP: It certainly opened my eyes to the reality of publishing. It made me realize just how many obstacles there are to getting a book published successfully, and how badly an author needs a passionate advocate. As an editor I used to prompt my authors, “Ask me about sales projections. Ask me about getting endorsements. Ask me if the book’s been presented to Wal-Mart” so that I could help them understand what was going on behind the scenes. I love that I now get to do that 24/7 in my capacity as an agent. As far as tastes go, I’ve worked on enough books that I figured out what I don’t like. Polemics. True crime. Serial killer novels. Diet and exercise books. I know it’s frustratingly vague, but I love being in the hands of a masterful storyteller, whether it’s fiction or nonfiction.

GLA: When we met in DC, you mentioned working with Christian titles. Can you explain more about what toe or toes you still have in these waters?

CP: Christian books make up about half my list at present. By Christian, I mean orthodox Christianity. I spend a lot of time responding to queries for New Age books and The Secret-type books, and sure, there’s a place for those, but I’m not your man. If Jesus is not mentioned, it’s not Christian to me. I haven’t yet taken on Christian fiction, because I haven’t read anything that made me fall in love. So at present it’s all nonfiction, and most of my Christian writers have some sort of platform in the CBA world. The CBA is taking its time embracing the memoir category, but when it does, I’ll be there. I recently placed a gorgeous memoir, A Good and Perfect Gift by Amy Julia Becker, about her struggle to understand what it means to be created by God when her daughter is born with Down syndrome. I’d love to see more of that kind of thoughtful, emotionally honest writing in Christian books.

GLA: Speaking of DC, did you take pitches? What advice do you have for writers when composing a pitch, whether one to include in a query or in person to an agent?

CP: Please don’t say There’s nothing like it out there. That really isn’t helpful. Try to find a few comparison titles so the agent can get a sense of the book right away. If you tell me your book is The Glass Castle meets The Divine Secrets of the Ya-Ya Sisterhood, I’ll know instantly that it’s a emotionally rich memoir about growing up poor in the South, and since I love both of those books, I’ll move your query to the top of the pile. (And yes, in that example I’ve mixed fiction and nonfiction. Movie comps are good too. If the shorthand works, go for it.)

GLA: I’m a huge Vikings fan, so what was it like to work with Brett Favre on his illustrated autobiography when you were an editor?

CP: Well, I’m not sure if you as a Vikings fan remember this but Brett used to be a Green Bay Packer. I married a huge Packer fan, and in my vows I promised not only to support him in his devotion to all things Packer but to shift my allegiance as well. He got to meet Brett so I think I held up my end pretty well! When we visited him at his house, he was mowing his lawn. He’s as down to earth as everyone says he is. But my favorite Favre is his mom, Bonita. She’s amazing.

GLA: In addition to the Favre book, I see you recently sold a memoir regarding the New Orleans Saints football team. Do you have a fondness for football or sports in general?

CP: I definitely favor football, although baseball seems to translate to the page with greater success. What is frustrating about working with sports books is the frequency with which publishers use the R word—regional—to dismiss their potential. Believe it or not, a number of publishers used that word when they passed on Coach Payton’s book—after he and the New Orleans Saints won the Super Bowl! His book, Home Team: Coaching The Saints and New Orleans Back to Life, pubbed last week and just hit the New York Times bestseller list! Regional schmegional.

GLA: You seem to enjoy memoir and narrative nonfiction, but you also take any straight nonfiction subjects?

CP: Yes, I do play favorites. I just can’t get enough of memoirs and narrative nonfiction. I’m not much of a prescriptive nonfiction person. But I’m open to everything. I’d love to find a parenting book or a thoughtful piece of political writing.

GLA: It says you like “character-driven” fiction. Can you give us a better handle on what this means?

CP: I spent my first years in publishing as an editorial assistant working on a lot of genre fiction, and discovered that it’s not my strength. So I guess what I mean is that I like my fiction character-driven as opposed to plot-driven. No thrillers, suspense, romance, Westerns. I’m most drawn to women’s fiction and literary fiction that is accessible (meaning: don’t send me anything with stream-of-consciousness in the description).

GLA: What’s the best way to submit to you?

CP: A one-page query letter via email: cpark[at]foundrymedia.com, and an excerpt included in the body of the e-mail so I can get a taste right away.

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

CP: Unfortunately, not this year—staying close to home until the baby turns one. But I really should get out there more, am open to suggestions ...

GLA: Something personal about you writers may be surprised to know?

CP: That I’m not a dude! Although that misimpression is sometimes useful (say, when I’m contacting football stars). Chris isn’t short for anything. My parents named me after Chris Evert (not realizing her given name is Christine) and though I suffered through years of tennis camp I have nothing to show for it.

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

CP: I’m not so good with advice. None of this will be new: Spend time reading other people’s books—it’s amazing how many would-be authors look down on what’s out there and won’t deign to step foot in a bookstore. Find agents who have represented authors you admire by reading the acknowledgments pages. Memoir writers, don’t offer your story until you’re emotionally ready to promote it and talk about it ad nauseam. Try to be original and avoid derivative ideas. Buy a Crockpot and use the time you save to write. But not to write a Crockpot cookbook—that one is already on the bestseller list.

If you're interested in Christian writing, check
out the May/June 2009 issue of WD, with a
joint interview with Jerry Jenkins and Stephen King.

Want more information?

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 2011 Guide to Literary Agents today!

Agent Advice: Jessica Regel of Jean V. Naggar Literary Agency

Chuck — Sun, 27 Jun 2010 18:50:47 GMT

"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 literary agent Jessica Regel of the Jean V. Naggar Literary Agency in Manhattan. She agents her own list of children's and adult books while also working in the subsidiary rights department, selling film, audio, and UK rights. She received her BA degree in English Literature from Hunter College.

She is seeking: strong commercial fiction, literary fiction, edgy/hip fiction, young adult, and middle grade novels, children's non-fiction, and narrative nonfiction. She doesn't handle practical nonfiction, inspirational/religion, genre science fiction or fantasy, or political thrillers.

Jessica Regel

GLA: What are some children's writing subjects or styles that you don't see tackled often, and wonder why more writers aren't tackling such a subject/style?

JR: I'd love to see more narrative nonfiction and memoirs for teens. Something similar to In Cold Blood, Eat Pray Love and Random Family, but for issues that would interest teen readers. Memoirs and narrative nonfiction books are so successful for adult audiences, and I really think this is a genre that the teen market isn't hitting. I also think these books could rope in some of the non-readers out there.

GLA: Do you ever turn down work because it's too "smart"—meaning the concept is too complex or the language is too advanced? Is there a fine line?

JR: Not really. However, I'm not typically drawn to books that play with the formats. I've never liked epistolary novels (and don't even get me started on Pamelaby Samuel Richardson). I'm also not a fan of books that are told through verse or text message.

Complexity, however, I love. A book I really liked as a kid was The Westing Game. I just recently reread the book a few months back and realized how much I'd missed—but, I still loved it!

GLA: I've heard that nothing is taboo anymore in young adult books, and you can write about topics such as sex and drugs. Is this true?

JR: I would say this: Nothing is taboo if it's done well. Each scene needs to matter in a novel. I've read a number of "edgy" young adult books where writers seem to add in scenes just for shock value and it doesn't work with the flow of the rest of the novel. "Taboo" subjects need to have a purpose in the progression of the novel—and of course, need to be well written! If it does, then yes, I would say nothing is taboo.

Taboo topics do, however, affect whether the school and library market will pick up the book—and this can have an effect on whether a publisher feels they can sell enough copies.

GLA: Do you find writers proposing things to you as "the first of a series"? Is that helpful or hurtful?

JR: I wouldn't pass on a project just because it was "the first of a series." I would pass on a project that isn't a complete book in its own right—meaning the first book in the series needs to have a beginning, a middle and an end.

GLA: What is the most common reason you reject a query?

JR: In a query, it's simple: bad writing. In sample chapters, the most common reason is because I don't feel the necessary "spark" with a story. I get a lot of responses from writers whose chapters I've passed on asking why I've passed. A lot of times, it's just a subjective gut reaction. If I can't get 100% behind a project, then I'm not going to take it on.

GLA: When you sit down to read a manuscript, what do you want to see (or "feel") in the first 10-20 pages (if anything)?

JR: (Is it a cop out to go back to "the spark"?) I want to be fully immersed in the story from page one. If it's funny, I want to laugh. If it's dramatic, I want to feel connected to the characters. It's a similar feeling any reader has when they go to the bookstore and read the first few pages of a new book. What makes you buy that book? The line, "But it really gets going in chapter 10" is lost on me. No agent, editor or consumer will get to chapter 10 if they're not interested in chapters 1-9.

GLA: What are some children's books you've read recently that you think all children's writers should read?

JR: Well, I, along with everyone else on the planet, just finished the last Harry Potter. Rowling's series is such a modern classic, I think any children's writer should check it out. For the YA audience, I would also say The Sisterhood of the Traveling Pants because it's a wonderful example of how teen girl fiction can be commercial and well-written. Spud is a funny and touching "boy" story. And a book I recent sold, The Patron Saint of Butterflies, by Cecilia Galante, which comes out next spring, is a great example of a book on a serious topic that's told in a compelling way.

Want more on children's writing?

Examine Great High-Concept Hooks for Children's Books.

New children's agent seeking submissions.

How to write picture books for kids.

Buy the kids writers' bible: the Children's Writer's & Illustrator's Market.

Interview with kids agent Joe Monti of Barry Goldblatt Literary.

Read a successful young adult query: "Wake" by Lisa McMann.

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: Ryan Fischer-Harbage of The Fischer-Harbage Agency

Chuck — Mon, 31 May 2010 15:45:14 GMT

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 Ryan Fischer-Harbage of The Fischer-Harbage Agency. Prior to editing, Ryan was an editor at Simon & Schuster.

He is seeking: quality fiction for adults and kids, memoir, narrative nonfiction, current events, health and wellness, and spirituality.

GLA: How did you become an agent?

RFH: After about ten years working in editorial at three of the big publishers, I was recruited by a high-volume, fast-paced agency. The initial change was rooted in the fact that my wife was pregnant and we had a big mortgage and I needed to increase my income. It didn’t take long for me to realize that agenting and editing rely on the same skill set but that agenting is more exciting—it can be a little more entrepreneurial, involve more time with the authors and is much less corporate. After my son was born, I’d been at the other agency for about nine months and realized that I wanted to do things differently, so I started my own firm. That was in February 2007 and we’re now a staff of four plus co-agents abroad and out West.

GLA: What’s something coming out that you’re excited about?

RFH: One of the best novels I’ve read in my adult life is The Blue Orchard by Jackson Taylor. It’s a sweeping novel that tells the story of America’s growing pains as it went from an agricultural to industrial dominated economy, in a wise and artful story. It is about one woman’s life, and told through her point of view, growing up around Harrisburg, Pennsylvania in the first half of the 20th Century. She goes from being a dirt poor, first generation Irish-American who was told she had to work—not go to school—so that her brother could afford to get an education and start a family. She teaches herself to read, becomes a nurse and ends up working for an African-American doctor who performs abortions for the well-to-do. When he stops delivering the African-American vote to the local Republican political machine, the powers that be have the doctor and the nurse arrested for “performing illegal surgeries.” The book was released in January 2010 and has already gone back to press numerous times and begun collecting honors and accolades. I’m very lucky to represent Jackson.

GLA: You have a rich history on the editing side of things and have worked with some impressive names. How does all that background play into your skills and style as an agent?

RFH: Of course I’m biased, but I think the best agents are former editors. Having apprenticed with two of the best editors in the business, Bill Phillips and Michael Pietsch, I learned how to be an effective developmental editor. It’s not easy to help someone make their good work even better. A lot of editors bring too much of their own voice to an edit, and I am proud that I do not. As a believer in the editorial process, I am able to offer suggestions and questions to my clients before their work goes to a publisher. I’m confident that my work has helped both the authors and the publishers, both of whom increasingly rely on agents to do this work. In a more quantitative sense, I know exactly what editors go through to acquire a book—what they want to see, who they need support from, how the determine what to bid on a project. I reviewed 600-1,000 submissions a year when I worked as an editor from most every agent I the business. That experience greatly informs how I bring my clients’ work to publishers. Surely there are great agents who have never been editors, they came up entirely on that side of the business. And they do great work. I just feel lucky to have seen exactly how things go inside the publishers’ offices.

GLA: You and your agency rep a fair share of novels – but what in fiction do you seek and not seek? Romance? Fantasy?

RFH: If a writer is submitting a novel to me, I hope it is for a reason. Good reasons are they like a book that I placed or read or heard something specific about me somewhere. Bad reasons are seeing my name among 2,999 other agents on a website or in a guide somewhere and query me as they carpet bomb each of my colleagues as well. As a generalist, I will read just about anything. But most of my success has been with historic fiction, women’s fiction and crime fiction. Also, a couple of my favorite novels are The Good Earth, Lonesome Dove, Cities of the Plain and The Grapes of Wrath.

GLA: Do you take any children’s?

RFH: I’ve placed a handful of picture books and am building my YA fiction list. It’s going well, but it is not my specialty.

GLA: If tomorrow was a perfect day, what would you find in the slush pile besides “good writing”? In others, what specifically do you not see enough of?

RFH: I’d like to see more academics writing about history and science for the general audience. And it would be fun for me to see more journalists writing character-driven current events and narrative nonfiction. It is always fun for me to read anything that challenges our concepts of equality, economy and power of any kind.

GLA: The agency has sold a lot of nonfiction books on a variety of levels. Is catching your eye as simple as having a good idea and a good platform?

RFH: The word platform is pretty high on publishers’ list of priorities these days. They want people who have been on TV because it is easier to get them on TV again and that’s generally a pretty effective publicity vehicle. But a writer’s platform might be that they are the author of their own memoir. If the writing is great, I’ll read it with interest. Catching my eyes is pretty easy—flatter me. I’m human, it works on me, too.

GLA: You accept memoir. When you reject a submission in this category, where are people going wrong?

RFH: It seems like a lot of people miss the fact that the best memoirs explore universal themes. Readers need to be able to identify with what they’re reading at least a little bit. They’re interacting with the text as if it is a conversation, in my opinion, responding to each line in their own minds at high speeds. Self absorbtion, navel gazing, axe grinding, resentment—these things do not belong in memoir.

GLA: I also see a few dog books in the sales. Without opening the flood gates for every dog book ever written, do you have a soft spot for pooches?

RFH: I have a soft spot for a good story, whoever it is about. There is a lot we can learn from dogs, and all animals, and I’m open to hearing from anyone that can articulate what our furry brothers and sisters have to say.

GLA: Will you be at any upcoming conferences people can meet/pitch you at?

RFH: Mediabistro employs me as an instructor where I teach a one-night seminar on how to write a nonfiction book proposal. Starting in July, I am teaching a six-week workshop called Advanced Nonfiction Book Proposal writing, and a few times a year I teach an eight-week workshop on nonfiction proposal writing. The New School and NYU and Susan Shapiro invite me to speak at panels and courses pretty regularly. I haven’t travelled in a while and don’t have plans to anytime soon. But who knows -- someone might ask.

GLA: How should writers contact you if they want to submit?

RFH: Please e-mail me a one-page query letter summarizing your project and your bio: ryan(at)fischerharbage(dot)com. If you want to paste the first chapter into the body of the e-mail, that never hurts.

GLA: Something about you writers may be surprised to know?

RFH: I write poems. It’s something I’ve tried to get away from but I can’t.

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

RFH: Please be patient with us agents. We are lucky to get a lot of submissions, but it takes us a while to read them.

Looking to build your platform and catch
an agent's eye? Learn from master Christina
Katz with Get Known Before the Book Deal.

Agent Advice: Regina Ryan of Regina Ryan Publishing Enterprises

Chuck — Tue, 25 May 2010 04:26:55 GMT

Agent Interview by

contributor Ricki Schultz.

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 Regina Ryan of Regina Ryan Publishing Enterprises.

She is seeking: Regina primarily represents adult nonfiction. She is particularly interested in projects having to do with architecture, history, business, natural history (especially birds), science, the environment, women's issues, parenting, cooking, psychology, health, fitness, sports, travel, gardening and well-written narrative nonfiction.

GLA: How did you become an agent?

RR: I’d been an editor (at Knopf) and editor-in-chief (at Macmillan) and when I went on my own, I wanted to continue working with authors and ideas. I wore two hats: agent and book packager, but I focused on packaging. After about 15 years, I decided to only be an agent for two reasons: 1) book packaging was very high risk—it required a tremendous investment of time and energy before you knew whether you had a viable project—and 2) I had been mainly creating my own book ideas and I missed the excitement that I’d known as an editor—of being bombarded with new ideas by a variety of interesting, often quirky authors. Now, as an agent, I have all of that, in spades! It’s great.

GLA: Tell us about a recent project you’ve sold.

RR: When Johnny Comes Marching Home: What Vets Need, What They Don’t Need, and What All of Us Can Do to Help by Paula Caplan, Ph.D., MIT Press. The author, a psychologist, argues that we have not learned the lessons of the Vietnam War—that simply labeling vets as having PTSD [Post-Traumatic Stress Disorder] and sending them for treatment with drugs and/or therapy is not going to help solve their problems and, in fact, may be harmful because they are thus labeled as mentally ill. We, as individuals, have to get involved and help them back into society.

GLA: Are there any books coming out now that have you excited?

RR: Yes. Just out is Angel of Death Row: My Life as a Death Penalty Defense Lawyer by Andrea Lyon (Kaplan Publishing). It is the inspiring story of a woman dedicated to helping everyone get justice from our system. She writes movingly about her clients, all convicted of murder, but all special human beings in her eyes and all with stories to tell. She has never had a client executed, and she explains her approach, which is a radical departure from previous practice.
What’s Wrong with My Plant? (And How Do I Fix It?) by David Deardorff and Kathryn Wadsworth is a splendid book, just out from Timber Press. It’s a gorgeous visual guide to diagnosing and curing plant problems organically by a plant pathologist and a horticulturalist. The authors (who happen to be married) are on an old-fashioned cross-country book tour, speaking to master gardener classes and at flower shows and selling hundreds of books as they go.
Another wonderful book coming out this May is called The Thinker’s Thesaurus: Sophisticated Alternatives to Common Words by Peter Meltzer. The author is a lawyer who loves words, especially unusual words (what I think of as “50-cent” words) and spent over 10 years compiling this work. It’s a delight to read and a very useful reference.

GLA: What are you looking for right now when tackling the slush pile?

RR: I always hope for projects that will contribute to making the world a better place. At the same time, I pray for something that will astonish and enlighten me—something that hasn’t been done before, or that is done in such a clever and smart way that one feels one has to read it.

GLA: Among other areas, you have a strong interest in projects involving natural history—especially with regard to birds. What is it that draws you to our feathered friends, and what are you looking for here?

RR: Birds are so beautiful to watch, and their life histories and abilities are so amazingly interesting and surprising that I find them fascinating. I would like especially to represent books by scientists and naturalists that are serious science but that still speak to the general reader. Or, on the other hand, something by an amateur like myself that is beautifully written.

GLA: You also seek projects in the travel category. How healthy is this area at the moment, and why do you think this is so?

RR: Unfortunately, I don’t think it’s terribly healthy. But if the right project came along, I’d be delighted. Armchair travelers are always interested in something fascinating and new.

GLA: Because you only deal with nonfiction, platform must factor into the equation when you consider a project. In your opinion, what’s the best way a writer can build his platform? What impresses you?

RR: The ideal is to appear on the "Today" show as a regular, but since this is not an option for most, there are many things an author can do.
An author should have a website up and running even before approaching me. Plus, he or she should be already using social media, especially Facebook and Twitter, to accumulate followers. He or she should also be capturing e-mail addresses too. The important thing is to be able to show a publisher (and agent) that the author can reach people—lots of them—that are interested in what he or she is writing about.
I’m impressed when I see that an author grasps all this and is doing what it takes to build a platform. For instance, I took on an author whose work was good but not an easy sell. However, she had so many web hits and Twitter followers (she’s up to 50,000!) that I knew she would be a great promoter and could deliver an audience to the publisher. We are now negotiating with a publisher who absolutely loves her Twitter following.

GLA: Name three things that make you stop reading every time they crop up in a book proposal.

RR: 1) Clichés. 2) Bad writing that is poor in grammar or boring. 3) Memoirs written as revenge—showing how rotten someone has been to the author (what I think of as the “poor me” memoir).

GLA: What should writers to know about Regina Ryan Publishing Enterprises, Inc., that they can’t find in your online profiles or Publishers Marketplace?

RR: I’m listed on many sites such as WritersMarket.com, AAR and many others. And I’m in the process of setting up a Facebook page.

GLA: What changes do you think 2010 has in store for the publishing industry?

RR: I think we’re in a time of real flux, so it’s hard to say, except that electronic publishing—e-books and “enriched” books particularly—are going to be more important than ever before.

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

RR: Yes, I will be at the International Women’s Writing Guild’s Big Apple Conference in New York on April 18 and the American Society of Journalists and Authors Conference on the morning of April 23. As well, I will be at the American Independent Writers’ Conference in Washington DC on June 12 and at the Tappan Library in Tappan New York on Sept. 21.

GLA: What is something about you writers would be surprised to hear?

RR: For pleasure, I only read fiction.

GLA: Best piece(s) of advice we haven’t talked about yet?

RR: 1) Say what your book project is right away on one or two sentences, without a big preamble; after that, you can explain it more fully. 2) Do a careful, thoughtful, sharp analysis of the competition. It would be good to include Amazon sales figures with your analysis. Figure out why your book is different and better than each, and articulate that fully. It’s a key to selling your proposal and book.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

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 2011 Guide to Literary Agents today!

Agent Advice: Paige Wheeler of Folio Literary Management

Chuck — Tue, 18 May 2010 15:16:54 GMT

Agent Interview by

contributor Ricki Schultz.

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 Paige Wheeler a founding partner of Folio Literary Management. Prior to forming Folio, Wheeler 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 is seeking: Paige is accepts all commercial fiction and upscale fiction, as well as women's fiction, romance, mystery, thrillers, and psychological suspense. She is also interested in both narrative and prescriptive nonfiction in the areas of lifestyle, relationship, parenting, business, popular/trendy reference projects and women's issues. She is not looking for children’s lit, science fiction, fantasy, or academic nonfiction.

GLA: Why did you become an agent?

PW: I wanted to find a career that combined my love for great writing and my interest in one day owning my own business. I started out in publishing on the editorial side and just loved the industry. I knew I had found my calling. However, I still wanted to own my own company and I wanted the chance to work on a lot of different types of books. I decided to investigate agenting.
     I ended up at an agency that actually didn't handle books but rather was an agency for writers, producers, directors and personalities for television. I added a book component to the mix but was totally wooed by the call of Hollywood and did very well—my clients went on to win Emmys, Writers Guild Awards, and the like. It was great. But my true love of books called to me. I decided to make the transition from television back to publishing, but to bring a broader view to agenting that involved the whole process.
     I started Creative Media Agency and ran that until I realized that the company had grown quickly. In order to achieve my vision of an agency with a difference, I needed to reorganize and work with some partners. The result is Folio. Ultimately, I love being an author's advocate and being part of the process that gets a book published. It's, quite frankly, my dream job.

GLA: Tell us about some recent projects you’ve sold.

PW: I just closed on a deal yesterday for two thrillers for C.E. Lawrence. Her first book just came out a few months ago, and we have another one coming out shortly. She seems on a fast track to doing quite well.
     I also sold some wonderful books by Sheila Roberts—her book, Small Change, a SMP trade paperback will be coming out shortly, and Snow Globe is scheduled to be a Christmas hardcover. Small Change is very timely because it focuses on three neighbors who are hit during the hard economic times. To cope, the neighbors create a club called the Small Change Club and the members decide to simplify their lifestyles and take control of their future. Homing in on issues many readers can identify with, the women search for practical solutions to a common challenge.

GLA: Are there any books coming out now that have you excited?

PW: Of course I'm excited about all of my author's projects, but a couple stand out.
     The Blueberry Years by Jim Minick is coming out in hardcover from Thomas Dunne Books in September, and it's just an amazing story. I tend to be drawn to wish-fulfillment projects, and this beautifully captures what I mean by that term. This memoir is based on Jim’s trials and tribulations as an organic blueberry farmer over the course of eight years. Ultimately, though, this book tells the story of a place shaped by a young couple's dream, how that dream failed, and how that dream and place shaped these people.
     Through Jim’s writing, this memoir explores larger issues facing agriculture in the United States, issues like the rise of organic farming, the plight of small farmers, the fragile nature of our global food system and our nation’s ambivalence about what we eat and where it comes from. A story of one couple and one farm, this book shows how our country’s appetite for cheap food affects how that food is grown, who does or does not grow it, and what happens to the land.

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

PW: I hate to use this tired word (and it's ironic, I know), but I'm looking for something fresh. Either a fresh spin on a tried and true storyline, a fresh angle or viewpoint on a subject matter, or a fresh voice that sounds incredibly appealing.
     For fiction, it's in the writing and the voice—it has to make me want to leave the office in the middle of the day to keep reading. For nonfiction, it's a fresh take on a subject by a person with fabulous credentials and the authority to write about that particular subject.
     I'd love to find some upmarket women's fiction, some great prescriptive nonfiction, one or two fabulous memoirs, and a high concept female-driven thriller that can compete with the big boys.

GLA: What are you sick of seeing in romance queries that come across your desk?

PW: I'm tired of vampire stories that have been done to death (no pun intended). I'm looking for women's fiction, romantic comedies with a fabulous voice, suspense, and everything in between. I work on all types of romance.

GLA: A subgenre you also seek is psychological thrillers. How healthy is this area at the moment, and why do you think this is so?

PW: I'm doing well with my mysteries and thrillers. I think it can be difficult to find a really, really good psychological thriller, but I'm up for the challenge. The market can be tough, too. Ultimately, the pacing, the writing, and the concept have to be exceptional. I really love intellectual thrillers and would love to find one of those.

GLA: I read that you rep young adult, but your website specifies no children’s lit. Can you clarify this for us? Are you separating works of YA from those of middle-grade and below?

PW: Yes, I separate middle-grade from YA. I am very, very selective about the YA that I take on because there are so many other agents handling it at the moment—I have to totally fall in love with the material to take it on.

GLA: How should writers go about first contacting you? Should they send anything along with their queries?

PW: I only accept e-mail queries, and I like to see a query letter, synopsis and first five pages of text in the e-mail submission.

GLA: In your agency bio, you say you’re looking for books where the author has a huge platform. We’ve all heard writers need to have a Web presence (and it doesn't hurt if they have their own TV shows!), but what impresses you in terms of platform?

PW: This is especially important in nonfiction. If an author is a leading expert or on cutting ground of some research—that's great.
     Other elements of a stellar platform include—if an author speaks at a large number of conferences each year and can list his/her speaking engagements; appears regularly in local/national media; writes regularly for a national media outlet; has a website, Twitter account, blog, LinkedIn page, or Facebook page with a huge list of hits/friends, links, etc. Basically, I want the author to prove that he or she can get the word out and has a vehicle in place for reaching an audience.
     For fiction, this isn't as important, but if the author is writing a thriller in which the protagonist is an engineer and the author is an engineer, so much the better. That author can reach out to the engineering community to promote the book. Same is true in upscale fiction and other commercial fiction. Is it pertinent? No. Is it helpful? You bet.

GLA: Do you have any advice on how writers can maximize their success in this changing industry?

PW: I would suggest that aspiring writers read current books by successful authors in their particular area of interest. It's important to pay attention to what's working at the moment as well as what's not working.
     I also have been giving talks at conferences about the tactics of being a career novelist. I give out tips to writers, and here are 10 of them:

Learn the craft
Understand your specialization
Know your market
Find a partner (agent) for this process
Understand the publishing process
Develop a head for business
Realize your role in marketing
Prepare for some missteps
Be able to adapt to change
Learn how to handle success

GLA: Can you tell us about some of the upcoming writers’ conferences you’re attending?

PW: I've just returned from Sleuthfest and in May, I'll be at the Pen to Press conference in New Orleans. June finds me in Washington, D.C., at the American Independent Writers conference, July at the RWA conference in Orlando, and in October I'll be at the Emerald City conference in Seattle. Phew!

GLA: What is something about you writers would be surprised to hear?

PW: I was on the Forensic Team (speaking and debating, not dead bodies) in high school and won a scholarship from Voice of America. Really, it's not about dead bodies.

GLA: Best piece(s) of advice we haven’t talked about yet?

PW: Know what you write and recognize your strengths and weaknesses. It is essential that you know what you are writing (cozy mystery vs. thriller; commercial fiction vs. literary fiction) as well as what part of the craft you need to polish and improve. Ultimately, it's all about the writing.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

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? tparisi@martingunn.com

Agent Advice: Jennifer Mattson of Andrea Brown Literary Agency

Chuck — Sun, 09 May 2010 04:59:59 GMT

"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 Jennifer Mattson of Andrea Brown Literary Agency. Jennifer came to the agency after nearly five years of reviewing children's literature as part of the Books for Youth staff of Booklist magazine. A native of California now based in Chicago, Jennifer has a degree in English from Amherst College.

She is seeking: picture books, middle grade and young adult. For the older set, she is drawn to richly imagined fantasies that depart from old-hat heroic quests (alternate realities, magical realism, and steampunk are all styles/premises to have recently caught her notice). She has a special interest in dystopian fiction for middle graders and in sprawling, atmospheric tales with Dickensian twists and satisfying puzzles.

GLA: How did you become an agent?

JM: After working as a children’s bookseller in New York, and then as an editor at Dutton Children’s Books, I moved to Chicago. Chicago’s not known as a big center for children’s-book publishing, but lucky for me, it is the home base of the American Library Association. I joined the staff of the ALA’s Booklist magazine and reviewed children’s books for nearly five years, but I missed working with authors and participating in the bookmaking process. I knew that agenting could be done from home bases other than New York, and was very fortunate that Andrea Brown Literary was open to expansion at that time. I’ve been agenting with ABLA for nearly two years now.

GLA: What’s something coming out, or recently came out, that you’re excited about?

JM: Kimberly Norman’s picture book, Ten on the Sled, illustrated by Liza Woodruff, will be coming out from Sterling this Fall—it’s a rollicking winter celebration set in the Arctic. On the YA side this summer, watch for Emily Horner’s debut, A Love Story Starring My Dead Best Friend, about a group of friends who band together to stage a crazy ninja musical after the show’s author dies in a car accident; and Jenny Meyerhoff’s Queen of Secrets, about a contemporary conflict between peer and family loyalty that was subtly inspired by the Old Testament story of Queen Esther. I should note that the two previous books were sold by my predecessor Michelle Andelman, but they’re both novels that I’m thrilled to be associated with as the authors’ new agent.

GLA: Let’s talk picture books. Besides rhyming, where are writers going wrong with these submissions?

JM: I wish I could see more picture book authors showing an awareness of that all-important “turn”—the picture-book raison d’etre that leaves readers feeling surprised and satisfied. So many picture books have a nice premise, concept, or tone, but seem to lack critical mass when it comes to the story’s end. Also, voice. Talk about voice is huge among writers of fiction, but less so when it comes to picture books. I really sit up and take notice when a picture book author seems to have a considered, well-developed voice. For instance, I love Kate McMullen’s I Stink, and others in that series, for their great, in-your-face approach.

GLA: Is it true that so many picture book submissions focus on tired subjects, such as going to bed or monsters in the closet? If so, does the foundation of a good picture book come with a unique idea as a foundation?

JM: I’ve heard a lot of editors say they’re looking for “high-concept” picture books, which I take to mean a picture book with some sort of succinctly stated, unusual premise. A vegetarian vampire, or something like that. So, certainly a fresh idea is a big part of what would excite an agent’s interest, but for me it’s also sensibility—a sense of the kind of varied language and sentence structure that works for young children, a keen awareness of the powers of the pageturn, and a respect for the future illustrator’s contribution.

GLA: If the normal length of a picture book is 32 pages, should submissions not actually be that long to leave room for covers and title pages?

JM: Word counts are more important than page counts at the manuscript stage. Most editors will want to figure out how and where the text will break from page to page themselves, so it’s useful for authors to paginate their manuscripts, but not necessary (and in some cases, not advisable) to submit them that way. By knowing the range of word counts that can work for the picture book audience, you’ll be taking covers, title pages, and other frontmatter into account by default. A lot of writers I know use what’s called “mentor texts” to get a sense for appropriate word counts; these are the texts of published picture books typed out into a Word document, allowing you to really get a sense for what a functional picture book manuscript looks like on the computer screen.

GLA: Concerning MG and YA, it seems like so many agents these days are searching for the next dystopian hit, after the success of Hunger Games. Are you seeing a lot of dystopian come in through the slush?

JM: Yep.

GLA: In your bio, you talk a little bit about what kinds of fantasy you want to see vs. those you don’t. Can you delve into this a little more, in terms of what catches your eye and what doesn’t work for you?

JM: I’m not a big fan of sword-and-sorcery, witch-and-wizardry fantasies, especially those in which characters from our own world open a portal into another world (and often discover that they’re some kind of descendent of that world, and/or some kind of prophesied savior). Having said all of that, I do like Suzanne Collins’ pre-Hunger Games hit, the Gregor the Overlander series, which does involve a kind of portal! (I never promise to be consistent.) Some of my favorite fantasies feature alternate realities that are just slightly tilted from our own: Philip Pullman’s His Dark Materials series, Elizabeth Knox’s Dreamhunter Duet. I also relish fantasies that explore culture quasi- anthropologically: Ursula K. LeGuin’s Earthsea was a huge touchstone for me growing up, and I love Shannon Hale’s romantic, folksy fantasies, as well as Sharon Shinn’s books.

GLA: You say you will always look for good stories that take great voice over a high–concept hook. Is this what drew you to Tom Leveen’s Party? What did he do right and what can other writers learn from him?

JM: Tom was originally signed to Andrea Brown Literary by our former agent Michelle Andelman. When Michelle left to become a scout, each of the remaining agents were given the opportunity to “adopt” her clients, and I jumped at the chance to work with Tom. As you say, his voice just stood out—his interstitial narrative has a relaxed, authentic feel, and the dialogue between his characters really pops. Tom has a background in theater, and I think his experience reading scripts and performing on stage proved an exceptional training ground for writing dialogue and communicating the volumes spoken through body language.

GLA: Will you be at any upcoming conferences people can meet/pitch you at?

JM: I’m attending Big Sur in the Rockies, a conference run jointly by Andrea Brown, and SCBWI-Colorado’s Rocky Mountain Chapter, May 14-16, 2010, in Boulder, Colo. And I’ll be at the SCBWI-Illinois Prairie Writer’s Day, Nov. 13, 2010.

GLA: Something about you writers may be surprised to know?

JM: I love to take dance classes, any kind of dance, but lately especially ones choreographed to really corny top-40s music. Right now I’m taking a class with the amusing title “Cardio Strip,” which always makes me laugh. I’m definitely a great prospect for writers whose characters dance.

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

JM: The best piece of advice I ever received, from Anita Silvey, who met me for an informational interview back when I was trying to break into children’s publishing, was “work in a bookstore.” I was lucky to have an indie children’s store to train at—Books of Wonder in NYC. But I’ve also worked in children’s sections of chain stores. It’s fantastic advice for writers, too. You can’t get more valuable, direct experience of what goes on the bookstore shelves and what leaves them, and the conversations with customers are useful, too. Plus: You can often cadge galleys from the buyers.

Want more on children's writing?

Examine Great High-Concept Hooks for Children's Books.

New children's agent seeking submissions.

How to write picture books for kids.

Buy the kids writers' bible: the Children's Writer's & Illustrator's Market.

Interview with kids agent Joe Monti of Barry Goldblatt Literary.

Read a successful young adult query: "Wake" by Lisa McMann.

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: Jud Laghi of the Jud Laghi Agency

Chuck — Mon, 03 May 2010 01:05:00 GMT

"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 Jud Laghi of The Jud Laghi Agency. He began his career as a literary agent at ICM and, before forming The Jud Laghi Agency, was a Senior Agent at Larry Kirshbaum’s LJK Literary Management. He graduated from Trinity College with a B.A. in English and creative writing, and lives in his native Brooklyn with his wife and daughter.

He is seeking: narrative nonfiction, popular culture, memoir, humor, sports, pop science and business books, as well as literary fiction and thrillers.

GLA: How did you become an agent?

JL: I was a writing major in college and after graduation I got job at ICM, working in the Training Program—I was looking for a way to get the lay of the land for books and film, and at worst come away with some connections for my own writing. Ultimately, I took an assistant job in the literary department, which wound up being like grad school for the book business and for agenting through working with and watching the agents there do their thing. I continued to work on my own writing, but I also got hooked on the creativity and energy involved in working with other authors, and felt like I was seeing books that could work that weren't out there. So I started taking on my own clients and sold my first book, which was The Hipster Handbook.

GLA: You were part of LJK Literary but have now formed your own agency, correct? Will this change how to contact you or what you seek?

JL: I started The Jud Laghi Agency in March, and I recently launched my website at www.laghiagency.com, which has the various ways to contact me, including submission guidelines. As far as what I'm looking for, that hasn't changed.

GLA: What’s something you repped that recently came out that you’re excited about?

JL: There's a few: Henry Schlesinger's The Battery (HarperCollins), which explores how batteries have played a huge, if understated, role in technological advancements throughout history. I'm also excited about Susannah Gora's You Couldn't Ignore Me If You Tried (Crown), on John Hughes and The Brat Pack and their effect on popular culture, Eli Kintisch's Hack the Planet (Wiley), on geoengineering, and Ken Denmead's Geek Dad (Gotham), a sort of high-tech Dangerous Book For Boys based off of a popular blog from the Wired Magazine website.

GLA: You’ve repped some big books. Brainiac, for example, and Why Do men Have Nipples? In these cases, did you seek out the authors and start a conversation about a book deal? Or did they come to you?

JL: For Brainiac, I contacted Ken Jennings directly about doing a book while he was in the middle of his winning streak on Jeopardy! back in 2004, and the idea grew from being just "How I won on Jeopardy!" into the more substantial take on trivia that the actual book wound up being. On Why Do Men Have Nipples?, Mark Leyner had been one of Amanda Urban's clients for years, and he and Billy Goldberg had pitched her the basic idea for the book, which was originally titled Cocktail Party Medicine. She asked me to work with them on it, and I was already a fan of Leyner's novels so it was a good match.

GLA: Let’s look at some other big books you repped: Found, and The Hipster Handbook. These are fun ideas. When you talked with the writers, did they have a platform in place? I guess my question is: Is it possible to get a fun pop culture or humor book published without a platform?

JL: It's funny because I found both books through websites at a time when people were still down on the Internet, right after the dot-com bust. With The Hipster Handbook, Rob Lanham had been running freewilliamsburg.com for a few years and was covering what started in Williamsburg, Brooklyn with the music and bar scene. "The Hipster's Handbook" was a short sidebar piece that he had on the site that was a tongue-in-cheek glossary of how Hipsters talked, and it hadn't really gotten much attention yet—I just thought it was funny and on-point. There wasn't any real template for Web-to-book deals then, and definitely no reliance on page views and unique visitors or links from other websites. We just leaned on the quality of the idea itself. Rob worked to put together a strong proposal for it, with new material like the personality profiles and the "Are You A Hipster?" questionnaire, and he brought in a great illustrator in Jeff Bechtel. So the whole thing was more a product of talent, hard work and timing than it was of a highly-developed platform. That came once the book was done.
With Found, Davy Rothbart and the rest of the Found crew had already built a grass-roots following for the magazine, which had published one issue, and their website. When I got in touch with Davy about a book, he had also been doing pieces for This American Life already and there was a buzz building around Found in general that culminated with The New Yorker doing a "Talk of The Town" piece just before we sold the book. So in that case there was a pretty well-formed platform in place, with a built-in fanbase and readership for the publisher to work from.
The lesson is, you can make a pop culture idea fly without a highly-developed platform, but obviously it needs to be original and really good. These days, there's really no reason you shouldn't be building momentum at least through a website or blog, and in trying to get other people with a following to link to you. There's plenty of cynicism about blog-to-book deals now, some of it warranted some if it not, but the truth is that there is no better way to audition a concept-driven pop culture idea right now than through the internet. And unless you've established yourself in some other way to get something of a following, it's become the equivalent of a new band playing small clubs before they take their demo to the major record labels.

GLA: You say you rep a broad range of fiction, but it’s not so easy to tell what you want to see and don’t. Can you give us some specifics? For example, no fantasy, or yes to literary, etc.

JL: Fiction for me really is "know it when I see it," but I generally like novels with an edge to them, both commercial and literary. Authors I like include Denis Johnson, Joseph O'Neill, Richard Price, also Elmore Leonard, Michael Crichton and Thomas Harris. I'm a huge Terry Southern fan, although he would probably be difficult to sell if he were an unknown today. I'm not looking for Sci-Fi, Fantasy, Westerns or Romance at the moment.

GLA: Three common problems you see in query letters?

JL: Trying to be too hard to be clever. Being too long-winded. Being too informal.

GLA: Do you accept memoir?

JL: Yes.

GLA: I’m going to ask you a question and just give me the first thing that pops back. What’s one thing writers can do to be successful in this industry—one that’s transforming and changing?

JL: Hang in there and write what you enjoy and are passionate about—don't try to game the system and predict what it is that people are going to buy in droves two years from now, because it will come through in the writing as being forced. Do treat it as a business and do everything you can to get your book in the best shape it can be before submitting it to agents, whether it's workingshopping your novel with other writers, or hiring an outside editor to help polish your proposal.

GLA: Going to any upcoming conferences where writers can meet/pitch you?

JL: I'll be at the Writer's League of Texas Conference in Austin this June.

GLA: What’s the best way to contact you if writers want to submit?

JL: They can send their queries to me at submissions(at)laghiagency.com. The full submission guidelines can be found online here.

GLA: Something personal about you writers may be surprised to know?

JL: I'm the captain of an agents and editors basketball team. We've come close to winning the league championship a couple of times—this is going to be the year.

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

JL: Keep abreast of the new technology that involves reading and how people are interacting with it. It changes practically every day, but the core of what's taking place is a complete revolution in the access of one person to many, which is a dynamic that the book was the first real advancement in. That doesn't mean people will want to read an epistolary novel written in tweets, but while everyone is waiting to see whether the Kindle or the Ipad will win, there could be something that catches us all completely by surprise.

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 2011 Guide to Literary Agents today!

Agent Advice: Lisa Bankoff of ICM

Chuck — Sun, 25 Apr 2010 16:57:44 GMT

"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 Lisa Bankoff of ICM (International Creative Management).

She is seeking: literary fiction, some women's fiction, some mainstream fiction, and narrative nonfiction written by journalists.

GLA: How did you become an agent?

LB: I was an assistant at ICM and learned by paying attention and asking questions. I was very motivated and wanted to somehow be part of a book's genesis, an act of creation that still astounds me, one thin page after another adding up to a thing of heft and consequence.

GLA: What’s something recently released that you’re excited about?

LB: A recent novel which has a special place in my heart and has sold very well and yet no one seems to have heard of is Laura Kasischke's In a Perfect World. Two others on the cusp of publication: A Fierce Radiance, by Lauren Belfer (June 2010) and Adrienne McDonnell's debut novel The Doctor and the Diva (July 2010).
And a very special and unique work, nothing else like it, is David Lipsky's road trip with David Foster Wallace, Although Of Course You End Up Becoming Yourself.

GLA: You specialize in literary fiction. What draws you to this unique category?

LB: If by literary we mean writing that's assured, intelligent, distinctive, sometimes playful and wry, and never boring, then the question becomes how could I not be drawn to it?

GLA: I would imagine literary fiction isn’t the easiest thing to sell. Is it getting easier or harder as time goes on?

LB: It's head-banging hard on some days; on other days, it's the one thing editors can't get enough of—and those are the truly great days.

GLA: Two of the first fiction authors I looked up of yours were Elizabeth Berg and Claire Cook. It seems like many/most of their books could be classified as women’s or upmarket fiction. More than just “literary fiction,” do you find yourself gravitating toward upmarket fiction with women protagonists?

LB: What they share is a talent for capturing the voices and concerns of women with whom many readers identify; their characters feel familiar but in a good way. It's fair to say that upmarket fiction with female protagonists finds me; it's not that I'm on the prowl for it.

GLA: Elizabeth Berg had a book picked for Oprah’s Book Club. What was it like getting that news?

LB: I got the call on an otherwise very quiet weekend in the country and it was like a shot of pure adrenaline. Her books were enjoying strong sales up to that point but we knew this would be of a whole different magnitude. And it was.

GLA: Do you represent any of the pop genres such as romance or thrillers?

LB: No.

GLA: Besides fiction, you do seem to look for quality nonfiction. Would you describe your “wants” here as narrative nonfiction only? Or can a writer pitch you something simpler—like a great self-help book?

LB: I'm not the right agent for self-help.

GLA: Three most common mistakes you see in a query letter?

LB: You wouldn't believe how often I receive a query in this vein: "Dear Ms. Bankoff—I know you represent Ann Patchett and therefore believe you'd like my novel about the erotic adventures of a marauding serial killer/rapist/arsonist." Huh? There are a garden variety of other mistakes, many of which result from sloppiness, but that's the one which seems to set my teeth on edge.

GLA: Best way for writers to submit to you?

LB: Last week I sold an astonishing first novel by Jessica Maria Tuccelli whose query letter arrived the old-fashioned way, by snail mail. We had no mutual friends. She did her homework, became familiar with many of the authors I represent, and described her novel in three resoundingly effective paragraphs. I could barely contain myself.

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

LB: I've spoken at the Tennessee Williams Festival in New Orleans a couple of times. The organizers do a brilliant job there. I've got nothing scheduled right now.

If you're writing fiction and want to
make your prose sizzle, check out
The Fire in Fiction by agent Donald Maass.

Want more on this subject?

See all agent interviews here.

Word Count Guidelines for Novels and Children's Books.

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: Kelly Mortimer of Mortimer Literary Agency

Chuck — Wed, 21 Apr 2010 13:59:59 GMT

Agent Interview by

contributor Ricki Schultz.

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 Kelly Mortimer of Mortimer Literary Agency. The founder and president of the Christian Media Association, she has received the 2008 American Christian Fiction Writers “Agent of the Year” award as well as a spot in 2008’s Top Five on the Publisher’s Marketplace list of “Top 100 Dealmakers” in the romance category. She also has a Web site for writers called Perils of Publishing and a Yahoo group that follows her agency.

She is seeking: contemporary romance, contemporary inspirational romance, mainstream fiction, paranormal, comedy, thrillers/suspense, young adult, and has eclectic tastes in nonfiction. She is not looking for: chick lit, middle-grade, children’s books, picture books, cozy mysteries, erotica or romantica, fantasy, novellas, poetry, sci-fi, or historical westerns.

GLA: How did you become an agent?

KM: I was a writer, and my editing partner kept buggin’ me. She thought I’d make a great agent. Then I got a nudge from The Big Dude Upstairs. Actually, He whomped on my head for nine months, and I finally said, “If You insist…”

GLA: You have described yourself as “the Extreme Agent” and “the un-agent,” and the tagline on your agency website is: “Diabolically Diligent. Maniacally Moral. Defiantly Different.” Can you tell us what you mean? What sets you apart from other agents—other than your masterful use of alliteration?

KM: I’m extreme because I’m fearless. Inside, I’m on fire. There’s no one I won’t walk up and talk to, no risk I won’t take if the reward can be great, and nothing I see as impossible. I’m the un-agent, as I haven’t forgotten the client hires me and I work for the client; it isn’t the other way around.
     My three-sentence tagline explains who I am. By diligent, I mean I answer e-mails and calls right away. When a client sends me work, I edit it and send it out right away. My clients get a monthly report showing them where their work is, and how many times I’ve followed up. When I can’t get to something in a timely fashion, I explain and apologize. Moral means what I do has to be moral as well as legal. I’d rather hack off my arm than cheat someone. Defiantly different means I’m vocal about my views, and my views aren't always the popular ones. What makes me different? Many things, I think.
     1) I only sign pre-published writers (I hate the term “unpublished”), or those not pubbed at a traditional house in the last three years. That doesn't mean I’m looking for newbie writers—I can only mentor so many. I sign writers who are just shy of ready—or are ready, but can’t get a break.
     2) I keep a short list of around 15 active clients.
     3) I’m not in this for the money. When I sign a client, I don’t worry about how soon I can get them published and collect my commission. I make sure their best work goes out, even if it takes longer to make it cleaner.

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

KM: The last two books I sold were for a writer who’s been with me since July ’07, Kelly Ann Riley. I told her to keep writing, and I’d keep editing/submitting, and if we hung in there, we’d get published. She won RWA’s Golden Heart Award in 2009, and I later sold that manuscript, titled Firestorm, to Steeple Hill Love Inspired for their romantic suspense line. I also got her a deal with another publisher, Guideposts, to write for their mystery series. So, now she has contracts with two houses.

GLA: You won American Christian Fiction Writers “Agent of the Year” award in 2008, and you represent several inspirational writers. Would you say you specialize in Christian literature? As well, what draws you to it?

KM: I’m a Jesus-lovin’ woman. Big time. I also have a heart for Jewish people. God draws me to certain writers, and God brings certain writers to me. I think the manuscripts some inspirational writers write are harder to sell. They may need more help than secular writers. I wanna help those who need it most. I wanna give back. In the first half of my life, I charged up a huge debt there was no way I could pay. (Dropped outta high school, ran away from home, and was a drug addict). Then Jesus comes along and says, “Hey, Kel—walk away. I’ve already paid that debt for you. You can still make something of yourself. I want you to help a truckload of people. I’ll give you what you need to succeed. Trust Me.” I trusted Him. No rehab, no AA, no patches required. I’m one stubborn broad. I never fail, because I don’t quit until I succeed. I have God in my corner. By the time I hit my 30s [long gone now…bummer], I’d earned multiple degrees with honors and changed my life. I have a goal for my second half: when I get to Heaven, I want God to say, “Ya done good, Kel. It ain’t about how you started the race, it’s about how you finished it.”

GLA: Inspirational and secular romance can be polar opposites in terms of subject matter, yet one of the areas you seek is contemporary inspirational romance. Can you help define for writers what this is and give a few examples of what you’re looking for here?

KM: People have a misconception that romance novels are all about sex. They aren't; they’re about romance. Secular romances and inspirational romances have a lot of things in common: they deal with emotional attraction, they have characters who fall in love, and they always have a happy ending. There are also differences. Secular romances build more sexual tension and describe the “hot-and-bothered” stuff to different degrees while inspirational romances concentrate on the emotional reasons men and women fall in love—they don't address physical attraction. The characters need marriage to “seal the deal,” and writers haveta close the door on the love scenes. To me, that doesn't detract from the romance; it adds mystery to it. So, if you're writin’ romance for the secular market, I want the love scenes as fiery as possible—short of erotica, which is a sub-genre I don’t rep—and if you write inspirational romance, I want writing that’s squeaky-clean when it comes to sex, although there are exceptions.

GLA: Concerning your interest in young adult literature, what are you looking for right now and not getting?

KM: I’m lovin’ all kinds of young adult right now. I don’t need historical/classic fantasy YA; I have enough irons in the fire there. I’d love to see contemporary stuff: paranormal, suspense, comedy, drama. I like third-person point of view better than first. I get a lot of first-person submissions.

GLA: If a new writer asked you how to build his platform, what would you suggest?

KM: Pray. Okay, more than that. Here are some things editors look for in a platform:

A great hook. An interesting hook holds some weight. Find an angle that’ll perk an editor’s interest.
A national radio or TV appearance pumps the jam. No, it isn’t impossible to get on a show. Believe it or not, producers need to fill tons of TV minutes and are always hunting for interesting guests for their shows.
Get something published. Submit articles to magazines and newspapers. You can start with local publications, and then expand. Writing credits show someone thought enough of your work to publish it.
Have a strong presence in online communities like Facebook, Twitter, Myspace, ShoutLife, etc. If you have thousands of “fans” or “friends” and a ton of people are following your tweets, they are all potential buyers of your book.
Ask high-profile authors to endorse your work and sing your praises. [No, publishers won’t consider your mother high profile.]
If you don’t know any such authors, start networking. It’s never too early to meet people who can help you in the future. Hook up with a local writers’ group and attend the meetings. Remember this mantra: Contacts, contacts, contacts = Contracts, contracts, contracts.
Create a blog and drive traffic to it. You need a mountain of hits. [We’re talkin’ Everest, here.] Write on interesting topics. Also, ask well-known writers, agents, and editors to guest blog, and then promote the heck out of it. E-mail everyone you know [and ask them to e-mail everyone they know]. Post announcements on every loop that will let you do so.
Plan a blog tour. It’s like a book signing tour, except you “tour” prominent writers’ blogs.
Be willing to place a Facebook ad. One of my clients did and doubled her sales.
Put up an eye-catching website, and give people a reason to come back. (Excerpts, articles, contests, etc.)

GLA: You have eclectic tastes when it comes to nonfiction; however, you specify that, when dealing with nonfiction book proposals, you prefer conservative writers with purpose and platform (though you also specify you believe everyone deserves representation). Can you talk to us a little more about that?

KM: I list an extensive amount of nonfiction topics because I have an extensive list of interests. When it comes to politics, I prefer conservative topics. I like purpose and platform, meaning I favor proposals that have a higher purpose—possibly to teach, inform, or help others—but, I also like interesting topics, whether they have a purpose or not. I need proposals with a strong platform because editors require one. For areas other than politics, proposals don’t need to have a conservative point of view.

GLA: How hands-on are you in terms of editing? How much input do you expect to have with your clients’ work?

KM: I do what I call “triple-threat editing.” When I sign a new client, I give their manuscript/proposal a content, line, and proof edit. My purpose is to sell my clients’ work, not edit it; yet, the cleaner the manuscript, the better the chance I have to sell it.

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

KM: I have a schedule on my website.

GLA: Best piece(s) of advice we haven’t talked about yet?

KM: “Rise, and rise again; until lambs become lions.” [From Ridley Scott’s 2010 film starring Russell Crowe: Robin Hood.]

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

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 2011 Guide to Literary Agents today!

Agent Advice: Gordon Warnock of Andrea Hurst & Associates Literary Management

Chuck — Thu, 15 Apr 2010 15:07:29 GMT

Agent Interview by

contributor Ricki Schultz.

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 Gordon Warnock of Andrea Hurst & Associates Literary Management. With a B.A. in Creative and Professional Writing, Gordon helps his clients polish their manuscripts and book proposals by using a combination of industry knowledge, a sharp editorial eye, and his experience as a college-level tutor.

He is seeking: When it comes to nonfiction, Gordon is looking for memoir, pet-related projects, cookbooks, self-help, true crime, current events, humor, how-to, and health and dieting. In fiction, his interests lie in commercial narrative, character-driven literary, monster and disaster, pets, and humor. He is not interested in religious fiction, women’s fiction, new age, or children’s and young adult.

GLA: How did you become an agent?

GW: I came into it as a writer looking for more hands-on knowledge of the business. It stuck immediately because of how much I enjoy helping other writers find the success they deserve. I also like being able to do my small part to change the face of publishing in such a pivotal time.

GLA: Tell us about a recent project you’ve sold.

GW: I actually had one just come out a few days ago. I found Gail Margolies Reid in the slush pile, of all places. She had great credentials and could really write, but her proposed manuscript was lacking.
Fortunately, Andrea and I were kicking around ideas for The Complete Idiot’s Guide to Low-Cost Startups, and Gail fit in perfectly. Alpha/Penguin signed her on, and you can now find her work in bookstores.

GLA: Are there any books coming out now that you’re excited about?

GW: Oh, yes. I’ll be at the release party for Visions of Joanna Newsom on 3/13. Head in Flames by Lance Olsen is another. I have also been waiting for Abraham Lincoln: Vampire Hunter and Paul is Undead since they sold. Tim Burton just signed on to film Lincoln, which I am a bit excited about, though there is still no word on Paul. I imagine that is for the best, as it would essentially end up being like A Hard Day’s Night with less screaming and more moaning.

GLA: What are you looking for when tackling the slush pile?

GW: Originality. Don’t be afraid to push the boundaries and invent new characters. If one more person tries to pitch me Holden Caulfield, I may scream.

GLA: One of the areas you seek is “monster and disaster.” When I think of these things, Godzilla immediately come to mind. What exactly are you looking for here? How can writers break out of "beast terrorizes city and breaks a lot of stuff" mode and deliver something fresh?

GW: Again, I’m looking for something new. It can be clever or frightening or just plain ridiculous. One recent submission included a kosher vampire who only bites fish. Don’t be afraid to poke fun at yourself. Humor is another area I actively seek out.

GLA: Speaking of kosher vampires, any thoughts on the next big monster movement?

GW: We’re in it right now. Taking important cultural moments or historical situations and interposing a bit of paranormal escapism is really taking off. Pride and Prejudice and Zombies, starring Natalie Portman will soon be a reality. From Jane Austen to Star Trek to the Beatles, nothing previously sacred is exempt from the movement. It’s only a matter of time before we’re reading The Sun Also Rises from the Dead.

GLA: One of the nonfiction categories you represent is true crime. How healthy is this area at the moment?

GW: There have been a lot fewer deals thus far in 2010, but there are a few I am excited about, most notably one covering Al Capone’s youth in New York. It is a fascinating category, but one that is becoming increasingly selective.

GLA: Name two things in a book proposal that will elicit an automatic rejection from you.

GW: Demanding a seven-figure deal because you look like Bon Jovi and including pictures to try and prove that point. I am quick to send the loonies to the bin. On a more serious note, I will not work with a piece that isn’t socially responsible. I have come across several that may have had a pretty good chance of selling, but I refuse to aid in unfounded scaremongering and helping people cheat on their spouses, to name a few.

GLA: What must the publishing industry do in order to thrive in the coming year?

GW: Actively adapt to the growing digital market. The economic recession and advancements in technology have led to the highest-ever sales in the cheap, convenient e-book format. There is a precedent in the music industry that publishers could and should study for their own applications. Publishers need to create a workable business model and a way to regulate the new medium in conjunction with the old. Do not replace the old altogether. Just like LPs, a real book is warmer and smells better.

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

GW: Of course. I love to get out and talk to writers. In addition to the online Nonfiction Writers Conference (April 28-30, 2010), I’ll be at the Wyoming Writers Conference (June 4-6, 2010) in Cody, the American Independent Writers Conference (June 12, 2010) in DC, the Willamette Writers Conference (August 6-8, 2010) in Portland and East of Eden (September 24-26, 2010) in Salinas, CA.

GLA: What is something about you writers would be surprised to hear?

GW: I play a mean ukulele.

GLA: Best piece of advice we haven’t talked about yet?

GW: Write. Just write.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

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 2011 Guide to Literary Agents today!

Agent Advice: Elana Roth of Caren Johnson Literary Agency

Chuck — Fri, 09 Apr 2010 14:32:42 GMT

This interview is part of The First Novels Club
live-blogging the SCBWI-EPA 2010 Pocono
Mountain Retreat from April 9-11. Check
out www.FirstNovelsClub.com for regular
updates on Elana's sessions and more.

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 Elana Roth of Caren Johnson Literary Agency. Elana began her career at Nickelodeon Magazine, which made her fall in love with children’s publishing. Afterward, she spent nearly 5 years as an editor at Parachute Publishing, a packager specializing in children’s book series. She’s spent the last two years as an agent, and loves working with her clients closely, being very hands-on editorially to get those existing (and already fabulous) manuscripts just right.

She is seeking: children's and young adult books, and is primarily looking for high concept middle grade and YA fiction. She will consider picture books from author/illustrators only. She considers a select number of adult projects for narrative nonfiction, pop culture and pop science. No vampires.

GLA: How did you become an agent?

ER: I started as an editor at a packager for five years. Packaging involves a lot of concept creation, and really structured development of book projects, especially a series. After a few years of learning the ropes and managing a few series on my own, I started to ask my bosses if I could help develop original projects in-house. Not only is that coming up with ideas, but also looking for writers to attached to those projects. So I started calling agents, and developing relationships with them, and realized what I was trying to do was what agents were already doing—developing authors. One thing led to another and I switched sides. It’s been two great years so far and I feel incredibly lucky to be working with my authors.

GLA: What is something you repped that recently came out that you’re excited about?

ER: I have 2 amazing books that just released in March. The first is what I think is the awesomest picture book in the whole world: Doug-Dennis and the Flyaway Fib by a debut author/illustrator, Darren Farrell. The reviews have been great, comparing him to Mo Willems and Jon Scieszka, so now I’m just crossing my fingers that readers find it and talk about it so this one can break out in a really tough picture book market. (That was definitely a hint for you to help. If you think it’s hard to get a picture book published, it’s even harder to break it out.)
The second is a stellar dystopian YA novel called Epitaph Road by David Patneaude. The premise got me from the very beginning: a world where men have mostly been killed off by a virus and women turned what was left of the planet into a virtual utopia. Only nothing is ever as simple as it seems. It’s a great adventure story that I’d recommend to boys and girls alike, and that I think will help tide over those of us who are anxiously awaiting the last Hunger Games book.

GLA: I’m looking forward to seeing you at SCBWI-EPA’s Poconos Retreat. You’re leading a session on query letters, and a great query is told in the all-important “voice” of the novel. Any advice on how to incorporate voice in a query?

ER: I’m not sure I think great query letters must be told in the voice of the novel, necessarily. But they do need a voice. Some voice. Your voice. You can tell when a writer is a natural, and can convey simple ideas and plot summary without being boring or giving away too much. Unfortunately, this is a bit of a “you know it when you see it” situation. But that’s what I hope to explore at the session, which should be really enlightening for the writers who are attending!

GLA: You’re also speaking about Internet marketing and social networking for authors. Can you list for us your favorite author website/blog and book trailer and why?

ER: Internet presence and image has become a personal cause of mine lately, which is why I’m giving this session at the conference. I can probably name more bad websites than I can good ones. And some of the “best” (coolest?) author websites are the ones that are utterly unaffordable, like J.K. Rowling’s of course. Most people can’t afford such intricate design and coding, and the truth is most people don’t need it. There are amazing platforms available now to give you a professional, attractive and manageable site.
Separate from the agenting, I actually just started my own company, Cone 6 Media to provide that service, with an eye toward authors specifically. I realized there was a real need after I was helping some of my clients get set-up and seeing how convoluted and frustrating the process can be. Most recently I did the Doug-Dennis website, which is adorable. I have a lot of fun with the sites and design, love working with authors, and I’m open for more clients.
In terms of trailers, I have to say I don’t pay that much attention to them. I don’t think they help all that much, but they certainly can’t hurt. My client, Pam Bachorz, did a very affordable, attractive one for Candor that you can see on her website and I’ve always liked Micol Ostow’s trailer for So Punk Rock (searchable on YouTube). They’re short, to the point, and display the personality of the book without being cheesy.

GLA: What’s one trend you’re hoping for in children’s writing, or a hole in the market you want filled?

ER: I happen to be one of those agents who don’t like to harp on trends. I might be tired of the ones that are still going (ahem, vampires), but I think there’s a natural ebb and flow to them, and it’s useless to try to fit into one, or start one. The market does what the market does. I always like to quote agent Jennifer Laughran, who gets all the credit in the world for saying, “There’s always a market for awesome.” I’m less focused on what trends are there, or which I’d like to see, and just looking for something to blow my mind.

GLA: How can writers get the most out of a conference?

ER: Conferences are great for two main reasons: you can network with other writers like you, and you can attend sessions to educate yourself about the industry and business. They are not there for finding an agent, or circumventing the agent search by finding an editor to grab up your book. As far as I’m concerned, conferences are only there for education and networking. My favorite part of attending a conference is running a session where I get to teach something, and not just get pitched picture books I’ll never represent. There’s no correlation between whom I’ve signed and whether they go to conferences regularly. So come to learn, and not for a contract.

GLA: Will you be at any upcoming conferences besides this one?

ER: Yes! I’m going to SCBWI Arkansas’s Spring Conference at the end of April in Little Rock. I’ll also be at the Backspace Writers Conference in New York in May. Beyond that, my calendar is open and I’d love some invitations.

GLA: What’s something personal about you writers would be surprised to know?

ER: I come from a huge family. No, really. I’m the oldest of five kids, and my youngest sister just graduated from high school. I also teach afternoon Hebrew school. This means I’ve never really had a chance to lose touch with real kids and teens, and probably why I love working on content for them so much.

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

ER: Keep your butt in the chair. It’s tempting to obsess over this query letter faux pas, or that agent who said, “Never do X.” We both help and hurt by pumping the Internet full of more interviews, blogs and Twitter feeds. If you’re spending all your time on message boards, how much time are you writing? At the end of the day, the writers who keep their butt in the chair, do the work, read everything, and write great books will get noticed. The rest is details … and more than a little common sense, of course.

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.

Want more on this subject?

Check out Donna's guest column: 7 Things I've Learned So Far.

Check out Donna's guest column: Demystifying contracts.

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: Cameron McClure of Donald Maass Literary Agency

Chuck — Mon, 05 Apr 2010 14:32:48 GMT

Agent Interview by

contributor Ricki Schultz.

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 Cameron McClure of the Donald Maass Literary Agency. She joined the Maass Agency in 2004 and, in addition to her own growing client list, Cameron handles the agency's foreign and film rights.

She is seeking: Cameron represents mostly fiction and is especially interested in seeing literary fiction, mystery and suspense, urban fantasy (fantasy and SF set on Earth), and projects with multi-cultural, international, environmental, and GBLT themes.

GLA: How did you become an agent?

CM: My first job in publishing was working for Curtis Brown, for an agent who handles primarily romance. I’ve never been an avid romance reader, and coming off of four years studying “literature” in college, it was the perfect introduction to commercial and genre fiction: what most people actually buy and read. I was very attracted to the freedom you have as an agent, to work with whatever material you connect with and think you can sell, regardless of category. I was hooked.

GLA: Are there any books coming out now that have you excited?

CM: I have a lot of exciting books coming out this season. [Robert Jackson Bennett’s] Mr. Shivers (Orbit), a horror novel set during the Great Depression has been described as a mix of Stephen King and John Steinbeck.
     I have three new urban fantasy series debuting this spring: [Carolyn Crane’s] Mind Games (Bantam), about a hypochondriac who learns how to weaponize her neurosis; [Sonya Bateman’s] Master of None (Pocket), about an unlucky thief who must partner with a surly male genie; and [J.A. Pitts’s] Black Blade Blues (Tor), featuring a lesbian blacksmith, Norse mythology, and dragons.
     And in May, I have a literary crime novel [by Emily Winslow] coming out called The Whole World (Delacorte).

GLA: What are you looking for right now when tackling the slush pile?

CM: “Good writing” and “voice” are high on the list, as is a strong plot, original premise, both internal and external character conflicts, and a sense of suspense or narrative momentum. When I’m reading, I need to feel that the story is really going somewhere, and I look for writers who are making their scenes work double duty for them in terms of moving the story forward.
     In the last couple of weeks, I’ve seen a lot of superb writing with unique narrative voices, but weak overall storylines. What I’m looking for are projects that incorporate all of these elements.
     I also get a lot of urban fantasy pitches that seem really derivative. If you’re writing in a saturated field like urban fantasy, or, say, thrillers, it’s important to know the genre well enough to come up with an out-of-the-box concept.

GLA: One category you seek is GLBT (Gay, Lesbian, Bisexual, Transgender), which we have not discussed very much on the blog. What are you looking for here? Perhaps describe some past books you’ve represented in this area and what made you decide to take them on?

CM: I’m really looking for the same story elements as I described above. It drives me crazy that I get so many queer memoirs and coming of age novels where the author assumes that it’s enough to just be gay, and nothing much else is going on in their stories other than this identity crisis. I don’t mean to trivialize that experience, but at the same time, many coming out stories don’t make for a riveting read or can sustain the scope of a novel all on their own. This only works if you’re writing at the level of someone like David Sedaris or Alison Smith.
     In fiction, most of the authors I work with who have published in this field are looking to bridge the gap and write something that is true to the queer experience but will have mainstream appeal. In nonfiction, I work with Keith Stern whose reference book, Queers in History (BenBella) was published last summer.

GLA: I read you are particularly drawn to mysteries and thrillers. In your mind, what separates these three categories?

CM: The way I see it, a pure mystery is where the crime has already happened, and the protagonist must solve it. In a thriller, the protagonist is often waiting for the crime to occur or working to prevent it. Mysteries can be more introspective, with a focus on the protagonist’s mental powers of deduction, where thrillers are known for more action and physicality. In mysteries, a key element of the plot is hidden from the reader, such as (most traditionally) who the villain is. In a thriller, you often know who the villain is fairly early on, and the plot is centered around a game of cat and mouse.

GLA: What do women’s fiction writers need to do in 2010 in order to thrive—and what are you tired of seeing here?

CM: In women’s fiction, I see a lot of female characters who spend a good portion of the book as victims, or not taking charge of their own lives. It’s hard for me to get behind characters like this. I know that throughout the course of the story they will step up and create better situations for themselves, but in the meantime, we are stuck with a weak character.
In a lot of women’s fiction submissions, I see really strong and well-developed internal conflicts, but sometimes there is no external conflict at all, which is a problem for me. Also, don’t call it chick lit.

GLA: Do you find a lot of writers mislabeling women's fiction as chick lit and vice versa? What do you think is the number one difference between these two areas?

CM: I see chick lit as being women’s fiction’s peppy and more commercial younger sister, and even though these books are still being published, no one is calling them “chick lit” anymore.

GLA: In a query letter, what will elicit an automatic rejection from you?

CM: Writers who send their query to tons of agents at once, or who simply paste a link to their blog or website and tell me to read their material. I have no interest is working with lazy people.

GLA: How important is platform to you, and does it differ between writers of fiction and nonfiction?

CM: I mostly work with fiction writers, so platform isn’t as important to me. It certainly matters, but not nearly as much as the actual novel, and I don’t weigh it very heavily when deciding whether or not to take on a new author. Most fiction writers I sign have a website or blog or some kind of web presence, and if they don’t, I encourage them to develop something, as long as it doesn’t take too much away from working on their book (or their next book).

GLA: What is something personal about you writers may be surprised to hear?

CM: This isn’t very surprising for those who know me, but I spent last fall building the ultimate child carrying bicycle from a $20 bike off Craigslist and lots and lots of spare parts. It's not very pretty, but it rides!

GLA: Best piece(s) of advice we haven’t talked about yet?

CM: Read more books. It’s one of the best and most enjoyable ways to improve your craft.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

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 2011 Guide to Literary Agents today!

Agent Advice: Marlene Stringer of The Stringer Literary Agency

Chuck — Wed, 31 Mar 2010 14:06:05 GMT

She is seeking: Fiction interests include mystery, thrillers, contemporary and urban fantasy, science fiction, historical fiction, women’s fiction, romance, and YA/teen. Nonfiction interests include history, military history, parenting, music, sports, and science.

GLA: How did you become an agent?

MS: I met Barbara Bova socially, and after we got to know each other, we decided to work together at her agency. My editorial and writing background was good training, and I really enjoy the business side, and being an advocate for writers. My mission was to broaden the scope at that agency, and bring more romance, women’s fiction, thrillers, etc., to the agency, which I did. I formed my own agency in December of 2008, so we celebrated our first anniversary in December.

GLA: What’s something coming out that you’re exciting about?

MS: I am thrilled as each book comes out! Something brand new is The River Kings' Road, by Liane Merciel, a debut fantasy that received a starred review in PW. Alex Bledsoe will have a new series coming from Tor featuring the Tufa, amazing contemporary fantasy, and next year Michelle Diener has a new Tudor thriller series debuting from Gallery. On the YA side, Shari Maurer has a debut novel, Change of Heart, coming in May, Alyx Harvey’s Blood Feud, second in The Drake Chronicles, arrives in June. In romance, Gabi Stevens has a paranormal romance series The Time of Transition, with The Wish List released end of April. I love variety!

GLA: You represent (and sell!) a lot of paranormal/urban fantasy. What draws you to this category?

MS: I love contemporary fantasy, and urban fantasy just works for me. I think it’s a lot more accessible than traditional fantasy for a lot of readers as it deals with a "contemporary" world. There’s a lot of energy in all fantasy, and a willingness to stretch boundaries that I find irresistible. I also seem to receive a lot of really good urban fantasy submissions.

GLA: Within urban fantasy, are you looking for anything in particular?

MS: I like novelty. Anything can work as long as it’s a fresh take. However, it would take a really special vampire story to appeal to me now, though, as there are so many.

Marlene represented Alex Bledsoe's
urban fantasy, Blood Groove

GLA: Taking that same question more broadly, what are you seeing pour in through the slush pile? And what would you love to see more of?

MS: I’m seeing a lot of recycled concepts that don’t really bring anything new to the table. “New” doesn’t mean merely different character names and settings. I would love to see more romance, women’s and book club fiction, and thrillers.

GLA: I was looking over your recent sales on Publishers Marketplace and (I could be wrong), but I saw a lack of science fiction. It just seems that I see very little science fiction on anybody’s list. Is this a tough sell? Is it tough to find good writers?

MS: Not for lack of looking! I have a particular fondness for earth-based science fiction. Good stories are hard to find. I think in speculative fiction there’s been an emphasis on fantasy over the past decade. I would like to see more science fiction.

GLA: Are you looking for some of the more unique fantasy subgenres, like cyberpunk, splatterpunk and steampunk, etc?

MS: I love steampunk, and I am looking for it.

GLA: Three most common problems you see in query letters?

MS: 1) Query isn’t targeted. With the ease of e-mail queries, writers tend to send to agents who are not looking for what they’re pitching. They rely on second or third-hand online information regarding the agency, when they should take the time to look at each agent’s website or sales history.
2) Query is sloppy. The query letter is usually the first intro to the agent. I often compare it to a cover letter for a resume—would you send something out without really proofing it? Yet writers do, again and again, and wonder why they are rejected.
3) Query includes wrong information or is incomplete. Again, just look at the websites. Agents are not interchangeable. We have different tastes and ask for different materials in submissions. More apt to yield a successful result if you include what is requested.

GLA: It says you rep “YA/teen.” Do you also take middle grade?

MS: I do. I’ve always represented YA. When I went out on my own, I started accepting middle grade submissions. I love middle-grade, and have sold two fabulous debut authors who will be released soon. Randi Barrow’s Zasha, the Last German Shepherd to Scholastic, and Jen Blom’s Possum Summer recently to Holiday House. I’m a sucker for animal stories as long as they have no “Bambi” moments! I love the middle grade age group. It’s the time kids really begin to form their own taste in reading. If you turn a child onto reading then, you've got them for life. I’m always looking for middle-grade, and would love to find something that appeals to boys, too.

GLA: Your website is undergoing a makeover. Any idea on when the site will be overhauled and up?

MS: Soon. Very soon.

GLA: How should writers contact you if seeking representation?

MS: One of the things I’m changing is that I will no longer be accepting snail mail queries. It is much easier and quicker to respond on e-mail. So writers should contact me at stringerlit@comcast.net. If you query by e-mail, make sure your e-mail account accepts responses. Bounce-back emails due to filtering will be discarded, as will queries sent to mass recipients. Place the word "query" in the subject line of your e-mail. Include contact information, the first five pages of your manuscript and a short synopsis within the body of the e-mail.

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

MS: I will be attending The Writers Institute in Madison, WI in April; and RWA National in Nashville.

GLA: Something personal about you writers may be surprised to know?

MS: I’m a NYC native.

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

MS: Writing is an art and a craft. It takes time to master any craft. An agent should not be the first reader. Understand that, and don't submit your material before it's ready, and the odds of success increase.

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 2011 Guide to Literary Agents today!

Agent Advice: Anne Hawkins of John Hawkins & Associates

Chuck — Sun, 28 Mar 2010 19:29:12 GMT

Agent Interview by

contributor Ricki Schultz.

She is seeking: Anne has an eclectic list, ranging from thrillers to literary fiction to serious nonfiction. She has particular interests in science, history, public policy, medicine and women’s issues. She is not looking to represent self-help, new age, erotica, how-to, advice/relationship, horror, Westerns, category romance, action/adventure, science fiction, fantasy, or juvenile.

GLA: Why did you become an agent?

AH: My brother-in-law John Hawkins recruited me for several reasons. He knew that I was a great lover of books and had, in fact, taught English in the past. Also, he had seen me negotiate in an entirely different field, and that gave him confidence that I could handle the business aspects of the job.

GLA: Tell us about a recent project you’ve sold.

AH: I've cut deals for any number of my established authors, and it's always a thrill to see their careers grow and flourish. Your readers, however, might want to hear about the sale of a first novel. It started with a cold-call e-mail query that intrigued me. I asked for a synopsis and sample pages, and I was simply blown away by the quality and originality. fter reading the full manuscript, I immediately offered representation. This book, The Informationist, by Taylor Stevens, sold to Sarah Knight of Shaye Areheart Books and will be a lead hardcover title in Winter 2011. So far, it has sold in six foreign language markets, and CAA [Creative Artists Agency] is currently marketing it to film interests.

GLA: Are there any books coming out now that have you excited?

AH: I have two wildly different books coming out in April—Kristy Kiernan's third novel, Between Friends (high-concept women's fiction), and Michael Pewtherer's Wilderness Survival Handbook, a guide to outdoor survival with minimal manufactured equipment. One of the great things about my job is the variety!

GLA: What are you looking for right now when tackling the slush pile?

AH: I'm always on the lookout for "reading group" books, whether fiction or nonfiction. These are books that, while entertaining, also have ideas and content worth discussing.
I also love historical fiction, but it is so difficult to find one that hits on all cylinders. Writing good historical fiction is challenging because, in addition to the hurdles that all novelists face, historical authors also have to do massive research, incorporate historical detail in an interesting way, and craft a convincing voice that is suitable to the period.

GLA: You don’t work with much genre fiction, other than thrillers and mystery/suspense. With particular regard to thrillers, do you prefer any subgenres, such as legal, psychological, or supernatural thrillers, etc.? Anything you tend to stay away from?

AH: In thrillers, I'm looking for strong characters, outstanding storytelling, and an original concept. Too many queries give me that "been there, done that" sort of feeling, so I don't pursue them. Truth to be told, I like thrillers that don't fit neatly into any subgenre. The Informationist, mentioned above, is one of those. Both the editor who acquired it and I remarked that we hadn't seen anything quite like it before. That said, I find legal thrillers a tough sell in today's market, and I just don't care for any sort of fiction with supernatural elements.

GLA: One of the nonfiction areas you represent is biography. What is essential to a solid biography proposal?

AH: That's a really tough question. "Serious" biography most often requires serious author credentials. Think of Robert Caro's multivolume biography of Lyndon Johnson or David McCullough's biography of John Adams. "Lighter" biography, such as Seabiscuit or Longitude, often categorized as "niche history," requires only a compelling voice and exacting research.
Of course, the proposed book cannot treat an individual whose life has been documented many times already. And the subject has to be of interest to a substantial readership.

GLA: Is there anyone in particular about whom you’d love to see a biography written?

AH: I can't think of anyone specific offhand, but as Justice Potter Stewart said: "I know it when I see it."

GLA: I read in an interview you did last year that you take on a number of “cold queries.” Agents seem to differ across the board in terms of whether or not they think authors should personalize these types of queries (i.e., “I see you rep Author X, so I hope you will be interested in Manuscript Y”). How do you feel about this? Do you prefer cold queriers jump right into the pitch, or does a little personalization go a long way?

AH: By all means, personalization goes a long way. If a query letter begins with something like, "I'm a huge fan of your author Tasha Alexander... ," I'm predisposed to read on.

GLA: How can writers maximize their success in this changing industry?

AH: It goes without saying that a writer must hone his craft to the highest level possible. Once that's accomplished, however, a writer needs to put on his business hat and devise a smart strategy for gaining representation and eventual publication.
If I could give unpublished authors one piece of advice, it would be this: Learn as much as you can about the publishing industry, how it works, and who the players are before beginning the query process. Publishing is a quirky business, and things often happen in a nonlinear fashion. The author who adopts a learn-as-you-go philosophy runs the risk of making costly, even disastrous mistakes.

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

AH: DFW (Dallas Fort Worth) Writers Conference, April 10-11, 2010; American Independent Writers Conference (Washington, D.C.) June 12, 2010; Anhinga Writers Conference (Gainesville, Fla.) July 28-31.

GLA: What is something about you writers would be surprised to hear?

AH: I played the bassoon professionally for many years.

GLA: Best piece(s) of advice we haven’t talked about yet?

AH: Don't assume that everything you read online is true. Some writer-friendly websites do offer accurate, up-to-date information. Others perpetuate wild untruths. As a case in point, I Googled myself and discovered, among other curious things, that: 1) I am a top agent for horror fiction (I have never represented a single horror novel), and 2) I am one of the top ten agents for YA fiction (In my entire career, I have represented only one young adult novel). Get the picture?

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

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 2011 Guide to Literary Agents today!

Agent Advice: Shannon O’Neill of The Sagalyn Literary Agency

Chuck — Mon, 22 Mar 2010 16:57:16 GMT

Agent Interview by

contributor Ricki Schultz.

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 Shannon O'Neill of The Sagalyn Literary Agency. Director of Domestic Rights, Shannon is a native of the Washington region. She has a Masters of Arts in Writing from Johns Hopkins University and graduated with honors from Dartmouth College. She worked for Island Press and Politics and Prose Bookstore before coming to the agency in 2007.

She is seeking: The Sagalyn Literary Agency specializes in quality nonfiction and mainstream fiction. They do not represent romance, westerns, science fiction, poetry, children's books, or screenplays.

GLA: Why did you become an agent?

SO: Since childhood, books provided me things that nothing else could—an unwavering supply of companionship, escapism, entertainment.
     In high school and then at Dartmouth College, I started taking creative writing classes and found that I didn't just enjoy reading, I was also curious about how poems, short stories, novels, and long narratives were constructed and assembled. I got a Masters in Writing from Johns Hopkins University while working as an assistant editor at a small publisher and as a bookseller at Politics and Prose, a powerhouse of an independent bookstore here in Washington DC.
     When I learned more about what agents do, I was struck by the combination of skills the job required, and I started looking around to see what agencies were located in DC. I was lucky enough to land at a place where editorial input is welcomed as essential, and where each project is given ample time and attention, no matter what.
     I love meeting with potential authors and helping them hatch an idea, and then watching/helping/guiding as that idea grows into a book proposal and a full-fledged manuscript.

GLA: Tell us about a recent project you’ve sold.

SO: I've worked on a host of eclectic projects lately—everything from a biography of a Civil War general to a book on the health of presidents and how it affects their policies while in office to a look inside the modern mysteries of aviation and the air travel industry. Basically, a lot of nonfiction from experts in their fields who have the writing chops and the clear voice needed to appeal to a general audience.

GLA: Are there any books coming out now that you’re excited about?

SO: I'm very excited to see Judy Pasternak's Yellow Dirt come out in the fall from Free Press. Judy is a marvelous writer and, in this book, she tackles a subject that demands attention. The United States government undertook uranium mining operations on the Navajo reservation during the frenzy of the Cold War and left behind a contaminated wasteland. The local people have suffered immensely as a result, and this book is a reckoning for all the world to see.

GLA: What are you looking for right now when tackling the slush pile?

SO: I pray for someone who has done their homework. By that I don't mean a nicely written “grabby” query. By that I mean someone who is intimately involved in the inner workings of the field that they are writing about or who has at least done extensive research on their topic and knows it inside out.

GLA: Looking at your agency’s title list, I notice the majority of subjects—in both fiction and nonfiction—deal with the political, the historical, or the military (which makes sense, being that you are based in the DC area). Do you notice any trends in the kinds of projects that pique your interest, in terms of subgenres or elements that particularly grab you?

SO: The best writing embodies a sense of discovery. As far as subject matter goes, my tastes are catholic and wide ranging. In terms of execution, I tend to be quite orthodox.
     So pique my interest with your discoveries about why insects congregate, your new findings about how the limbic system affects cognition or your new theory about how the war in Afghanistan will end. But hold it by writing in an engaging and effectual manner about what that means about human behavior, how we can recover from brain trauma, or what that means for future geopolitics in the Middle East.
     Details can be captivating, but the big picture is what concerns us all.

GLA: You teach a number of writing and publishing workshops at The Writing Center in Washington, DC. One of your current classes focuses on the idea that writers have four distinct artistic personalities. Can you tell us a bit more about that?

SO: I think that writers are often too hard on themselves in the initial stages of the creative process—that, or they think that first stage is the only one. Writing is a methodical process that involves drafting and revision, rereading and revision, more drafting, more revision ... you get the point.
     You have to let yourself go and write that sh*tty first draft (Hemingway said it, not me!)—just let the ideas flow and get it out on paper. But that's not the draft you show to anyone except your cat or your spouse. There's a lot of work that you need to do to get it to some end stage where it can be judged and reviewed by a person like an agent. So that particular class talks about the stages along the way.

GLA: With the amount of nonfiction your agency represents, author platform must play a major role in your everyday decisions when considering book proposals. We’ve all heard writers need to have a Web presence (and it doesn't hurt to have your own TV show), but what impresses you in terms of platform?

SO: Doesn't have to be much—a couple well-placed, thoughtful articles in well-known publications, or even just publications that are important to your field. I like reading projects from academics and journalists, as long as they can translate their style from that of their profession to that of the general book reader.

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

SO: There might be a few others in the spring and summer, but I know for sure I'll be at the June 12, 2010 American Independent Writers Conference in Washington, DC.

GLA: I read you came first in your age group in the XTERRA Fugitive 10K in June 2009 (congrats, by the way!). Is there anything else writers might be surprised to learn about you personally?

SO: Wow, you did some serious sleuthing to come up with that one. I'm impressed. Running is a big part of my life—though I prefer longer distances than 10k. I'm a marathoner, really. And I enjoy the training as much, if not more, than the racing. Kind of like the writing process and the finished product ...

GLA: What should new writers do in 2010 to keep up with the publishing industry?

SO: As a new writer, I would worry less about e-books and more about sustained narrative, creating an arc of a story, and incorporating telling detail into your writing. Yes, it's important to keep abreast of trends in publishing. But you have to have something worth publishing first. Start worrying about industry stuff when your first book is out and you're cracking on the second.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

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 2011 Guide to Literary Agents today!

Agent Advice: Quinlan Lee of Adams Literary

Chuck — Mon, 15 Mar 2010 14:47:54 GMT

Agent Interview by

contributor Ricki Schultz.

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 Quinlan Lee of Adams Literary. Prior to joining Adams Literary, Quinlan worked for eight years as a freelance children’s writer for Scholastic, HarperCollins and Simon & Schuster, working on licensed projects for Clifford Puppy Days, Dora the Explorer, Hello Kitty and the Planet Earth series.

She is seeking: interested only in children’s, middle-grade, and young adult literature.

GLA: How did you become an agent?

QL: I had worked in children's publishing for years as a writer and knew the importance of having someone focus on the business aspects of a writer's career, so a writer can focus on his or her creative process.

GLA: Tell us about a recent project you’ve sold.

QL: Penguin recently bought Time Snatchers by Richard Ungar, which will pub in Fall 2011. It is the exciting story of a 14-year-old orphan and conscripted time thief from 2061 New Beijing who steals treasures from the past for a Fagin-like character named Uncle. (Richard is also a picture book author and artist, and this is his debut novel.)

GLA: Are there any books coming out now that have you excited?

QL: Dark Life by Kat Falls pubs this May with Scholastic Press. It is an amazing story set in an apocalyptic future, where global warming and rising oceans have forced people to settle in underwater communities. From the moment I read it in our submissions inbox, I couldn't wait to share with other readers.

GLA: Adams Literary specializes in juvenile literature—picture books to middle-grade to young adult and everything in between. Do you find you gravitate toward a particular age group within kids’ lit?

QL: I love all children's and YA literature—from clever picture books to edgy YA. However, if I read the first pages of a middle-grade novel where the character's voice rings true or a YA novel that creates a world that seems familiar but lives only in the author's imagination, it goes to the top of my reading pile.

GLA: Do you accept any nonfiction?

QL: We do accept nonfiction, but Adams Literary is selective in taking on nonfiction authors and projects because it is a challenging market. A great example of nonfiction that we love is Vaunda Nelson's Bad News for Outlaws, which recently won the Coretta Scott King Award.

GLA: What are you looking for right now when tackling the slush pile?

QL: Books that appeal to boys are often hard to come by—I'm always looking for something that would make my nine-year old son laugh out loud or stay up past his bedtime, reading with a flashlight under the covers. When I'm tackling the slush pile, I want the same experience—to be sucked in so completely by a character or story that I want to stay up past my bedtime to finish it.

GLA: Do you notice any trends in the kinds of projects that pique your interest, in terms of subgenres or elements that particularly grab you?

QL: Of course, high-concept Dystopian stories are big in the market right now, and I find them fascinating. The great thing about these stories is that worlds can vary greatly from the underwater settlements of Dark Life to the disparate colonies of Panem in Suzanne Collins’s The Hunger Games, so each one is interesting and fresh.
     The best ones tell an enthralling story, but also raise important moral and life-changing questions that readers are dealing with in today's world.

GLA: What would you say is the number one mistake writers make when writing for kids?

QL: Bad children's writers don't think very highly of children—in a picture book, they go for cute instead of clever; in middle-grade fiction, they over-explain or dramatize a character's emotions so the reader is sure to “get-it”; and in YA, they assume edgy only means sex and drugs, not the tightrope of teenagers’ emotional lives.

GLA: How healthy is kids’ lit at the moment? Do you see it increasing or declining in the coming years?

QL: Literature for children and young adults is a bright spot in the challenging publishing market and continues to grow. For example, adult hardcover sales were down 17.8% for the first half of 2009 versus the same period in 2008, but children's/young adult hardcovers were up 30.7%. Another great trend is adult readers are gravitating towards YA books because they're well-written and tell a compelling story. Who doesn't want to read a book like that?

GLA: Name two things writers can include in their queries that will elicit an automatic rejection from you.

QL: Adams Literary only accepts children's and young adult literature—so anything that's adult goes out immediately. That said, we read everything that comes in through our e-mail submission form from our website (www.adamsliterary.com). We receive more than 6,000 submissions annually, so be patient in waiting for a reply, but we will respond.
     Queries that put up red flags say things like, “I made this story up for my grandchildren and they love it!” or “I don't know anything about children or writing, but I've always wanted to be writer.”
     Conversely, showing you take your writing seriously and know the industry by attending SCBWI or other writing conferences, being in a writers' group or having an MFA in writing from a reputable school make your query stand out.

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

QL: I'll be attending the SCBWI Carolinas Conference in Charlotte, North Carolina, September 24-26, 2010, and I'll also be on the faculty of the annual conference on Children's Publishing at Carthage College in Wisconsin on October 1-2, 2010.
     You can also meet other Adams Literary agents at these events: Tracey Adams will be at the NJ SCBWI, June 4-5, 2010, and Josh Adams will be on the faculty of the National SCBWI Conference July 29-August 2, 2010, in LA.
     You can always visit Adams Literary's website to submit and to learn about other upcoming events.

GLA: What is something about you that writers would be surprised to hear?

QL: I am a writer myself, so I know the absolute joy and horrors of a blank page. I am also aware of the dangers of thinking that being a “published author” will make your life complete. I encourage all writers to learn the truth that Anne Lamott puts so beautifully in Bird by Bird, that “Writing has so much to give, so much to teach, so many surprises. The thing that you had to force yourself to do—the actual writing—turns out to be the best part.”

GLA: Best piece(s) of advice we haven’t talked about yet?

QL: Don't send something on the first day that you write the last word. Patience! Let your writing sit for a while, let others read it and tell you what confuses or bores them, and then read it again yourself and see what worked better in your imagination than it does on the page. After that, revise. I see so many submissions with potential, but few with the confidence and maturity that comes from working on something until it is fully developed and ready for us to send it out editors.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

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 2011 Guide to Literary Agents today!

Agent Advice: Kate Epstein of The Epstein Literary Agency

Chuck — Tue, 09 Mar 2010 20:45:14 GMT

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 Kate Epstein of The Epstein Literary Agency. Kate founded her agency in 2005, after four years' acquisitions experience at Adams Media. Kate Epstein holds a B.A. with Highest Honors in English from the University of Michigan. She lives with her husband and two children outside Boston.

She is seeking: The only fiction she accepts is YA. On the nonfiction side, she likes Crafts, Fashion, Health, Humor, Inspiration. Journalism, Lifestyles, Memoir. Nonfiction Narrative, Parenting, Pets, Popular Culture, Reference, Relationships, Self-Help, Travel, and Women's Interest

GLA: How did you become an agent?

KE: The short answer is that I quit my editor job, paid my town $20 for a business certificate, and hung out my shingle. My background as an editor was invaluable; I also took a number of agents out to lunch or drinks, in exchange for which they let me pick their brains. These days I still find it helpful to solicit advice, at times, and I’m always open with my own. (Even agents more experienced than me seem to find me useful at times.)

GLA: What's something coming out right about now that you're excited about?

KE: Jeffery Guidry’s memoir, An Eagle Named Freedom, releases in May from William Morrow. It’s a moving story of a man who volunteers in wildlife rescue and his relationship with a very special bird.

GLA: You used to be an editor. How does your background play into your skills and style of agenting?

KE: I find it immensely useful to know where an editor is coming from when issues arise. Editors are, for authors, the face of their publisher, and sometimes have to present decisions that were not made by them unilaterally. While at times it’s my job to be a bad cop so my clients can protect their relationships with their editors, I keep in mind that there are always people involved.
I’m extremely good at the ventriloquism and sympathy involved in editing a manuscript, and I delight in such work. I love to seek ways to make a book more what its author dreamed it could be.

GLA: Your history is specializing in nonfiction, and I see a lot of pet- and animal-related books you've sold. Are you still looking for books in this area?

KE: Absolutely I am. Nonfiction for adults was my exclusive focus for a several years and now I’ve added YA fiction and nonfiction. Nonfiction continues to stand out among submissions because so much of what I’m getting now is fiction. When it comes to pet books, I know a good deal about what I can sell and a good, credentialed author in that area is especially welcome, because I do bring so much expertise to that area. Doing your homework and making it show in your query that you’ve read my website is still the best thing you can add to a great query to make me pay attention.

GLA: You probably see more book proposals than most anybody. Can you give writers three tips on improving their proposals?

KE: The most important thing to remember is that it is a sales piece. It should be professional—but also dynamic. It’s great to dot your i’s and make sure all the pieces are there, but you need to transmit a level of excitement about your project.
A really common problem is a weak marketing plan. I do understand the challenges people face in this area. I believe that even if your efforts are unlikely to directly generate more than a few hundred sales, that you should still describe what you are going to do personally to push your book. An ambitious, even creative, plan for what you will bring to the effort tells a publisher that you will be an eager partner, and that any resources they do provide you will not be ill-spent.

An Eagle Named Freedom

GLA: What are some bite-sized helpful tips writers can take home concerning how to boost their platform?

KE: I think the most important thing is to understand your audience. Know them well. The trap of platform-building—apart I suppose from simple burnout—is that talking can preclude listening. Talk (I mean that broadly—if it’s online it’s typing, of course) about who you are and what you have to offer, but at the same time, listen (or read) and learn.

GLA: Concerning the slush, besides "good writing" and "voice," what are you looking for and not getting? What do you wish there was more of in the slush pile?

KE: Practical nonfiction by credentialed authors is certainly the smallest stack in my pile, and I’d love to see more of that. I’ve placed a couple of craft books recently, and more of that is welcome. Uncredentialed authors that want to write practical nonfiction should, as a rule, team with someone more credentialed. If I were more on top of my slush pile right now, I could better answer this question, but thus far I’m getting the strong impression that a lot of YA authors have embraced hackneyed ideas about high school and social strata. Plot and character are to me the two most important things; I think most people that attempt YA realize how vital plot is, but to me character is just as important.
     I can truthfully say that I’m open to all kinds of topics in YA.
     When it comes to memoir, I’m always curious about peculiar jobs or unusual experiences, and I tend to see a lot more books about family life, which aren’t necessarily as interesting to me.

GLA: Recently you made an announcement about taking on your first fiction submissions—with young adult. What draws you to young adult?

KE: I really thought for many years that I had lost much of the ability to gobble a book like a delicious meal, to be so absorbed in it that the real world looks pale. I thought perhaps that was a childish thing. When I started reading YA again, I realized that it is a function of the books themselves. Good YA draws in a reader and doesn’t let go, but it doesn’t stint on plausibility or fullness of character.
     I fear to comment on my favorite subgenres because it’s so hard to say how I’ll feel about a book without looking at it, and there isn’t wide agreement about what defines certain genres. (For example, by my lights The Hunger Games, which I adore, is obviously science fiction. But not everyone seems to agree.) When a novel has speculative elements—fantasy, sci-fi, paranormal—I tend to like it most when it reflects in some way on the world we live in. This has not generally been a norm of fantasy (Tolkien told the truth when he said he didn’t write allegory), but it can certainly appear.

GLA: You also said you'd take on YA nonfiction. Do writers still need to submit a proposal?

KE: Absolutely publishers will expect a proposal for YA nonfiction. I’m pretty open in this area. It’s probably pretty narrow, though, since young adults read nonfiction for adults as well.

GLA: Best way for writers to contact you?

KE: E-mail, definitely, kate[at]epsteinliterary[dot]com. I have a rule set up so that if you’re not in my address book and your email has “query” in the regarding line, it’ll get sorted correctly. My guidelines are on my website; I’ve recently started asking for the first three pages for all memoir and fiction submissions.
     The only reason I have not simply closed the door to paper submissions is because I am committed to the first amendment rights of prisoners, and prisoners generally can’t e-mail. Everyone else should be able to, is my point of view.

GLA: Something personal about you writers may be surprised to know?

KE: My undergraduate thesis was about Emily Dickinson. It was called “Visiting with Emily Dickinson” and it was about how poets have responded to her in prose and poetry. That feels like a long time ago; but I do still mark December 10 as her birthday.

GLA: Best piece(s) of advice we haven't discussed?

KE: Read, for gosh sakes, read! Read books!
     I also think that if you’re getting ready to pitch agents, it might be worth your while to read Publishers Marketplace for a month for $20. The deal announcements are mostly mini-versions of agents’ pitches to publishers (notwithstanding editors can post deals as well, I think it’s mostly agents that do it), and they give you a very up to date version of what’s selling and how. You can also see what agents are placing books like yours—though don’t assume Publishers Marketplace is always complete.

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.

Google Alerts and 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 2011 Guide to Literary Agents today!

Agent Advice: Tamar Rydzinski of Laura Dail Literary Agency

Chuck — Fri, 05 Mar 2010 04:36:28 GMT

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 Tamar Rydzinski of The Laura Dail Literary Agency.

She is seeking: Tamar is not interested in prescriptive/practical nonfiction, humor, coffee table books or children’s books (meaning anything younger than middle grade). She is interested in everything else, providing it is well-written and has great characters.

GLA: How did you become an agent?

TR: In college, I didn't know what to do with myself one summer and a friend of my mother, who happens to be an author, said, "I think you would love being an agent." She got me an internship with her agency and she was right, I loved it! So in a way, agenting fell in my lap and I am eternally grateful for it.

GLA: What’s the most recent thing you’ve sold? What’s something you represented that recently came out?

TR: The most recent thing I sold is called Blood on the Moon and it's a paranormal YA series about a college freshman who learns the true meaning of sacrifice and the dangers of falling in love, especially when werewolves and vampires are involved.
A couple of books of mine that have recently come out are Shadow Magic by Jaida Jones and Danielle Bennett, the second book in a wonderful fantasy series and The Secret Diaries of Charlotte Bronte by Syrie James, which fictionalizes the love story between Charlotte Bronte and the man who eventually became her husband.

GLA: One of your favorite categories is women’s fiction. What draws you to this category? Why the love?

TR: I love women's fiction because I'm a sucker for relationships of all types--romantic relationships, friendships, relationships with your surroundings; I love when the setting takes on a life of its own and becomes a character in its own right. And I think that often, women's fiction does that best.

GLA: How can writers make their submission break out of the pack?

TR: In general, the way to make a submission stand out is to do your research--if you mention that you read such and such book represented by our agency and your book is reminiscent of it, then I am more likely to take notice. And, of course, writing is key. Query letters are hard, but they are the first thing I see so take your time, days if necessary, and make sure that it is well written and there are no typos.

GLA: You look for kids writing. Can you be more specific about what you do and do not want to see?

TR: I look for middle-grade and above, so no picture books and no chapter books. I do love fantasy of all types, though I think there is a lot of room for realistic books as well. And I am a big fan of dystopian, though I generally don't like apocalyptic fiction. And series are generally more intriguing than stand-alones, though I definitely have stand-alones, too. I know this doesn't truly narrow it down too much, but that's because I love almost everything!

"Shadow Magic" is a book Tamar repped

GLA: On the subject of young adult fantasy, this is a category I don’t read too much. Can you help me (and other readers) understand some of the basic subgenres of the category? For example, what classifies something as “high fantasy”? Etc.

TR: Well, the way I classify them (which isn't scientific and not necessarily even correct) is that in high fantasy, an entire world is created; it doesn't take place on what we recognize as the world as we currently know it. It usually has magic or magical creatures of some sort, though there are some exceptions.
Low fantasy takes place in what is recognizably our world, but has traditional magical creatures.
Paranormal fantasy also takes place in what is recognizably our world and has vampires, werewolves, zombies, ghosts, etc. Characters that are human, or were once human, but have evolved into something else.

GLA: You take a lot of nonfiction subjects. Is it as simple as “Give me a good idea and a good platform and we’re golden”?

TR: It is! Platform is key, though our agency has had success with Skinny Bitch, where the authors had no platform! So if your voice or idea is incredible, then there are ways to get around the platform issue.

GLA: What’s the best way for writers to contact/submit to you?

TR: I prefer e-mail queries: queries[at]ldlainc.com. The guidelines for submission are on our website. Of course, I accept hard copies of queries as well.

GLA: What’s something personal about you writers may be surprised to know?

TR: One thing about me that people in general are surprised to know is that I actually grew up right here in Manhattan, where I live to this day.

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

TR: Make as many connections as you can in as many different places as you can. If an author was referred to me by another client, or someone I know, their query and material go to the top of the pile. And once your book is sold, it's helpful to know lots of people to help get the word out there.

Want more on children's writing?

Examine Great High-Concept Hooks for Children's Books.

New children's agent seeking submissions.

How to write picture books for kids.

Buy the kids writers' bible: the Children's Writer's & Illustrator's Market.

Interview with kids agent Joe Monti of Barry Goldblatt Literary.

Read a successful young adult query: "Wake" by Lisa McMann.

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: Jeff Gerecke of Gina Maccoby Literary

Chuck — Sat, 27 Feb 2010 21:25:13 GMT

Agent Interview by

contributor Ricki Schultz.

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 Jeff Gerecke of Gina Maccoby Literary Agency. In his publishing career, Jeff has worked at the University of California Press and also as a foreign scout for publishers like Hodder & Stoughton in England and Wilhelm Heyne in Germany. He spent 17 years at the JCA Literary Agency, and has been out on his own, while affiliating with the Gina Maccoby Literary Agency, since 2005.

He is seeking: Commercial and literary fiction, including chick lit, true crime, mystery, historical fiction, and thrillers/suspense. His nonfiction tastes include: history, sports, politics, business, finance, technology, journalism, and pop culture. He does not accept: screenplays, sci-fi/fantasy, or romance.

GLA: How did you become an agent?

JG: I was already in publishing when I realized that lots of my friends were writers and that I sympathized with their circumstances more than those of the publishers I worked with, so wanting to represent their interests came naturally to me.

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

JG: Over the summer, I sold a travel memoir by a British writer named Nick Jubber, who had spent considerable time in Tehran hanging out with students and living a life that couldn't be further than the idealized Islamic Republic would accept. It's called In the Shadow of the Shahs and DaCapo will publish it in the spring next year.
I had only just made the deal when the elections happened and those very same students went on a massive campaign to bring real democracy to their country. It was one of those truly inspiring moments, but also frustrating from a publishing point of view because we knew there was no way to get the book out in time to really capitalize on the situation while it was still on the front pages.
This just brought to the fore the difficult issues that publishing has of being timely when the world has begun to move so quickly. People are now doing books on Kindle directly for the simple reason that it's possible to get them out very quickly, and this seems like something that the publishing world needs to get a handle on if we are all going to remain relevant.

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

JG: The hardest thing to write these days is a really good thriller. There's lots of writers out there who are just doing the same old thing, and I read a lot of stuff that's okay, but just not galvanizing. Little Brown did a novel called Beat the Reaper earlier this year that was about a hit man turned doctor that struck me as a really sharp commercial idea and not the umpteenth iteration of Dan Brown.

GLA: Do you notice any trends in what you tend to represent? Subgenres or elements that particularly grab you?

JG: The biggest thing I've been struck by is the extension of the chick-lit/romance world into more mainstream publishing. This happened first when authors like Nora Roberts and Janet Evanovich went from writing romance to romantic suspense, but now we have all kinds of books that are chick-lit variations.
I've got a writer who just finished writing a three-book mystery series about a cosmetologist in a funeral parlor (Fran Rizer) who ends up dating the suspects in the murders, and I thought that was a brilliant way of broadening the audience.

GLA: Anything you’re not interested in?

JG: I just can't get into straight fantasy or romance.

GLA: Your bio says you seek academic subjects with commercial spins, which reach audiences outside academia. Can you give a few examples of books like this you’ve repped so writers can get an idea of what to send (or not send) you?

JG: I sold a book by a Palestinian-American history professor named Ussama Makdisi to Public Affairs, which will be about the sources of anti-Americanism in the Arab world. He's done scholarly books on the same subject, but this will be an attempt to reach a broader audience in a country where the Israeli point of view is generally taken as gospel. In general, though, the idea is to turn an academic thesis into a commercial one by focusing on narrative and personalities, rather than just ideas.

GLA: Where do you notice most new writers fall flat in chapter one?

JG: Especially in thrillers, there is a tendency to try to start with action by creating a scene with a character whose only role is to be killed. These efforts almost always end with the awful cliché of the victim's vision turning to black. I don't believe anyone should ever start a book that way. If you're trying to write about the killer, then it should be from his point of view.
One of the greatest thrillers I ever read is a book called Blood Music, by Jesse Prichard Hunter, in which the prologue shows a killer in the bushes of a park watching a woman and her baby sitting on a bench and waiting for the moment when he hears the internal music, which sets him off to do his thing. The real gotcha about this is that the scene she described was precisely the scene in which she sat frequently in real life, writing her novel with her baby at her side.

GLA: How do you prefer to be queried?

JG: I really only want to get e-mails. There are many agents who resist being queried this way, but my life is on my computer, and paper just gets lost too easily in my cluttered office. I want a very straightforward letter, describing the market for the book, the author, and giving a short paragraph of plot summary. I think everyone should paste in a sample. It's a waste of time not to, since the writing is ultimately what sells anything. Put "QUERY" in the subject line, and send to jeff.gerecke[at]verizon[dot]net.

GLA: What is the one thing you’d like to tell authors pitching you in person at a conference?

JG: Know your market. It seems strange, but many writers turn out not to be very interested readers. That means they have a very limited idea of what is out in the publishing marketplace. It is very important to me that a writer have passion for the kind of writing they are doing, and that means there should be writers that inspire them—and that's what I want to know more than anything.
All books are sold in the biz by making comparison to some past book or combination thereof as in Stephen King meets Janet Evanovich (tee hee) or something like that.

GLA: Speaking of conferences, will you be at any upcoming writers’ conferences where writers can meet and pitch you?

JG: I may be at Killer Nashville. I guess that opens me up to a flood of invitations.

GLA: What would writers be surprised to know about you personally?

JG: I'm not sure if they would be surprised, but in my own Private Idaho, I am quite a computer geek and fan of ’70s punk rock.

GLA: Best piece(s) of advice we haven’t talked about yet?

JG: I've been saying it for years, but it's even more true now. Self-publishing used to be bad, but now it's different, because publishers are, on the whole, so undermanned that it is essential that authors have a strong DIY personality and find a way to market their books themselves—outside the business—to build up a platform that publishing people will recognize.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

How can you improve your query letter?

Need to write your query to Etta and want some guidance? Check out The Writer's Digest Guide to 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 2011 Guide to Literary Agents today!

Agent Advice: Etta Wilson of Books & Such Literary Agency

Chuck — Mon, 22 Feb 2010 19:55:31 GMT

Agent Interview by

contributor Ricki Schultz.

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 Etta Wilson of Books & Such Literary Agency. In addition to being a member of the Society of Children’s Book Writers and Illustrators, a founding member of the Tennessee Writers Alliance, and having served as the president of the Nashville chapter’s Women’s National Book Association, the school librarian-turned-agent has written 12 children’s books herself.

She is seeking: young adult, middle-grade and children's books for both the general and the Christian markets.

GLA: How did you become an agent?

EW: I became an agent as an outgrowth of being a book packager in the nineties. Several of the authors I worked with asked me if I would represent their work, and I was off and running. Most of these were authors of children's works, and that is my real love.

GLA: Tell us about a recent project you’ve sold.

EW: Recent sales include: Crystal Bowman's What Rhymes with Pickle? (Boyd's Mills Press), Carol Adams’s Sammie, the Little Broken Shell (Harvest House) and Judy Christie's Hurry Less Worry Less for Families (Abingdon). All are due out this year.
At the moment, I'm really excited about Jerry Pinkney’s winning the Caldecott for The Lion and the Mouse. He's such a marvelous illustrator, and he's the husband of my client Gloria Jean Pinkney, who wrote Daniel and King of Lions (Abingdon, 2008).

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

EW: I look for imagination and creativity that indicate an author knows what he or she is writing about and is not afraid to put things together in a different way—either in fiction or nonfiction. Some of that comes with experience, so having publishing credits helps, but it's always a thrill when I find an exciting "voice" for young readers.

GLA: You specialize in young adult and children’s books for both the general and Christian markets. Are there any subgenres within juvenile lit that particularly hook you?

EW: The picture book has always been my favorite, partly because really good ones are such wonderful combinations of text and illustrations to communicate across the ages. It's also the genre that most usually avoids questionable content. Alas, they are also expensive to produce…
And I do love historical fiction and nonfiction. I also think children's comics and graphic novels are more appealing, probably due to the economy.

GLA: Any you shy away from?

EW: I simply don't know enough about vampires and witches to judge a good manuscript from a bad one for YAs. I don't "shy away from" the realistic contemporary novel, but it has got to be super to sell in today's market, and I'd love to see more of those—super ones, that is.

GLA: How would you describe the state of the Christian market right now?

EW: A certain segment of the Christian market is very solid and very loyal to shopping at Christian outlets. I'm not sure how large that segment is, but I have the feeling that it is declining. What was formerly a fairly healthy Christian bookstore market has been impacted by things like the success of Christian books in the general market (e.g. The Shack) as well as the sale of books online, which make the markets very hard to distinguish. In children's books, it's clear that publishers think curriculum is what they need to be producing for the Christian market.

GLA: What are three “Cardinal sins” you notice writers making when you’re reading a partial?

EW: Not knowing what is on the market at the time, modeling characters or plots too much like a current bestseller (sort of the opposite), and writing in a voice that doesn't really fit the story or the age level of the intended reader.

GLA: What changes do you think 2010 has in store for the publishing industry?

EW: One thing I really love about this business is that we never know what's coming or how fast! My best guess about 2010 would be more adaptation of content to electronic formats and continued change in the way revenues are computed and derived for authors—however, the changes in delivery of content to the consumer may be greater.

GLA: What is something writers would be surprised to learn about you?

EW: That my favorite activity is traveling—four trips to England and Scotland, three to Italy, one to China, one to Australia and New Zealand, one to Switzerland, and one to the Scandinavian countries. It makes me sad that airline security is so threatened. I've got places to go!

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

EW: See our agency's Web site at www.booksandsuch.biz for our travel in 2010. Coming up, I will be at the Association of Professional Church Educators at the end of January and at SCBWI's Historical Fiction Workshop in March (both in Nashville).

GLA: Best piece(s) of advice we haven’t talked about yet?

EW: No matter how fast the world seems to spin, there are new things from the past to be incorporated into the present. We just have to keep our eyes and ears open. Yesterday I saw a chart on Fibonacci's numbers in nature—fascinating!

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

How can you improve your query letter?

Need to write your query to Etta and want some guidance? Check out The Writer's Digest Guide to 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 2011 Guide to Literary Agents today!

Agent Advice: Matthew Mahoney of Ralph M. Vicinanza, Ltd.

Chuck — Tue, 16 Feb 2010 14:28:29 GMT

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 Matthew Mahoney of Ralph M. Vicinanza, Ltd. Matthew was raised in Mobile, AL, and graduated with a B.A. in English from Vanderbilt University. After a brief foray into the world of finance, he joined Ralph M. Vicinanza, Ltd.

He is seeking: literary fiction, commercial fiction (especially espionage thrillers), popular science, humor, narrative nonfiction, current events, and pop culture. He is particularly interested in discovering debut fiction and writers with unique and authentic voices.

GLA: Briefly, how did you become an agent?

MM: I graduated from college with a degree in English, and had a series of jobs in a political campaign and at an investment bank. I'd always loved books, and felt that's where I'd be happiest and where my "natural skill set" lay. To be honest, I didn't even know literary agenting was a position until a few years ago, but I was immediately drawn to the marriage of the creative and business aspects of getting a book to the marketplace (of course, every publishing professional deals with both sides of getting a book out there in some way). Additionally, it's great to be able to interact with young, intelligent book lovers from around the World on a daily basis, and aid in putting out fantastic books that will hopefully contribute to the conversation at large.

GLA: Does your agency have a formal website? How many agents does the agency have?

MM: We do not have a website. We've got 4 agents, including myself, and though the name may not be instantly recognizable, we've got some clients with whom I feel very honored to work. A little Google-ing can tell you all you need to know about our agency.

GLA: You were raised in Alabama, schooled in Tennessee, and we met each other in South Carolina. You're a southern guy who seeks, among other things, "southern novels." Tell us more about your love of southern fiction, and possibly anything more specific about what you do or don't want to see in a submission.

MM: I would actually say less Civil War historical projects, and more True Blood gothic stuff. But what I'm more interested in is the Southern voice, a way of thinking and a voice (and I mean that term broadly) that is endemic to the South, and which in turn can teach us about our country as a whole. I'm also interested in change in the New South, and evolution (pun intended) in that arena. What I'm NOT looking for, and what I tend to get a lot of, is good ole boys skinning bucks and talking in unintelligible dialect, books which have less of a chance of seeing the inside of a Barnes & Noble than the Confederacy does in rising again. In other words, I seek more literary Southern than gift-book Southern.

GLA: Speaking of South Carolina and the conference, what advice can you give people pitch agents at conferences?

MM: At any conference, the key is to be professional, confident, and respectful. Don't approach agents in the bathroom or the gym, and when you do have a chance to speak with them, be clear and concise. Give just a short summary—especially if it's fiction you're pitching—and know that if an agent gives you an answer, particularly one you may not want to hear, he or she probably has legitimate reasons for doing so. Remember, the agent is also evaluating you on a long-term working relationship, so how you comport yourself matters.

GLA: When you say you seek "commercial fiction," are you talking about all the major commercial genres?

MM: No, I am talking primarily about thrillers and some (read: very select
projects) of traditional fantasy.

GLA: You seek nonfiction categories like current events and pop culture—sort of "happening now" stuff. Are you getting good submissions in these areas? If not, where are ideas going wrong? Too narrow? Not enough platform?

MM: I haven't seen too many of these come in the door—but I don't really expect to, mainly because of the platform issue you raise above. Platform is absolutely key here, and most submissions can't be faulted for having the wrong idea or subject matter—they're hampered right out of the gate by not having a platform. Most books of this type are borne out of proactive measures on the agent's part, in my experience. That being said, I'm very interested in narrative nonfiction, particularly pop science or exploratory journalism, and humor.

GLA: How should writers contact you?

MM: Query me at matthew.mahoney[at]vicinanzaltd[dot]com. Include a quick synopsis and bio, and a writing sample as a Word attachment.

GLA: Any quirks or thoughts about what you like to see a in query?

MM: Well, first and foremost, make sure the letter is addressed to the agent in question. Anything that says "To Whom It May Concern" or "Sir or Madam" gets immediately tossed. To have no grammatical errors is, I hope, obvious. If you're submitting a novel, don't go into too much depth on the plot, as it's your writing that I'm mainly interested in. If you submit a sample as an attachment, make sure that the pages are numbered, double spaced, and justified—you don't want a novel looking like a term paper. It shows a lack of experience, and it's difficult to make editorial notes. A personal pet peeve of mine is when a writer says "This is my seventh novel," a statement that is intended to demonstrate writing prowess, but often has the opposite effect on me, as well as making the writer sound indecisive. Put your strongest foot forward, and go with that. Otherwise, I do appreciate funny letters, but it's a difficult note to strike, so make sure you know what you're doing.

GLA: Will you be at any other upcoming conferences where people can meet you?

MM: I believe I will be attending the Backspace Conference and the PNWA
Conference in Seattle this year, though those could always change.

GLA: Best piece(s) of advice we haven't discussed?

MM: Write honestly and organically. Don't try to be the next Hemingway, or the next Hunter S. Thompson, or the next anyone. I see too many aspiring authors—young ones, especially—who have all the sizzle of great writers, but none of the steak. Channel what's inside and if the right stuff is there, the rest will take care of itself.

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 2011 Guide to Literary Agents today!

Agent Advice: Robin Rue of Writers House

Chuck — Wed, 10 Feb 2010 14:35:43 GMT

Agent Interview by

contributor Ricki Schultz.

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 Robin Rue of Writers House. Robin Rue began her career as an editor at Dell, but has since spent more than 30 years as an agent.

She is seeking: mystery, commercial fiction, fantasy, romance, young adult, thrillers/suspense, with a specialization in paranormal and suspense romance authors. She does not seek nonfiction. She does not accept e-mail queries. See full submissions guidelines here.

GLA: Why did you become an agent?

RR: I was in editorial for eight years and worked for four different publishing houses before becoming an agent in 1984. I wasn’t happy working for a corporation and realized I preferred working as a writers’ advocate. That said, my in-house publishing experience has served me well these many years.

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

RR: I’ve been doing this for over 25 years and represent at least 12 New York Times bestselling authors. I’ve done many deals recently! Not all “notable,” mind you—sometimes, the best and sweetest deals are the smaller ones. And, in this market, all deals are notable!

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

RR: I’m always looking for a fresh voice, a good story, and compelling characters.

GLA: You specialize in paranormal and suspense romance authors. In your opinion, are vampires here to stay, or is there something new on the horizon?

RR: Paranormal seems to be a lively trend with readers staying loyal to the classic authors, but I do feel it might be harder to break into that market now, as it is quite filled up on publishers’ lists. My list includes many paranormal and suspense romance authors, but I also work with historical romance, mysteries, men’s thrillers, young adult fiction and even illustrated children’s books.

GLA: Do you still take science fiction? Have you noticed any trends in what you tend to represent?

RR: I do very little science fiction, and the authors that I work with who write in that field are essentially fun to read. I’m not involved enough in the genre to be able to anticipate new angles. I think, just like all genres, a good story, well told, with wonderful characters is the best way to compete with trends.

GLA: Speaking of vampires: Edward or Jacob?

RR: As Writers House (and my good friend, Jodi Reamer) represents the Twilight books, I will stay loyal to both Edward and Jacob.

One of Robin's clients is JoAnn Ross.
Check out her book, "Shattered."

GLA: There is some confusion among writers concerning urban fantasy and paranormal romance. Is there more of a distinction between the two than simply an urban setting? In your mind, what separates these subgenres?

RR: Urban fantasy versus paranormal romance is always a fine line. I think urban fantasy lingers a tad longer on the wider plot, and paranormal romance lingers a tad longer on the chemistry between the two main characters.

GLA: With regard to romance, do you accept both category and single titles?

RR: I like all forms of romance. My client list includes a very wide variety of authors who write very different types of romantic fiction. I do not tend to represent category anymore, although I certainly have authors who have written category!

GLA: Where do you notice writers are going wrong in chapter one?

RR: If I’m bored in chapter one, I rarely read further. I don’t like sloppy presentations (grammatical errors, typos). Writing is such an organic gift—I usually see something worthwhile pretty quickly that makes me want to read on, or not.

GLA: What is the one thing you wish you could tell writers pitching you in person?

RR: Relax. I’m not the only authority. If something is not for me, it may easily be just right for another agent/editor.

GLA: Best piece(s) of advice we haven’t talked about yet?

RR: Be focused, be patient, and find an agent you trust. Listen, and be pragmatic as well as ambitious. Have fun, and don’t forget what got you into this business in the first place—your love of books and your love of writing.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

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 2011 Guide to Literary Agents today!

Agent Advice: Laney Katz Becker of Markson Thoma Literary Agency

Chuck — Thu, 04 Feb 2010 21:37:46 GMT

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 Laney Katz Becker of Markson Thoma Literary Agency. Laney was an agent at Folio Literary Management before she joined Markson Thoma. Prior to becoming an agent, Laney was an advertising copywriter and freelance journalist, as well as an award-winning author of fiction and nonfiction. Laney grew up in Ohio and enjoys reading, writing, sewing and snuggling with her pooch.

She is seeking: “book club fiction,” (i.e. novels with substance that you're eager to talk about); character-driven stories; and smart, psychological thrillers. She also loves a great memoir, especially if it teaches her something new, exposes her to a different culture/country, or has a great voice. She's always on the prowl for narrative nonfiction, (especially from journalists), as well as practical nonfiction—parenting, family, relationships, pets—by experts with solid platforms.

GLA: How did you become an agent?

LKB: My background is in writing. I started my career as a copywriter in the advertising/marketing/publicity arena, and later worked as a freelance journalist. My articles and essays have appeared in more than 50 newspapers and magazines. I am also an author of both nonfiction (Three Times Chai) and fiction (Dear Stranger, Dearest Friend ). My novel was a Literary Guild, Alternate Selection; chosen by Redbook as the Editors' Favorite Pick; recommended by Library Journal; and was the recipient of several awards. I love writing (obviously) but as I grew older, I wanted to get back to working with people. (A writer’s life can be very isolating, and I didn’t want to spend my days alone, writing novels in my basement. Hence the career change.) Being an agent allows me to use all my skills and feels like something I prepared for my entire life. If you want to read more about my second career as an agent, check out my blog on the Huffington Post.

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

LKB: I recently sold Traci Foust’s Confessions of an Unsane Childhood (Simon & Schuster / Gallery Books). It’s a memoir – and a debut – about growing up with OCD and anxiety. Traci is very talented and worked with me for a year to get her proposal in tip-top shape. When I signed her, I knew the proposal needed a lot of work, but I fell hard for her literary voice (which was funny and yet poignant). Traci has a great story to tell and I’m thrilled to have played a part in helping her get it out there.

GLA: How does this vast background contribute to your agenting style and skills?

LKB: I’ve walked the walk of the writer. I know where they’re coming from and I think that kind of insight is invaluable. I also think that my writing skills make me a really good editor, and I work very closely with my authors on the revision process to get their novels and proposals ready for submission. But, it’s a double-edged sword. Because I have the writing skills, sometimes authors expect me to “fix” things, (not okay) or complain about how “hard” writing is. Ha! Tell me something I don’t know.

GLA: You seek literary and mainstream fiction. But when you say you want “commercial” do you mean the pop genres, such as romance?

LKB: Strike all that. When it comes to fiction what I’m really looking for is what I call “book club fiction.” It’s the sort of novel that leaves you dying to talk about what you’ve read with someone. It’s not so literary that you feel like you need a thesaurus by your elbow, nor is it so slow moving that you feel like you’re watching grass grow; in other words, it doesn’t feel like work to read. But, it is much more than an entertaining read; you have to bring your brain because it has some substance to it. I also love really smart thrillers. Not the apocalyptic type; more psychological or puzzle thrillers. Things that mess with your head. (Do you notice a recurring theme, here? I like fiction that makes me think.)

GLA: You say you love memoir, and a few of your recent sales - Unsane Childhood and then First Comes Love, Then Comes Malaria - are those great books writers love to see – i.e., memoirs written by people who are NOT celebrities or politicians. Give us your top 3 tips on writing memoir and catching your attention.

LKB: Love this question. Everyone thinks their story is interesting to others, but more and more publishers are worried about “platform,” which is why we see so many (too many!) celebrity books. But even if you’re not famous, you can do yourself a huge favor if you have some following/audience/readership. Whether it’s through Facebook, Twitter, a blog, a regional radio show, a regular column in your local paper …something!
When it comes to memoir, I’m a sucker for voice. I want it to feel fresh and compelling. I want to like you on the page. I also want a fresh story. I’m not interested in the dysfunctional family memoir, or the abuse (drug, sexual, etc.) memoir. I’m sorry, I truly am, but I feel like I’ve read that story too many times and I just don’t want to invest months of my life working with an author on a proposal if it’s a topic/story that doesn’t wow me. BTW: that’s another thing. I sell memoir by proposal only. And no, it doesn’t mean if you’ve already written the whole book it’s better. Proposal. Only. I also like a memoir that exposes me to a different culture or country. I like stories that allow me to walk in someone else’s shoes. In both fiction and memoir, I like racial stories.

GLA: Concerning nonfiction proposals coming in through the slush (that aren’t memoir), what are you looking for and not getting?

LKB: Great credentials; great writing.

GLA: What do you pray for? More good parenting books? More psychology? Etc.

LKB: When it comes to practical nonfiction/how-to books, platform is key. That’s what I pray for. Qualified experts with a strong platform that will make publishers salivate.

GLA: You’ve been a writer and now an agent. Taking what you know and have seen from both sides, tell us about what changes you see for the future of the publishing industry.

LKB: I wish I had a crystal ball. But I think what’s happening now will continue: Publishers are publishing fewer books; advances are smaller and publicity/marketing support isn’t what we’d like it to be. I think there will be more ebooks published and I think that debut writers will have an even tougher time getting published in hardcover. But you don’t need a crystal ball for any of that; it’s just sort of the lay of today’s land.

GLA: You rep a lot of debut books and novels. What’s it like to take on so many debuts and help people with their first books?

LKB: It is FABULOUS! I’m helping someone realize his/her dream. And that is always something I love. But debut authors can be frustrating, too. They require a lot more time and hand-holding and that’s okay – as long as they remember to say thank you :-D
But seriously, debut authors don’t always understand the job/role of an agent and their expectations aren’t always realistic. They may read some blog about an author getting a seven-figure advance and they figure that they’ve written a good book so they should get that kind of advance, too. (Don’t I wish?!)

GLA: Something personal about you writers would be surprised to know?

LKB: I don’t cook. Really. Not ever.

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

LKB: Nope. I happen to really like slush and use the time I would typically spend at conferences reading unsolicited submissions. That way, I’m judging the work and the writing – and it’s paid off. The slush pile has given me authors who’ve gone on to make national and international bestsellers’ list, become B&N Discover Great New Writers picks, and Debutante Ball (www.thedebutanteball.com) selections.

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

LKB: When looking for an agent always be professional: Read submission guidelines. If an agent only takes electronic submissions, don’t send them snail mail. Make some reference in your query to the fact that you’ve done your homework. “I’m sending this to you because I know you love book club fiction,” “I laughed all the way through Eve Brown-Waite’s memoir, First Comes Love, Then Comes Malaria, and I’m writing to you because I have a project I think might also resonate with you…” Get it?
If an agent asks for pages or a proposal, resend your query; don’t ever expect an agent to remember you or save stuff. We are inundated with material and read a lot. So give us the tools we need to do our jobs because if you don’t send along everything we need, you’re making it easier for us to just pass and move onto the next email in our inbox. But, if you love writing and are willing to work hard and revise and revise – don’t give up. In fact, check out our website and send me a query! (Laney[at]MarksonThoma[dot]com)

Want more on this subject?

Read an interview with agent Meredith Kaffel (Charlotte Sheedy Lit)

Read an interview with agent Lucienne Diver (The Knight Agency)

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 2011 Guide to Literary Agents today!

Agent Advice: Irene Goodman of the Irene Goodman Literary Agency (and News About More of Her Auctioned Critiques!)

Chuck — Mon, 01 Feb 2010 19:58:50 GMT

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 Irene Goodman of the Irene Goodman Literary Agency. Irene's clients are regulars on the New York Times, USA Today, Walden, Publishers Weekly, and Bookscan bestseller lists. Together with her dynamic staff, her agency represents over 80 authors. Originally from the Midwest, Irene has a B.A. and a master's degree from the University of Michigan. She divides her time between New York and the Berkshires. Her personal passions include opera, Doonesbury, Mark Twain, theatre, and children. She also auctions off manuscript critiques for charity (see more below).

She is seeking: memoir, narrative history, music, social issues and commentary, animals, parenting, food, Judaica, Anglophilia, Francophilia, crafts, and lifestyle. Her fiction list includes historical fiction, women's fiction, thrillers, literary fiction, and mysteries.

GLA: How did you become an agent?

IG: I've always enjoyed breaking through red tape and doing my own thing. When I first came to New York to work for a book publisher, I got a chance to see up close what agents do. And I said to myself, "I would be good at that." So my next job was working for an agent. What motivates me is that it's endlessly exciting. In our office, we all look forward to Mondays. We have comradeship, and we have joy. Sometimes we go on "class trips" to the theatre or the beach, but we never stop talking shop.

GLA: Before we get into the interview, about a month ago, I blogged about you doing a critique auction for charity. How did that go?

IG: It was amazing! I auctioned off critiques of 25 partial manuscripts on eBay, and the response was fantastic. The top bid came in at $1025.00. We raised over $15,000 altogether, all of which will go directly to the Foundation Fighting Blindness and the Deafness Research Foundation.
       I intend to keep doing these auctions for as long as I can. There will be two auctions a month (one per foundation), every month, with another big marathon each year in December. The next eBay auction starts today (Feb. 1, 2010) at 3 p.m. Pacific time, and there are 4 auctions for various causes. Auctions will continue every month. Anyone who wants to participate or get more information should go to my web site www.irenegoodman.com, where they will find a link to the auction pages.

GLA: What are some things you've sold recently that you're excited about?

IG: I sold a trilogy of novels about the life of Marie Antoinette by Juliet Grey that went to Ballantine, at auction. The first book is called Becoming Marie Antoinette, and it covers the high stakes makeover that the pre-teen underwent before she went to France. The second book will be about the queen years, and the third book will cover her untimely end. (Or as the author likes the sum up the three books--teen, queen, guillotine.)
        Another one that looks very promising is Shakespeare Undead by NY Times bestseller Lori Handleland, that sold to St. Martin's. Did you know that the Bard was a necromancer in his spare time, chasing down zombie armies? Or, as Anne Hathaway put it, "No wonder he was never home."

GLA: What's something that was recently released that you are excited about?

IG: Susan Donovan's Ain't Too Proud to Beg, a contemporary romance novel that pushes the boundaries and delivers the author's trademark intelligence and wit. It made #21 on the NY Times Extended list. Since it's the first of a trilogy, the next books are sure to go over the top.
       Another one that's coming up is And God Said by the foremost translator of ancient Hebrew, Joel Hoffman. If you think you know what the most famous verses in the bible mean, you are probably wrong. Centuries of mistranslation have turned incorrect concepts and words into icons that aren't what you think they are.

GLA: Historical fiction can cover a lot of ground. Do you find yourself drawn to anything in particular? For example, would you consider an epic book set in Rome?

IG: Rome is a tough sell, but anything is possible. However, I focus more on European stories with a strong hook. Female subjects work best. The court of Henry VIII has been very well mined, but there are plenty of other delicious people in history whose stories are begging to be told.

GLA: Let's say you're reading a partial for a mystery or thriller. Tell me about some bad openings you see time and time again - what are some Chapter 1 cliches?

IG: The most common opening is a grisly murder scene told from the killer's point of view. While this usually holds the reader's attention, the narrative drive often doesn't last once we get into the meat of the story. A catchy opening scene is great, but all too often it falls apart after the initial pages. I often refer people to the opening of Rosemary's Baby by Ira Levin, which is about nothing more than a young couple getting an apartment. It is masterfully written and yet it doesn't appear to be about anything sinister at all. And it keeps you reading.

GLA: Barbara Poelle at your agency once told me that you had a great habit of finding nonfiction projects that were off the beaten path. What did she mean by this?

IG: Well, not too long ago, an odd little self-published book came in the mail called Their Last Suppers by Andrew Caldwell. It's about famous people in history, their colorful ends, and their last meals, including recipes. The author was traveling all over the country promoting it at wine stores and restaurants, including theme dinners (i.e. the last supper on the Titanic). I loved this quirky idea, and went wide with the manuscript. Three publishers offered on it, and it went to Andrews McMeel.

GLA: You rep a lot of nonfiction projects. What are you looking for and not getting?

IG: Nonfiction is less about what people send me than it is about what I go after. I'll get an idea for a nonfiction project, find the right author with the right platform or attach a big name to it, and get a writer if necessary. That works a lot better than sitting around waiting to see what comes in. Most unsolicited nonfiction submissions lack the necessary platform that would make them worthwhile.

GLA: According to your website, you have an interest in books about Britain and France. Why this interest? Do you also look for fiction books perhaps set in these countries?

IG: Britain? There will always be an England. France? Are you kidding? Go to France, have one meal there, and then come back and tell me if you still have that question. The French know how to love life and love themselves. They know how to take pleasure seriously. I sold a book called French Women Don't Sleep Alone by Jamie Callan, about how to get a guy the French girl way. (Hint: Dating is so American.)

GLA: You've agented for decades and seen the publishing landscape change. Do you have any advice for authors on how they can be prepared for whatever lies ahead?

IG: Look for the loopholes in the system that weren't there before. Consider the case of Boyd Morrison, who posted his unpublished thriller, The Ark, on Amazon, available only as an e-book. The readers found it on their own and it quickly became a Kindle #1 bestseller. Using that base, I was able to sell it to Simon & Schuster, where it now headlines the Touchstone list. Our brilliant foreign rights agent, Danny Baror, has made major sales in over 15 countries (and counting).

GLA: Something personal about yourself people might be surprised to know?

IG: My favorite movie of all time is The Godfather (both I & II). I have seen them both countless times, and manage to find something new each time. I will go toe to toe with anyone on Godfather trivia. It is also one of the best business books ever written. Seriously. One of the most quoted lines is "It's just business, not personal." But what people often forget is what Michael says later on, which is that everything is personal.

GLA: Best piece(s) of advice we haven't discussed?

IG: There's an old proverb: "If you are like him, who will be like you?" Be bold. Be yourself. Write the book that only you could write. Technology changes, but the fundamentals don't. Human beings have had a driving need to tell stories since they lived in caves. The earliest storytellers enthralled listeners around campfires. Chaucer entertained the court by telling them the Canterbury Tales. In the 19th century, people lined up for blocks to get the next installment of the new Dickens story. Today, teenagers in Tokyo are downloading the latest vampire saga onto their phones. So no matter what format becomes the norm, a great story is still what it's all about. Hone your craft, learn the techniques of telling a great story, and the rest will come.

Want more on this subject?

Read an interview with agent Meredith Kaffel (Charlotte Sheedy Lit)

Read an interview with agent Lucienne Diver (The Knight Agency)

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 2011 Guide to Literary Agents today!

Agent Advice: BJ Robbins of BJ Robbins Literary Agency

Chuck — Fri, 29 Jan 2010 15:23:11 GMT

Agent Interview by

contributor Ricki Schultz.

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 BJ Robbins of the Los Angeles-based BJ Robbins Literary Agency. She started in publicity at Simon & Schuster, was later Marketing Director and then Senior Editor at Harcourt, and opened her own agency in 1992.

She is seeking: quality fiction—both literary and commercial—and general nonfiction, with a particular interest in memoir, biography, narrative history, pop culture, sports, travel/adventure, medicine and health. (Please send all children’s and young adult queries to Amy Maldonado.)

GLA: How did you become an agent?

BR: Becoming an agent seemed a logical step after spending nearly 15 years in publishing in NY. I started in publicity (first at S&S, then at M. Evans and Harcourt), then moved up to Marketing Director at Harcourt. A few years later, I jumped the editorial/marketing divide and became a Senior Editor at Harcourt.
       When I found myself living in Los Angeles in 1991—much against my will, I might add (though I've gotten over it)—I decided the way to remain in the book business and utilize all of my publishing experience was to start my agency.

GLA: Tell us about a recent project you’ve sold.

BR: I recently sold Nafisa Haji's second novel, tentatively titled The Sweetness of Tears, to Morrow. Her first novel, The Writing on My Forehead, came out last March, with the paperback edition out this March 2010. I'm also looking forward to the paperback edition of John Hough, Jr.’s Seen the Glory, which S&S will publish in July. It's a brilliant Civil War novel about two young brothers from Martha's Vineyard who join the Union Army and fight at Gettysburg.

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

BR: I look for something that stays with me, that's not only engaging but teaches me something. It could be a novel about a 15-year-old runaway in Seattle, or nonfiction about a particularly dramatic moment in history. I want to be moved, entertained, enlightened. What I pray for is a writer who comes to me with something that doesn't need one bit of editing. Since that doesn't happen often—or ever—I look for writing that pops off the page, doesn't bore me, and has something to say.

GLA: Among other areas, you seek projects in the area of medicine. What are you looking for here?

BR: I like the occasional gory tale, like Dr. Pamela Nagami's The Woman with a Worm in Her Head, which is about her experiences in the field of infectious disease. I don't have a big medical list, although I would certainly welcome more of it, especially insightful and/or groundbreaking medical stories.

GLA: In your profile on Publishers Marketplace, among a list of other things, it says you do not represent “anything with ‘unicorn’ in the title.” Should all fantasy writers think twice before querying you, or is it just that particular mythological creature that rubs you the wrong way?

BR: To be honest, I added that line for my own amusement. I think I had recently received a whole slew of unsolicited submissions with unicorns in them and found it irritating. However, I don't handle fantasy or science fiction or most genre fiction, so I do hope that those writers think twice before submitting to me. (I have nothing against unicorns, by the way, in case there's a Save the Unicorns group out there who might come after me.)

GLA: Because you deal with so much nonfiction, platform must be important to you. In your opinion, what’s the best way a writer can build platform?

BR: Start locally; get yourself in front of groups of people, get published wherever you can, and build from there. Develop a web presence via a website and social networking sites. Befriend famous people, star in your own TV show, write a nationally syndicated newspaper column, or host a program on NPR.
       No seriously—platform is very important, but having something to say and having the writing skills to present your ideas in an informative and engaging manner is important, too. But still try to befriend some famous people, especially if they have national TV shows or a gig on NPR.

GLA: How do you prefer to be queried?

BR: I accept e-mail queries, but I also like getting queries and submissions through old-fashioned snail mail. I just changed my e-mail address for queries, so please use this one: robbinsliterary[at]gmail[dot]com. A Web site is in the works, but in the meantime, the best source of info is my Publishers Marketplace page. I would like to reiterate that it is impossible for me to send a response to every person who sends a query. I wish I could, but it's just too time-consuming. If I'm interested, you will hear from me—I promise.

GLA: What changes do you think 2010 has in store for the publishing industry?

BR: I'm hoping that no more divisions will be consolidated and that the big layoffs are behind us. I do believe that e-book sales will steadily increase but not dominate as much as people think, and that advances will continue to decrease for all but the most successful authors. And I'm hoping that publishers deal with the problem of e-book piracy, which I believe will be a big issue in coming years.

GLA: What is something about you writers would be surprised to hear?

BR: I play basketball in the North Weddington Mom's League. I've been their power forward for the past nine years, having discovered my inner jock in adulthood.

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

BR: The two I go to consistently are the SDSU conference in January and the Squaw Valley Community of Writers Workshop in August.

GLA: Best piece(s) of advice we haven’t talked about yet?

BR: Three things:
       1) Make sure you've done all the necessary homework before submitting to an agent.
       2) Get as much feedback from as many people as you can—professional feedback, I mean—before sending your work out. Much of what I see might have potential, but it isn't there yet.
       3) Write a great query letter, one that's written with confidence and passion and doesn't exceed more than three or four paragraphs.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

Read an interview with agent Jessica Regel (Jean V. Naggar Lit)

Read an interview with agent Meredith Kaffel (Charlotte Sheedy Lit)

Read an interview with agent Lucienne Diver (The Knight Agency)

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 2011 Guide to Literary Agents today!

Agent Advice: Steve Laube of The Steve Laube Agency

Chuck — Tue, 26 Jan 2010 17:52:07 GMT

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 Steve Laube, founder of The Steve Laube Agency. Steve has been a bookseller for Berean Christian Stores, and an editor for Bethany House Publishers.

He is looking for: quality Christian fiction in all genres. For nonfiction, he is seeking fresh, new Christian ideas in all areas of material for adults. Please not do send any poetry, personal biographies, personal stories, end-times literature, or children’s picture books.

GLA: How did you become an agent?

SL: In January 2003 I was approached by Frank Weimann of The Literary Group to join his NY agency. His timing was impeccable as the publisher for whom I was an editorial director was being sold. I had been assured of an unchanged job under the new company, but when Frank's offer came I saw it as an opportunity to try something new and exciting and I would not have to move. A little more than a year later, in 2004, I decided to branch out on my own and form my own literary agency.

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

SL: Tough question since we are averaging a new contract every 10 business days. The most recent announced deals would include two nonfiction books by America's Cheapest Family, Steve and Annette Economides, to Thomas Nelson. The first on saving money while grocery shopping and the other on teaching your kids about money.
The other major deal was the next two novels by Michael Phillips to FaithWords, a division of Hachette. Michael has over seven million books in print and is one of the icons of Christian fiction.

GLA: You have an extensive background with booksellers and the publishing industry and Christian books. How does it all add to your style as an agent?

SL: I value that background in that it keeps me grounded by keeping the ultimate reader (the customer) in mind. I can still picture those people coming into the store asking for help with their book purchases. With that first in mind, it is further accentuated by having worked as an acquisitions editor and editorial director. It became evident at the publishing house that the marketing and sales directors are key to the success of a book. Therefore I always keep them in mind when creating a proposal for a client. First, will it ultimately work in the market?, and second, will it get past the marketing/sales team?

GLA: You seek Christian fiction in "all genres" except for kids. What subgenres of Christian writing are relatively new/exciting and still have room to grow?

SL: A tough question because the market can shift rather suddenly. I think the entire general book industry was caught by surprise when chick-lit lost all momentum as a subgenre in a year's time. A lot of publishers were caught holding and publishing books that no one wanted. Also the industry was surprised by surge in supernatural stories (i.e. vampires).
In the Christian market it was the acceleration of interest in Amish fiction that came, seemingly, out of nowhere. I have the privilege of working with Cindy Woodsmall (whose Amish stories have been on the NY Times bestseller list and she was featured on the front page of the Wall Street Journal last Fall). When we signed her, I was taken by the quality of her writing and the marvelous characters and settings she created. The "Amish" aspect made it unique, but at the time it wasn't a "craze" yet. It is one of those times where we were ahead of the curve. And kudos to Waterbrook and editor Shannon Marchese for recognizing the value of the books and working hard to packaging them so perfectly.

GLA: On this subject, is Amish fiction considered Christian fiction? Do they go together?

SL: Since the Amish fiction craze really started within the Christian market, yes, they go together. Bev Lewis wrote The Shunning back in 1997 and it was a huge bestseller. In many ways she pioneered the genre. Later Wanda Brunstetter became a force in the genre. Then in 2006 Cindy Woodsmall became part of this trio of top sellers and suddenly we had traction in the marketplace with three authors all selling significant numbers. Other publishers saw this have joined in the fray.

Check out "The Hope of Refuge" by
Steve's author Cindy Woodsmall.

GLA: A Christian agent once told me that Christian fiction does not have to be "over-the-top, hit-you-on-the-head" Christian writing, but can be a lot more subtle. Do you agree?

SL: Your source is absolutely correct. In fact, it is a myth that Christian fiction is simply a sermon in story form. That may have been true 40 years
ago but no more. There are some amazing writers whose literary acumen is as good as anything else found in the general market. I can easily recommend authors like Jamie Langston Turner (Some Wildflower in My Heart), Lisa Samson (Embrace Me), Tosca Lee (Demon: A Memoir), and Susan Meissner (The Shape of Mercy). I almost dare anyone to read these four books and then declare all Christian fiction weak and poorly written. Anyone who says that has not read the right books.
     Few remember that Jan Karon's Mitford series was originally published and distributed in the Christian market. The same with the incredible fantasy writer Stephen Lawhead. A more recent example would be Ted Dekker. His Spring release last year Boneman's Daughter was on the NY Times list and that story is, in essence, a serial killer thriller.

GLA: Let's talk nonfiction quickly. It would seem that a subject like "restoring your faith" or "connecting with the Lord" has been done many different ways before. Is the key to getting your attention simply a fresh spin on an old topic?

SL: The nonfiction world is driven by the visibility (platform) of the author. There are exceptions of course, but today's publishers are increasingly concerned with a built-in audience. For example, I had very little trouble selling Antony Flew's There is a God: How the World's Most Notorious Atheist Changed His Mind. He was very well known in philosophical circles and his textbook God & Philosophy has been in print since 1968. In that case we had actually sold the manuscript before Richard Dawkins and Christopher Hitchens created was Wired magazine called the New Atheism. So when Flew's book hit the market in Fall 2007 it was perceived as a response when in actuality the book had been written before the topic was so popular.
     An example of finding a niche without a prior platform would be Allison Bottke's Setting Boundaries with Your Adult Children (Harvest House). This book is selling more now than it did when it first came out two years ago. She found a topic that effects innumerable families: the "problem child" who is now an adult. Allison is a great marketer and created seminars, videos, and a S.A.N.I.T.Y. curriculum to go along with the book.

GLA: You say you don't want any personal stories, but do you accept memoir?

SL: Good question. I've yet to see a memoir cross my desk that I think has the literary quality or the story to make it commercially viable. When I say "personal story," I mean the "God saved me from Cancer" type of books which are legion. That isn't to say that there are not quality memoirs in our market, that would be inaccurate. I'm only saying that I have not found one proposed to our agency.
     I have a theory (and it is only a theory): In the Christian market, the memoir has struggled to find success. Why? I posit the reason is that everyone who has found vitality in their Christian faith is a miracle. I like to say that, in a group of Christians, if everyone were to tell their "story," that group would end up have a worship service. The miracle of changed lives is extraordinarily compelling. But, why would you ever want to pay 15 bucks for my story? Who cares? The person on the pew next to me has a story that is just as compelling, if not more.
     But in the general market, the memoir is usually a incredibly well-written story that dives into the depths of the angst of life and its sufferings. Unfortunately there is only a measure of redemption found ... and if found, usually comes from within ... some strength of character or circumstance that helps with their "redemption." In many cases, this is very different from the journey of faith that a Christian would tell.
     Like I said, this is a theory and if full of massive generalizations that are probably unfair. But I think you get the point I'm trying to make.

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

SL: I will be the Writing for the Soul conference (Denver) in February 2010. The Mt. Hermon Christian Writers Conference (near Santa Cruz, CA) in March 2010. And the Desert Dreams Conference (Scottsdale, AZ) in April 2010.

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

SL: Please review our guidelines on our website. I spell it all out in exhausting detail on the site.

GLA: What's something writers would be surprised to learn about you personally?

SL: I lived the first 14 years of my life in Anchorage, Alaska (I was born there ... before Alaska was a state). I experienced the famous Alaska earthquake (9.2 on the Richter scale) in 1963. Later we moved to Honolulu, Hawaii where I went to high school. Then I moved to Phoenix to attend college and have never left. From the Arctic to the Tropic to the Desert. From the 49th to the 50th to the 48th state (New Mexico is #47 and I have no plans to relocate...).

GLA: Best piece(s) of advice we haven't covered?

SL: Become a student of the industry. It will help every writer to understand the process and make the entire experience more tolerable. Read my blog for occasional insight. Other greater and better blogs include those by Rachelle Gardner, Chip MacGregor, Victoria Strauss, etc.

Want more on this subject?

See a profile of Christian agent Rachelle Gardner of Wordserve.

Read an interview with Christian agent Chip MacGregor.

Buy the memoir guide, Writing Life Stories.

Read an interview with Christian agent Joyce Hart of Hartline 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 2011 Guide to Literary Agents today!

Agent Advice: Kristin Nelson of Nelson Literary Agency

Chuck — Wed, 20 Jan 2010 18:14:12 GMT

Agent Interview by

contributor Kerrie Flanagan

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 Kristin Nelson with Nelson Literary Agency, LLC. Kristin writes one of the most popular and well-respected agent blogs around: PubRants. She has her B.A. from the University of Missouri at Columbia and is a graduate of the nationally respected University of Denver Publishing Institute. As for her previous work history, Kristin has been a college English teacher, a freelance writer, and a corporate trainer for business communication topics before embracing her true passion of agenting.

She is looking for: literary and commercial fiction for adults; young adult and middle grade books for kids. Concerning nonfiction, she is only interested in memoir.

GLA: How did you become an agent?

KN: The simple story is that I worked for another agent by the name of Jody Rein before starting my own agency in 2002. I actually opened my own company because the previous agency did nonfiction almost exclusively and I wanted to do fiction—all kinds, including genre stuff like romance and SF&F. That definitely would not have fit at that agency. Most agents would say that selling fiction is more difficult than nonfiction so to make it work, you really have to love a broad range of genres. For me, I’m not a reading snob. I love a good sexy romance as much as I love a beautifully written and complex literary novel. Luckily I can do both at Nelson Literary Agency. I do have to say that finding strong literary fiction is tough. More commercial fiction pays most of the bills.

GLA: What misperceptions do people have about agents who don’t live in New York?

KN: Ah, good question. I think the greatest misperception writers hold about New York Agents is that they are always going to lunch or popping by the Publisher’s office to be “in touch and in the know.” That you have to be there to throw your weight around. The reality is that I network with editors almost about the same amount of time as any NYC agent, and any New York Editor will tell you that an agent’s location matters less than his/her reputation in terms of how serious a project is considered, how fast a project is read, how much money will be negotiated for it.
There are some wonderful powerhouse agents in New York and there are some wonderful powerhouse agents outside of the city. In general, I’d weigh an agent’s rep over location any day. That’s what the editors do.

GLA: What do you do to stay in contact with editors/publishers when you are back home in Colorado?

KN: I use the telephone. Grin. Sorry, that was probably sarcastic and guess what? Most NYC agents use the telephone to stay in contact and they all live in the same city.

GLA: Are there any advantages from not living in New York?

KN: Absolutely. My clients are not paying for the high overhead it would take to have an office location in the priciest city in the United States. We can spend our money on having such things like our marketing director Lindsay Mergens—who by the way is based in New York.

GLA: Do you have any exciting news to share about current clients?

KN: How much room do you have in your article? Big grin here. We’ve had a ton of good news as of late. Earlier this year, Ally Carter hit the New York Times Series bestseller list (along with Twilight and Diary of A Wimpy Kid) with her wonderful Gallagher Girls series. Jamie Ford hit the NYT bestseller list twice. For nine weeks with the hardcover of Hotel On The Corner Of Bitter And Sweet and now for the trade paperback edition of this novel. He’s been on for four weeks, hitting as high as #13 and I have hopes for staying on for a while and breaking the top ten.
     Then Gail Carriger’s debut steampunk fantasy Soulless was named one of the top 100 books of 2009 by Publishers Weekly. So exciting and unexpected. This is the second time an NLA book has been chosen by PW for a top book pick of the year. In 2008 it was Sherry Thomas’s debut historical romance Private Arrangements. We’ve been incredibly blessed.

GLA: What are you looking for right now and not getting?

KN: I’d love to see more literary fiction with that strong commercial bent—like Jamie Ford. Great storytelling, lovely writing, and a dynamic plot to really drive the story.
     I see a lot of literary fiction with superb writing but there’s no solid plot to keep the pace strong. I certainly see the value in beautifully written and introspective literary fiction such as Prague—but it’s not right for me.
I want literary fiction with a genre plot—if that makes any sense.

GLA: What are you tired of seeing?

KN: Paranormal - elements. We are still looking at titles in the adult or young adult realm with paranormal elements, but it’s crowded. It would really have to be extraordinary for us to take it on. Although, I’d love something literary that has that touch—kind of like The Thirteenth Tale, which I loved. I would represent a book like that in a heartbeat.

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

KN: Sadly I’ve been limiting my appearances at writers’ conferences. As much as I enjoy them, it’s a lot of travel to be at the London Book Fair, BEA in New York, RWA, Worldcon or World Fantasy, ALA, and also in Bologna for the Children’s Book Fair. My associate Sara Megibow is planning to attend quite a few next year. Readers can find out about her on Publishers Marketplace page.
     I do plan to be at the Missouri’s Writers Guild conference in St. Louis in the spring. I still have family in the area so it’s a good excuse to visit.

GLA: What is something about yourself writers would be surprised to know?

KN: That I’m in my forties and I still play Ultimate Frisbee for fun. My husband and I met while playing the sport years ago. It’s a great, caring community so we still like to play. I’m so the old lady on my team now. If I get matched up against a twenty-something, I know I can’t keep up so I have to play smarter. Sometimes that works. Lots of time that doesn’t. It’s still fun though. I imagine that if I get one more major injury, I’ll hang up my cleats.

GLA: When writers first contact you, what do you want them to send and how?

KN: We make it easy; all our submission guidelines are clearly outlined on our website. In short, send us a query letter by e-mail first. If we want to see sample pages, we’ll request them and have you upload to our electronic database. We do everything electronically and have done so since the start of my agency in 2002. Save the trees!

This agent interview by Kerrie Flanagan,
director of Northern Colorado Writers. Register
now for the 5th annual Northern Colorado
Writers Conference, featuring literary agents
as well as author and producer Stephen Cannell.

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 2011 Guide to Literary Agents today!

New Agent Alert: Lauren MacLeod of the Strothman Agency

Chuck — Fri, 15 Jan 2010 15:50:11 GMT

Reminder: Newer agents are golden opportunities for new writers because they're likely building their client list; however, always make sure your work is as perfect as it can be before submitting, and only query agencies that are a great fit for your work. Otherwise, you're just wasting time and postage.

About Lauren: She joined the Strothman Agency after graduating cum laude from Emerson College with a BFA in Writing, Literature and Publishing.

She is seeking: middle grade novels, young adult fiction and nonfiction, as well as highly polished literary fiction and narrative nonfiction. Some of her favorite (non-client) YA authors are Meg Rosoff, Maureen Johnson and John Green. Specifically, she's looking for contemporary YA & MG, narrative nonfiction for young adults, graphic novels, YA Dystopian with strong world-building, and adult trade nonfiction on quirky subjects or people. She is currently especially drawn to YA & MG projects with humorous situations or funny characters.

Flooded with: "Fantasy, Paranormal Romance, Historical Fiction, Tragedy Memoirs."

How to contact: Do not send entire manuscripts unless requested. E-queries accepted, strothmanagency (at) gmail (dot) com. Include a query, synopsis, and (for fiction) 2-10 pages. No attachments please. "If we have not replied to your query within six weeks, we do not feel that it is right for us." Snail submissions accepted, too: The Strothman Agency, LLC, 6 Beacon Street, Suite 810, Boston MA 02108 and include a self-addressed stamped envelope.

Want more on children's writing?

Examine Great High-Concept Hooks for Children's Books.

New children's agent seeking submissions.

How to write picture books for kids.

Buy the kids writers' bible: the Children's Writer's & Illustrator's Market.

Interview with kids agent Joe Monti of Barry Goldblatt Literary.

Read a successful young adult query: "Wake" by Lisa McMann.

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: Stacia Decker of Donald Maass Literary

Chuck — Wed, 13 Jan 2010 15:46:14 GMT

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 Stacia Decker, an agent with the Donald Maass Literary Agency, which she joined in 2009 after agenting at Firebrand Literary. A former editor at Harcourt and Otto Penzler Books, Stacia began her career at Farrar, Straus & Giroux after earning an MFA in nonfiction writing at Columbia University.

She is looking for: mystery, suspense, noir, and crime fiction and is looking for a strong voice, dark humor, fast-paced plotting, and unpredictable violence.

GLA: How did you become an agent?

SD: After I was laid off in the Houghton Mifflin Harcourt merger, I decided I wouldn’t be happy without the flexibility to purse the writers and projects I believed in, and that meant agenting. I started at Firebrand Literary, and when that agency closed a few months later, I called Don Maass and we started talking about me joining the agency. Needless to say, my authors were thrilled when I announced we had a new home with Don. I cannot say enough about Don’s editorial insight, ethical judgment, and professionalism.

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

SD: Joelle Charbonneau’s Skating Around the Law will be published by St. Martin’s Minotaur in Fall 2010. This is the first book in the Rebecca Robbins series, which features a spunky Chicago heroine trying to sell her mother’s small-town roller rink, her combative romance with a hunky large-animal vet, and her inevitable foray into crime-solving with the help of her oversexed grandfather, Pop, and a retired circus camel, Elwood. You can learn more about Joelle at www.joellecharbonneau.net and hear her podcast with the editors of Tyrus Books.

GLA: Just so writers understand—you used to look for nonfiction but aren’t currently? Is that correct?

SD: Yes. I started my career as a nonfiction editor, and as an agent I was originally accepting nonfiction queries. I soon decided to concentrate on mystery and crime fiction, however, and made it official when I moved to the Maass agency, which represents primarily fiction.

GLA: What falls under the umbrella that of “crime fiction”?

SD: Crime fiction can include a detective or cop character—he’s just usually not the hero. I would say that crime fiction is less about the whodunit than about the protagonist’s dilemma in a criminal milieu. The protagonist may not have all the information—so there is a mystery in that he is trying to find something out—but the story is really about how he solves his problems, which are often as much about his lifestyle as about the particular crime that spurs the plot. For instance, in Ray Banks’ brilliant Saturday's Child, Cal Innes is forced by a local mob boss to find a former employee and the money he stole, but in many ways the story is about Cal trying to find a place for himself and form an adult life within a socioeconomic stratum that offers very few options.

GLA: Does “Suspense” really exist as a category? For me, the classic Suspense book is Silence of the Lambs, yet you still see a lot of blurbs in that book calling it a thriller.

SD: I believe that psychological suspense very much exists as a subgenre—and one that crosses genres as varied as literary, women’s fiction, and horror. For example, over the years I’ve seen quite a few nervy novels (particularly from the UK) featuring a female protagonist, sexual obsession, and the building threat of madness and violence rather than an initial crime that must be solved. These, to me, are best labeled Suspense.
     Not that that’s what I’m looking for. Yeah, sorry. When I say I’m looking for suspense, I’m deliberately being a bit vague because I never know when a thriller will catch my fancy—thriller being another famously ill-defined term. The properties I represent are typically more male-oriented and action-packed than strictly psychological. As for Silence of the Lambs, I would classify it as a leader in the serial killer subgenre.

GLA: Speaking of Silence of the Lambs, I remember how that book did not start out very fast. It was interesting but lacked some kind of super-interesting jump-start that you offer see in genre novels these days. What do you like to see at the beginning of a book you’re considering?

SD: A super-interesting jump-start. My books typically start with a broken nose, a dead dog, a hold-up, a body falling through a windshield, or the protagonist on his way to breaking someone’s arm.
     Because I read to live vicariously though another person’s worldview, I want a very strong voice. I want to hear someone speaking to me from the start—which is incompatible with a boring first sentence. Most of the time, I expect to start in medias res with the story unfolding with very little exposition. I should be able to pick up what I need to know from the storytelling itself. Good writing is all about what isn’t said, about what the reader infers or interprets. If something needs to be said, say it quickly and simply in the character’s voice rather than dragging me through a long scene to prove a basic point.
     A lesson I’ve learned from Don is that writers should also be aware of giving the reader a reason to care about the protagonist from the start. I’m partial to dark humor and antiheroes, but there must be something fundamentally human in the protagonist that allows the reader to care about him—and the reader has to see it early in order to keep reading.
     So, as a writer, don’t count on your reader getting to the good part. Frontload and keep on loading. You’ve got to bring your A Game from line one.

GLA: You seek these big categories—crime, suspense, mystery. But within the categories, what do you like to see?

SD: I have a real soft spot for neo-noir and crime—subgenres that typically feature protagonists who are, existentially speaking, screwed from page one, who break rules or make the wrong choices (as we’d all like to), who allow us to play out our dark fantasies and fears, who exhibit dark humor and self-deprecation, who give voice to a lower or working class existence that is under-represented in our news and art. These characters, to me, give us a window onto contemporary society and the human condition. Plus they’re fun to read.
     I’m charmed by any author who captures the nuances of human interaction and dialogue. My client Steve Weddle nailed my in-laws without even knowing it. My client Frank Wheeler recreates an Arkansas Ozark dialect that immediately puts the reader into the head of his sociopath protagonist. My client David Thayer illustrates, through his detective’s elocution, the social constraints of the mid-twentieth century. I really value this attention to language, this ability to capture a person’s history and location through his speech. The absence of this—through cliché, through generic language, though pastiche—is deadly.
     I am not often interested in characters who are extraordinarily attractive, wealthy, intelligent, accomplished, well-dressed, and confident. These characters are wish-fulfillment constructs; they’re not relatable and they’re boring. Many serial killers in fiction are also boring. Their motivations and unreliable narratives feel overly familiar, and their obvious evil requires no work on the part of the reader. Most of us understand traditional definitions of right and wrong, good and bad, success and failure. I’m more interested in stories and characters that blur those distinctions and force us to think about those categories.
     I’m also interested in issues of masculinity and male identity and the way that these issues play out in these stories. While the male experience has disproportionately dominated the historical record, I feel that the vulnerability of that identity has been unfairly underrepresented. It’s an important subject and it’s one organically addressed in genre fiction. Didacticism is a turn-off, but I notice symbolism and motifs and appreciate a genuine portrayal of the dilemmas inherent in the male gender construct.
     I want the story to keep moving—in this genre, that often means violence. And if you’re going to have violence, it—as with any plot element—had better be unpredictable. Much of what I represent is unabashedly violent, but I feel it’s organic to the plot, realistic to the characters, and relevant to the reader’s interest in what the human experience can contain. That said, I’m not particularly interested in stories that highlight violence against women or children; rape and molestation are, to me, the stuff of news rather than entertainment. In the end, this is entertainment. I want to live vicariously through a physically damaged yet resilient, less morally constrained character who experiences drama uncommon to my daily life. And it helps if he’s funny. Dark humor keeps a story surprising.

GLA: Top three mistakes you see in a query letters?

SD: The number one mistake is not telling me what the book is about. This includes being so vague that after a paragraph of description I still can’t identify basic plot elements. It includes pasting the first fives pages of the novel into the body of an email with absolutely no cover letter. It includes sending me an email informing me that your cover letter and synopsis are in the attached documents. It includes letting me know that you’re writing a novel but, in place of a pitch, you would like to send me a short story featuring the same protagonist. It includes telling me all about you and your reasons for writing the novel but nothing about the book itself. These are all query letters that do not function as query letters.
     Most other “mistakes” are forgivable or let me in on legitimate reasons why I am not the right agent for you. For instance, querying me for genres I don’t represent (YA, fantasy, science fiction) is a waste of your time, but there’s probably nothing wrong with the query letter itself. Letting slip personality characteristics or sales expectations that clash with my own—again, only a mistake if you want to embark on a professional relationship destined for failure.
     A good query letter should mimic the hardcover flap copy or paperback cover copy you would expect to see on your book should it be published. That’s because, ideally, your query letter becomes your agent’s pitch letter, which becomes your editor’s catalogue copy, which becomes your book’s flap copy. Agents and editors are overworked and nobody likes to reinvent the wheel. Make it easier on them by giving them what they need to sell your book. Go look at some copy—it includes a snappy description of the plot (the hook and one significant twist that ups the drama, not a blow by blow synopsis), relevant information about the author, and maybe blurbs. That’s it. If you happen to dog-sit for Stephen King and he promised to blurb your book, let me know. Otherwise—and, really, even then—keep it short, pithy, and professional.
     That said, I’ve signed plenty of clients whose query letters were flawed or contained outright pet peeves of mine. Do your research and do a halfway decent job on your query letter and the strength of your writing and your personality will shine through and matter most.

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

SD: I will be at Bloody Words in Toronto and at Bouchercon in San Francisco, but writers are better off pitching over e-mail.

GLA: Do you realize you share the same last name as the protagonist in Blade Runner, a fantastically awesome noir movie? How does this make you feel?

SD: Actually, it’s Rick Deckard. A fact that I find horribly, horribly disappointing, as I am a huge Blade Runner fan and misheard his name as Decker when I first saw the movie at a young age. (I also thought Billy Idol played Roy Batty—or Roy Baty, as in the novel.) I must now go on record as saying that I prefer the original theater release version (complete with voiceover and full eye-gouge) to the director’s cut and that my father has the perfect action hero name: Jack Decker. That is all.

GLA: (I feel stupid about the Decker-Deckard thing considering I love that movie.) Moving on, what's something about you readers would be surprised to know?

SD: I like the Sylvester Stallone version of Get Carter—a controversial position, but one I’ll take. Other than that, if you follow me on Twitter, you know all there is to know.

GLA: Best way for writers to contact you?

SD: E-mail me at sdecker(at)maassagency(dot)com with the query letter and first 5 pages pasted into the body of the e-mail.

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

SD: Wear sunscreen, take care of your teeth, and don’t go to MFA school.

Want more on this subject?

Interview with agent Jeffrey McGraw (The August Agency).

Agent interview: Michelle Brower of Folio Literary Management.

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 2011 Guide to Literary Agents today!

Agent Advice: Rachelle Gardner of WordServe Literary

Chuck — Fri, 08 Jan 2010 15:16:43 GMT

Agent Interview by

contributor Kerrie Flanagan

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 Rachelle Gardner, an agent with Wordserve Literary and host of a very popular blog on publishing. Rachelle works with both fiction and nonfiction authors. She has been in the publishing business for thirteen years, working in various positions encompassing marketing, sales, international rights, acquisitions and editorial. She lives in Colorado with her firefighter husband, two daughters, and lovable yellow lab. Also, know that Rachelle is featured "Ask the Pro" guest for the Feb. 2010 issue of Writer's Digest. (Subscribe here.)

She is looking for: full-length fiction (75,000 to 110,000 words) in all genres except fantasy and sci-fi. She is looking for books that don't contradict a Christian worldview. In nonfiction, she represents books that would fit in the general market or the Christian market (or both).

GLA: How did you become an agent?

RG: I’d been working in publishing, in various roles, for more than a decade. During that time, a surprising number of people told me I should be an agent, and a few agents asked me if I wanted to join their agencies. I wasn’t ready for that; I loved editing and working closely with authors on their books. A couple of years ago, I’d left an in-house editor job and was freelance editing and writing. My agent, Greg Johnson, was looking to bring in another agent. I finally realized that as an agent, I could still do what I loved—work with authors and help them with their books. I decided to make the switch, and it turned out to be perfect for me.

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

RG: Snow Day, a novel by Billy Coffey, to Faithwords (a Hachette imprint). He’s an incredible writer with a popular blog and the book will be released in Fall 2010.

GLA: You have recently branched out from only representing Christian books to now representing general fiction as well. What made you come to that decision?

RG: I’ve always read heavily in commercial women’s fiction. I can’t get enough of authors like Anita Shreve, Jodi Picoult, Elizabeth Berg, Anne Tyler and Sue Miller. I’d love to represent authors like that if I can.

GLA: What is the biggest mistake people make with their submissions for the Christian market?

RG: First, I try not to think of writers making “mistakes” because each writer has to go through a learning curve, and often the submission process and resulting rejection is very instructive to them. Also, I don’t think there are any mistakes that are specific to the Christian market—we see similar things from all kinds of writers. I think most writers query before they’re ready to be published. They haven’t been writing long enough to be producing work that large numbers of people would want to read. I used to call this a “mistake,” but now I believe it’s a necessary part of the process for each writer. The rejections give them valuable feedback so they can continue writing and getting better.

GLA: What misperceptions do people have about agents who don’t live in New York?

RG: They might think that agents outside of New York can’t sell books as effectively, or maintain strong relationships with editors. That’s a misperception because these days, most day-to-day business is done electronically whether you live across the street from the publisher or half a continent away. There are plenty of opportunities to meet face-to-face with editors at various times throughout the year.
Even though New York still has the largest concentration of agents, I know agents in almost every state these days. Technology has allowed us to be able to do our jobs effectively from just about anywhere. I think being outside of New York is no longer a disadvantage.

GLA: How often do you visit New York and how long do you usually stay?

RG: Since I’ve been focusing on the Christian market, New York hasn’t been all that important to my business. Christian publishers are primarily located in Colorado (where I live), Nashville and the Chicago area. I meet with them several times a year, either at their offices or at conferences. This year I’ll be going to New York for a week and will schedule five days of meetings with editors there.

GLA: Are there any advantages to living in the same state as one of your clients?

RG: My clients that live near me don’t have advantages over my other clients in a business sense, but I love being able to meet face-to-face and talk with them. It definitely helps us to have a stronger relationship. I get to meet many of my other clients at conferences, but I still have some clients I’ve never met in person!

GLA: How important is platform when submitting a nonfiction book proposal?

RG: We all know that platform is very important. But this isn’t easy for agents and editors. We love great ideas. We love fantastic writing. So when we receive a wonderful proposal from an author who doesn’t have a platform, we struggle with it. Everything in us says, “This is a terrific book. I’ve got to have it!” But market realities tell us it could be a bad business decision.
I’ve got a proposal out to several houses right now. Every one of them has said they love the book and the author is a terrific writer. But they’re all struggling with his lack of platform. They’re debating it in their pub board meetings. As of now, I still don’t know what’s going to happen. It’s a perfect example of the primary importance of platform. It is just too hard to sell a book without one.

GLA: What are you looking for right now and not getting?

RG: High quality women’s fiction that I can’t put down. Female-oriented suspense for the Christian market, similar to Sue Grafton & Janet Evanovich.

GLA: What are you tired of seeing?

RG: Memoirs written by people who haven’t studied the craft of memoir writing, but simply sat down to tell their tale. Memoir is a genre that’s all about the writing. It’s got to be fabulously written, well-organized, and have that can’t-put-down quality.

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

RG: The Northern Colorado Writers Conference in March of 2010.

GLA: What is something about yourself writers would be surprised to know?

RG: I like to crochet but I’m terrible at it! I’m trying to get better but meanwhile my kids are stuck with quite an array of badly-made winter scarves. Some might also be surprised that my vices are People magazine and a nice glass of Merlot.

GLA: When writers first contact you, what do you want them to send and how?

RG: I ask for a query that includes a pitch for the book and any other information that’s relevant. For fiction, the pitch is the most important part. Nonfiction authors need to give me a brief (one paragraph) overview of their platform in the query.
Whether it’s fiction or nonfiction, I ask writers to paste 3 to 5 pages of their manuscript into the email. This allows me to make a more accurate assessment of the project. With queries, I don’t open attachments or click on links, so all the necessary information needs to be in the email.

GLA: What advice do you have for new writers?

RG: Spend as little time as possible cruising the Internet and watching TV. Spend as much time as possible reading and writing. It’s crucial for writers to be readers. Read whatever interests you. Read books of the genre in which you’re writing. Read books about the craft of writing. And read some things that are completely outside of what you’d normally pick up. Read, read, read.

This agent interview by Kerrie Flanagan,
director of Northern Colorado Writers and
a freelance writer. Visit her blog, The Writing Bug.

Want more on this subject?

How to Write a Query Letter.

Agent interview: Elizabeth Pomada of Larsen-Pomada 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 2011 Guide to Literary Agents today!

Agent Advice: Lori Perkins of L. Perkins Agency

Chuck — Sun, 03 Jan 2010 06:32:22 GMT

Agent Interview by

contributor Ricki Schultz.

"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 Lori Perkins, founder of the L. Perkins Agency (no website). Lori graduated from NYU with a B.A. in art history and journalism.

She seeks: horror, social science fiction, dark fantasy, dark literary novels and erotica. In nonfiction, she handles books about pop culture (music, art, film, TV, etc) and she is also interested in architecture and design. She does not want to receive straight romance, Westerns, non-quirky mysteries, children's books, plays, screenplays, articles or short stories.

GLA: How did you become an agent?

LP: I was the publisher of a newspaper in Manhattan, and my editor left to become an agent. He told me that I was like an agent, giving my reporters ideas for stories and then telling them where to send them and how to pitch them. The agent he worked for wanted someone to run his office while he was on the west coast, and I took the job. I worked for him for six months, and then trained with another agent for three years before I went out on my own.

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

LP: Hungry for Your Love: An Anthology of Zombie Romance to St. Martin's Press for Ravenousromance.com. I am currently selling Jenna Jameson's second nonfiction book about her transformation from porn star to mother. She was just on "Oprah."

GLA: I read an interview where you said you were looking for the Latino Gone with the Wind. Would that still jump to the top of your slush pile? Other than that, what are you looking for right now and not getting?

LP: I'd love a Gone with the Wind that's about Scarlett's battle for self in a paternalistic society undergoing sweeping change, not Rhett or Ashley's adventures. I can't tell you the number of books that have come in with male protagonists. The only things that are selling right now are paranormal romance and young adult fiction. I personally love vampires, zombies, the vampire zombie Apocalypse, and kick-ass female characters. Female-centered erotica and erotic romance are always considered as well.
I take on very few new clients, as I have 80 existing clients and am the Editorial Director of ravenousromance.com, which publishes 120 books a year, but I have two junior agents who specialize in mysteries, thrillers, literary fiction, fantasy, urban fantasy/paranormal romance, YA, pop culture, dystopian past and future, and horror.

GLA: I know ravenousromance.com is a new digital epublishing company? What else can you tell us about it?

LP: Well, we started the company in July 2008, and launched Dec. 1, 2008. I've been working two jobs for a year and a half, but I love what I'm doing and believe that I am getting more writers published this way, and am on the cutting edge of a revolution in publishing. As an agent, digital publishing is all about getting writers read, so any way that can happen, I encourage.
The three principals of the company—myself, Holly Schmidt and Allan Penn—are a formidable publishing trio with over 55 years of book experience. Allan does our covers and coordinates the audio program. He is an amazing photographer who trained under Cosmo's Francesco Scavullo, which is why we have such award-winning covers. Holly was the publisher of Quirk and Marketing guru at Rodale, so she knows how to get our books in places you can't imagine. That's how we launched the Ravenous Romance Home Shopping network program. And the fact that I am an agent, and know so many writers, has helped us bring more than 300 authors to Ravenous Romance. We've also sold sub-rights to about a third of the 150 titles we've published this year, which is unheard of for epublshers.

GLA: What are you looking for at Ravenousromance.com?

LP: Our best-selling titles are paranormal romance, the kinkier stuff, and our Male/Male titles, but we are looking for everything in erotic romance. We pay advance for both short stores and novels, unlike most epublishers. We buy about 300 short stories a year (between 2000 and 5000 words), so go to our blog, to look for calls for stories in our in-house anthologies. Our novels run between 50,000 and 60,000 words. Send submissions to submissions@ravenousromance.com.

GLA: Can you tell us a little bit more about your interest in social science fiction? Perhaps give some examples of books you repped that fit into this category so writers can get a sense of what you’re looking for here.

LP: Soft science that deals with changes in society. Things like 1984, Gattica, Jennifer Government.

GLA: With most of the fiction you seek, you’re looking for "dark dark dark." What draws you to the dark side?

LP: I don't like happy endings. I like twists and twisted stories. I especially like revenge stories.

GLA: You do not handle romance—you’re looking for what you call “feminist smut” and “very sexy” chick lit. Is there a difference between this and straight-up erotica? In your mind, how can one give erotic romance a feminist spin?

LP: Straight up erotica has been based on years and years of male sexual fantasy—what I call the Spank Me Baby books. Feminist smut is women-centered erotica that focuses on both the sexual and self-esteem journey. It makes you feel good and feel good about yourself, and even makes you feel good about feeling good, if you know what I mean.

GLA: Where are new writers most commonly going wrong in chapter one?
LP: They have not reviewed The Elements of Style by Strunk & White; that, and they and overwrite.

GLA: What topics would you classify as overdone in the nonfiction area of pop culture?

LP: It's almost impossible to sell an unauthorized biography today because biographies go on the Internet.

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

LP: E-mail and e-mail only. lperkinsagency(at)yahoo(dot)com.

GLA: You mentioned other agents at the agency. How many other agents do you have at L. Perkins Agency?

LP: Three other agents and two interns.

GLA: Do they have different tastes readers need to know about?

LP: Sandy Lu is actively looking for thrillers, mysteries, literary fiction, and urban fantasy/paranormal romance. Max Ximenez will be handling comic books and graphic novels as well as gaming-related titles.

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

LP: I attend Necon and KillerCon every year, as well as Writer's Digest Pitch Slam at BEA, Romantic Times, and RWA. I usually attend World Fantasy.

GLA: Best piece(s) of advice we haven’t talked about yet?

LP: Finish the book. Keep it to 80,000 words.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

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 2011 Guide to Literary Agents today!

Agent Advice: Mary Kole of the Andrea Brown Literary Agency

Chuck — Mon, 28 Dec 2009 07:09:14 GMT

"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 Mary Kole of the Andrea Brown Literary Agency. Mary is a new agent at ABLA and runs the Kid Lit blog. She has also worked in the children's editorial department at Chronicle Books and is currently earning her MFA in creative writing at the University of San Francisco.

She seeks: young adult and middle grade novels and truly exceptional picture books. While she's not interested in high fantasy, science fiction, thrillers or horror, she would love to consider realistic/contemporary, urban fantasy and fantasy/adventure, historical, paranormal and mystery manuscripts. One of her favorite genres is magical realism: a story set firmly in our world, only with a twist—magic, danger or something that turns "reality" on its ear.

GLA: How did you become an agent?

MK: I came to publishing through a passion for writing. Early on, I realized that I wanted to educate myself in what happens "on the other side of the desk," with agents and editors. So I started reading manuscripts for the agents at Andrea Brown, fell in love with it, and, about a year later, officially came aboard. In the meantime, I also worked for the children's editorial group at Chronicle Books to see what happens on the editorial side of things. I like to joke and call myself a "triple threat," because I have the writing, the editorial and the agent perspective. My favorite thing is to take on an incredible manuscript and put in a lot of editorial work with a client to make it even better before going out on submission.

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

MK: I recently sold an amazing author/editor debut picture book to Tricycle Press that's called Buglette, The Messy Sleeper. It comes out Summer 2011. There are some other deals in the works, including another debut author/illustrator project, but they're too fresh to talk about. Stay tuned!

GLA: What draws you to kids writing?

MK: Kids and teens don't read like adults do. Most adults read fiction before bed, to put themselves to sleep. Kids devour books, devour them again and tell all their friends. Personally, I love that sense of excitement and discovery. I try to go about my own life that way. Kids and teens have open minds, they see opportunity all around them and they think big. Also, to the kidlit audience, a book is like a friend, a confidante, something to spark their imaginations ... the books I represent could very well change someone's life. There's no better feeling than that.

GLA: You are building steam with this cool new site - Kid Lit. How did it come about?

MK: Since I started out writing, I understand what writers go through and what questions they have. I understand how valuable and gratifying it is to hear from professionals in the industry. Since I can't chat with every writer individually, I keep the blog to reach out, be approachable and provide correct, actionable and inspiring information. A lot of agents and editors seem like shadowy gatekeepers in some ivory tower. I want blog readers (potential future clients, I hope!) to get to know me and my philosophies. I've been getting great submissions as a result, things that are right up my alley.

GLA: You seek historical MG/YA works. Any time periods of special interest?

MK: I've been taken recently by the 19th century, but 20th century history is also very interesting. Historical is best for me if I get to learn about some hidden history or see a part of the US or world where something unique is going on. All historical has to be really strongly justified for me to like it, and it has to have a hook that's fascinating and exciting for modern readers. One bit of advice I like to give writers about historical fiction: even if people spoke or described stuff in an affected way in the days of yore, that's no excuse to write in a dry or stilted style. Dialogue and description still has to be fast-paced, fluid and engaging.

GLA: What do you pray for when tackling the slush pile. Other than "good writing," what, specifically, are you looking for in the kids writing world that's hard to find?

MK: Voice is essential when writing for kids. Any kind of moralizing is an immediate turn-off. The people who succeed at writing for kids and teens respect their readership and acknowledge that this time in a person's life is just as rich, vibrant, smart and complicated as adulthood is. Other than that, personally, I'd love to find a really smart dystopian YA novel, like M.T. Anderson's Feed, anything with a drama or theatre setting and a really strong, realistic boy voice for the YA market. Mysteries are always fascinating to me, too!

GLA: Share your wisdom with us real quick. As someone who doesn't read much fantasy, help me (and other writers, hopefully) understand what kind of fantasy you want to see vs. that which you don't. On this note, what is the difference between urban fantasy and paranormal?

MK: I'm in the same boat as you. High fantasy often goes right over my head. I love fantasy that's set in our world or close to it, which I'd more accurately describe as "magical realism." Something where the fantastical element is one of the only quirks about an otherwise realistic world. I like books that hit too close to home, like they could almost happen to me. I will never end up piloting a ship through the galaxy or butting heads with dragons, but I just might develop the power to pause time one day (a girl can dream!).
As for paranormal vs. urban fantasy, the main difference with urban fantasy is a darker side, an edge, some grit. Paranormal can take place in a historical setting or attract younger readers. Urban fantasy usually takes place in a modern setting or the near future, with characters who are getting into more dangerous or sexy situations. The readership is often older teens. There's also usually a strong romance plot. It's a specific slice of the larger paranormal pie.

GLA: You just hosted a query contest on your Kid Lit blog. Looking over all those queries, what advice can you give writers?

MK: Make me care. A lot of queries don't tell me what's important to the character, what's at stake, how things go from bad to worse for them. People read to bond with people. Even if you've got a blockbuster plot, the character is still important because they're what will pull me into the other elements of your story. Focus on them. Keep things simple and brief. Also, I'm sure you have lovely children, pets, hobbies, anecdotes, pictures, friends ... but, no offense, unless they're directly related to your project, maybe leave them out of your pitch.

GLA: Describe your dream client.

MK: A dream client knows how to write very well, wants to learn about craft and revision, has good habits that keep them productive, shares work with a critique group before giving it to me, and is somewhat savvy about the publishing industry. Even after they have an agent and editor, an informed writer has an edge in today's market. There's no excuse for being blissfully unaware these days. Publishing is a fascinating industry and if you hope to work in it, start making connections, reading blogs, participating. Buy books, read them, go to author events, go to trade shows, meet other writers and authors, attend conferences. There's literally a whole world of opportunity available to you.

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

MK: Yes! I love going to conferences, meeting writers, critiquing manuscripts, giving workshops and hearing pitches. I will be at the SDSU conference in San Diego in January 2010, at the San Francisco Writer's Conference in February 2010, at the Big Sur Conference in March 2010, and that's just the next few months. I constantly update the "Events and Conferences" list on my website, so check there for my most current schedule.

GLA: What's something about you writers would be surprised to know?

MK: I'm a passionate traveler. My favorite places on the planet (that I've seen so far) are Ireland, England and Costa Rica. I'd love to get to Japan, Australia and Spain someday, as well as do a road trip across America.

GLA: Best piece(s) of advice we haven't discussed?

MK: Read your butt off, grow a new butt and read it off again. Lather, rinse, repeat. A large chunk of my writing knowledge comes from my aggressive reading load. I read both published, unpublished and soon-to-be-published books. In doing so, I internalize plotting, character arc, tension, pacing, description, dialogue. Plus, for me, it's research. There's no excuse not to be reading voraciously within and outside of your chosen genre or market.

Want more on children's writing?

Examine Great High-Concept Hooks for Children's Books.

New children's agent seeking submissions.

How to write picture books for kids.

Buy the kids writers' bible: the Children's Writer's & Illustrator's Market.

Interview with kids agent Joe Monti of Barry Goldblatt Literary.

Read a successful young adult query: "Wake" by Lisa McMann.

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: Katie Grimm of Don Congdon Associates, Inc.

Chuck — Tue, 22 Dec 2009 02:19:36 GMT

Agent Interview by

contributor Ricki Schultz.

"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 Katie Grimm of Don Congdon Associates, Inc. Katie has been an agent for two years. (No website.)

She seeks: literary fiction, mystery, women's fiction, historical fiction, thrillers/suspense, short stories, multi-cultural, offbeat/quirky, young adult, middle-grade, and children's literature. Her nonfiction interests are: history, biography, religion, science, drama/music, multi-cultural, memoirs, travel, adventure/true story, pop culture, narrative, photography, film & entertainment, cultural/social issues, and juvenile.

GLA: How did you become an agent?

KG: I’m an insatiable reader—I’m always on the hunt for the next life-changing read, but as soon as I finish a rare find like that, I think, “yes, wonderful, but I want more!” I think it is important never to be fully satisfied with what’s on the shelves—when you’re complacent, the spark is gone. That drive brought me to agenting, and now I discover and nurture these books professionally. I also get to find other people who cherish these works as much as I do and are willing to fight alongside me to get them in reader’s hands. While books can be intensely personal, turning them into a shared experience is one of the joys of the job.

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

KG: I’ve been receiving and requesting a lot of young adult and middle grade, but I also want more historical fiction. The key to historical fiction is creating characters and plots that are engrossing no matter what the era, and the historical setting should inform the story and not overwhelm it. I am also looking for historical mysteries and lurid thrillers that aren’t in the terrorist or conspiracy theory mold—in my opinion, you don’t need far-reaching plotlines and global masterminds to deliver excitement.
      I need more nonfiction that isn’t misery driven or inspirational—I want to learn something new! I’m always interested in well-researched, personal, and enlightening nonfiction, but having a strong writing platform is at the forefront of everyone’s mind, especially since much of marketing and publicity is placed on the shoulders of the author from the beginning.
      As agents, we are constantly dealing with the conundrum of publishers only throwing marketing dollars into something that is already wildly popular, and authors need to be well aware of this as well.

GLA: You actively seek kids’ literature. What draws you to this category?

KG: There is an infectious enthusiasm in children’s and young adult literature, and I think it is because the desire to inspire readers is much more palpable than it is in adult, which tends to cater to a market instead of creating it anew. Perhaps that’s one of the shortcomings of the way we view books today—we are less zealous about reading into adulthood—and some books can feel more like medicine than magic.

GLA: Within juvenile lit, do you accept everything from picture books through young adult lit?

KG: I am especially interested in young adult and middle grade, but I do consider picture books as well. Illustrated books are such a specialized market—it requires a completely different skill set to be able to parse out the prose and the artwork—but I welcome the challenge.

GLA: You are drawn to “surprising protagonists.” Can you give us a few examples of what constitutes such a protagonist to you?

KG: Agents and editors are always trying to find different ways to intelligently express the phrase: “I want something new.” True innovation is difficult, but you can give yourself a head start by building a story around a protagonist that we’ve never heard from before and is unpredictable. Although it is a memoir, David Small’s exploration of his childhood throat cancer in Stitches is a wonderful example of a main character that is inherently interesting. Understanding why characters make the hard choices is also integral to building them into a truthful entity—and if your protagonist isn’t worrying over any difficult choices, that’s a problem. Bolaño’s Savage Detectives is populated with a rogue cast, and trying to figure out why they do the things they do is a mystery unto itself.

GLA: Talk to us a bit more about your interest in short story projects.

KG: I am absolutely enamored with the short story as a prose form. When done well, short fiction can be transportive, revealing, and deeply satisfying. Because writers have to be much more economical with their words, writers must get to the crux of the issue without padding, and I find short stories much more truthful for this reason. Unfortunately, there are very few places where short stories are published, let alone allowed to flourish, so it can be very frustrating to try to sell. I think we all brace ourselves for the inevitable, “This is great, but what about a novel?”

GLA: You are not interested in high fantasy, straight science fiction, or paranormal. Are writers better off not sending you manuscripts with any elements of the fantastic at all, or are there specific subgenres of sci-fi and fantasy that do grab you?

KG: I don’t represent adult speculative fiction, but I love literary fiction with fantastical or dystopian elements. I think it is fascinating to see a glitch or twist in reality taken out to its logical conclusion and the dilemmas this presents for the characters. I am much more open to fantasy and sci-fi in YA and MG, but I have somehow escaped the pull of the vampire or vampire spin-offs, so no dragon slaying angel faeries for me!
      Regardless of the mind-bending elements, the story must reveal something about humanity itself. I’ve recently become smitten with Patrick Ness’s Chaos Walking trilogy (and especially The Ask and the Answer) because he shows us how sometimes sending people to alien planets can reveal more truths about human nature than you would ever see on Earth.

GLA: What are your three biggest pet peeves that most commonly crop up in the first chapters of a partial?

KG: 1. I don’t enjoy frequent changes in perspective or the point of view with no delineation between sections. If you are writing in multiple voices, they all must be strong, distinct, and have their own chapters. It’s also frustrating to jump between multiple characters even in third person—with no anchor to the story, it is hard to create that bond with the reader and build momentum. I also don’t like it when a mystery switches to the point of view of the killer—where’s the fun in that? Also annoying is when a children’s story switches to perspective of the adults.
      2. Nothing happens—no dead bodies, no problems, no momentum, no reason for me to read any further.
      3. For nonfiction, a vague and ultimately unconvincing proposal. There are so many resources out there for how to write nonfiction proposals that it is maddening when a proposal doesn’t include a beefy marketing section or a competition discussion—including some of these things can be an easy fix, but it is also very revealing if the author hasn’t yet created a marketing game plan.

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

KG: I prefer e-mail queries (dca[at]doncongdon[dot]com; put "Query for Katie" in the subject line) with the first chapter included in the body of the e-mail (we don’t open email attachments). I think authors lament the fact they have to create a pitch-perfect query letter, but sometimes an inability to convey concisely a project can demonstrate an inherent problem with it. At the same time, queries can sometimes be misleading and fail to demonstrate the writing voice, so it’s immensely helpful to have a chapter, too. Please only query one agent here at the agency.

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

KG: I’m still putting together a schedule for next year, but I’m planning on the Writer's Digest BEA Pitch Slam on May 24, 2010 (2009 site here) and Thrillerfest.

GLA: Best piece(s) of advice we haven’t talked about yet?

KG: Read and write every single day, and be evangelical about what you’re reading and loving. No amount of marketing or publicity dollars will ever trump the power of word-of-mouth, and sharing the emotional experience is why we’re all here.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

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 2011 Guide to Literary Agents today!

Agent Advice: Holly Root of The Waxman Literary Agency

Chuck — Tue, 15 Dec 2009 16:10:48 GMT

Agent Interview by

contributor Ricki Schultz.

"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 Holly Root of The Waxman Literary Agency. Holly began her publishing career as an editor in Christian publishing in Nashville, TN before coming to New York and joining the William Morris Agency’s agent trainee program. She then moved to Trident Media Group, where she sold audio rights for the agency’s clients, including a number of New York Times bestselling authors, before joining The Waxman Literary Agency in 2007 to sell audio rights and represent her own list of authors.

She seeks: upmarket and commercial fiction, including women's fiction, mystery, urban fantasy, romance, and YA, as well as voice-driven nonfiction projects, with particular areas of interest in narrative nonfiction, lifestyle, psychology, self-help/relationships, science, and practical spirituality and religion. She does not want screenplays, play scripts, poetry, picture books, military thrillers or woman/child in peril stories.

GLA: Why did you become an agent?

HR: I started out in publishing on the editorial side, but once I sampled the agenting waters, I really never looked back. As an agent, I love the opportunity to work on a wide range of projects because there are so many (very different!) kinds of books I truly love. I love a challenge, and since every single book is different, I certainly don't lack for challenges. And on the fuzzy side, the chance to help authors crack open the door to publication truly never gets old.

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

HR: I had a fun fall, placing a lot of projects for my clients, and it's so hard to pick just a couple! Among those on the fiction side were a super-funny and charming middle-grade novel about a group of eighth-grade outcasts who use dog training techniques to rule their middle school (Fetching by Kiera Stewart, sold to Disney-Hyperion, which is just this brilliant blend of sweet emotional honesty and hilarious hijinks) and a debut paranormal romance series to Berkley (we're currently working on the perfect title for this one) that introduces a spec-ops team that, instead of fighting beasties, is made up of said beasties—vamps, weres, you name it. The author, Virna De Paul, is just crazy-talented, and I think she is going to make a big splash with this series.

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

HR: Because my list is all over the place—fiction, nonfiction, young adult, adult—I'm always fascinated by what turns up in my slush! I'd love to see more middle grade, but I am exceptionally specific about voice for that age group, maybe even more reflexively than other genres I handle, so I know I will pass on saleable projects that just don't click with me.
I continue to love YA that hits me sideways with a completely indelible voice. I'm also a sucker for contemporary fiction, both for young adults and adults, where the worldbuilding is as specific and well done as it would be in the strongest paranormal (as in Kay Cassidy's The Cinderella Society or Lisa Patton's Whistlin’ Dixie in a Nor’easter).
I've talked before about wanting to see fiction for young readers that deals with faith in an ecumenically relatable/personal, rather than strictly market, sense. Think of the way Are You There God? It's Me, Margaret involves, but is not strictly about, a young girl's faith.

GLA: What draws you to commercial fiction?

HR: Simply put, it's what I read, what I've always read—and clearly, I am not alone!

GLA: Specifically within young adult and middle-grade lit, do you trend more toward sci-fi/fantasy, or do coming-of-age stories grab you?

HR: Of course, paranormal is hot right now, but I've sold as much contemporary as paranormal or fantasy YA. My authors on the contemporary side are just so, so skillful at writing emotionally truthful and resonant characters. Not that paranormal authors don't have to think about this, but when the question of identity is not so much the flashy "What am I?" but simply "Who am I?," you really have to bring your A-Game. I find I still need a high concept to go along with that beautiful writing, but there's always room for a well-told contemporary tale. And the best paranormals will be tapping those same themes, but with the added fun of fantasy.

Holly repped Living the Vida Lola

GLA: You seek “high-concept cozies” in terms of mysteries. Could you be more specific about what you mean here so writers can get a sense of what to send (or not to send) you?

HR: For cozies, there's a limited number of houses you can sell to these days, so I need to feel especially sure about my ability to place a project—this means a concept the sales force can hang a hat on as well as terrific storytelling and a character I'd love to revisit time and again. Cozies are primarily going to hinge on the main character's occupation (florist, dog walker, or in my client Mary Kennedy's case, radio psychologist) or hobby (scrapbooking, quilting, wine, etc.) or some combination of the two, which will make her (it's often a her) uniquely positioned to solve the crime. I'm also open to more traditional mysteries, where I am driven most of all by fast pacing and twisty, airtight plots.

GLA: To you, what is the most cringe-worthy thing one can include in a query letter?

HR: No need to apologize for yourself—"I'm so sorry to take up your time." Please don't threaten or beg me to "make your dream come true" or try to pump up the project in ways that mean nothing—telling me how your mom or friends loved it, or that you have 150 Facebook friends, all of whom you're sure would buy a copy. Don't get in your own way! Just tell me about the book, and we'll go from there.

GLA: Talk to us about your interest in “entertaining prescriptive projects” as well as “pop science projects.” What are you looking for in these areas?

HR: On the prescriptive side, I love anything that makes me go, "I would never have thought that I needed to know everything about this, but I do!" or a project that reads as entertainingly as a narrative would. On the pop science side, I have a secret inner science nerd I'd love pamper with more projects that take complicated subjects like neuroscience and make them accessible and compelling. Of course, with these projects as with all nonfiction, the trick is finding the author with the right blend of platform, authority, and—oh yes—writing ability.

GLA: You wrote a great blog post last month regarding writers getting bogged down in the do’s and don’ts of writing. Can you talk to us a little bit about your thoughts on this subject?

HR: Thanks! That post came from having done a lot of conferences and being a little frustrated with some of the vibes that are put off by some of the industry staffers in these scenarios.
     In our efforts to convey how the business works and the appropriate expectations for writers to have in the early stages of the game, it's easy to sound like We Are The Only Busy People Ever In the Universe And No One Else Could Possibly Parse The Depths of Our Busy—which is exceptionally untrue and rude, and—I would hope—not at all what anyone intends to put across.
     So from thinking about that, I ended up thinking about how this false impression of agents just sitting around waiting to "zap" writers for mundanities really contributes to a lot of the fear and nerves writers have, and how hard it is to do good work if you're operating from fear. I just want good books, type size and face notwithstanding, and I don't think I'm alone there.

GLA: What is one thing writers would be surprised to know about your personally?

HR: I have entirely too few secrets as it is! I can't give up all the goods...

GLA: Best piece(s) of advice we haven’t talked about yet?

HR: I have a favorite saying that I think addresses most, if not all, of the things that make us crazy at any and every stage of the journey, and it is one we all should've learned by third grade: Eyes on your own test paper.
Don't worry about Joe's query or how many full requests Suzy got, or whether Lisa got more co-op or David's deal was a pre-empt. Everyone's road is going to look different.
     Same thing applies to agents, honestly. Competing with yourself should be challenge enough. Getting wound up in the comparison game is unhealthy: It's unproductive because it's nearly impossible to know the entire story behind the scenes; it encourages a mentality that if someone else gets something good, there is one less good thing for me to get; and perhaps most of all, focusing on others takes your attention off things you can actually improve (i.e., your own work).

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

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 2011 Guide to Literary Agents today!

Agent Advice: Adriann Ranta of Wolf Literary Services, LLC

Chuck — Fri, 11 Dec 2009 15:18:49 GMT

"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 Adriann Ranta of Wolf Literary Services LLC. Adriann was previously with Anderson Literary Management. (Wolf's website is under construction.)

She is looking for: fiction and limited nonfiction, with an emphasis on children’s, middle grade, and young adult books. She is most interested in realistic, true-to-life stories with conflicts based in the real world. She likes edgy, dark, challenging voices, unique settings, and everyman stories told with a new spin. She does not want academic nonfiction, self-help, spiritualism, religion, or sci-fi.

GLA: How did you become an agent?

AR: I became an agent through the usual circuitous route from a liberal arts degree ... aside from random bookkeeping/waitressing/barista/unpaid internship jobs, I started at The Editorial Department, a freelance editorial firm in Tucson, to Anderson Literary Management, to Wolf Literary Services. I'm just building my list with Wolf, so it's affording me fantastic flexibility to acquire all the quirky, off-beat stuff I love best.

GLA: Excited about any submissions going out?

AR: I have a picture book and young adult book on submission now by two very exciting, promising new authors. I must be channeling a past life—they're both about young female rock stars.

GLA: You seem to have an expansive background—foreign rights, editing an online e-zine about the business of publishing, being a literary scout. How does it all contribute to your tastes and skills as a literary agent?

AR: Being an agent means wearing a lot of hats (cliché, sorry!), so I think having an eclectic background helps me be more adaptable and prepared. The Editorial Department honed my editorial eye, foreign rights introduced me to a vast network of international editors, scouting for ALM made me very discerning and market-savvy ... I feel that publishing as an industry makes it pretty easy to follow what you love, and so far it's led me to agenting.

GLA: So I'm looking at your Publishers Marketplace profile, and it seems like Kirsten will be focusing on adult works, while you will aim more for kids stuff. Are you also taking adult submissions? Still looking for "general literary fiction, psychological thrillers, gritty police procedurals, and nonfiction written with an engaging voice?"

AR: WLS as a whole is specializing in children's books (picture books, middle grade, and young adult), but we're both open to adult works as well. I still love gritty mysteries and procedurals, and both Kirsten and I have a penchant for weird/disturbing thrillers and horror stories. Literary fiction is really tough right now, especially in adult, so it would have to be spectacular, but I'm still open to nonfiction as long as it has some fresh, cool angle.

GLA: What kind of nonfiction are you looking for?

AR: I'm a big narrative nonfiction and memoir buff. I haven't done much with kids nonfiction, but would be willing to consider it. True crime is tough, so it would have to really stand out. Having said that, In Cold Blood is one of the most haunting, disturbing books I've read, so if you fancy yourself the next Truman Capote, I'd love to read your stuff.

GLA: What draws you to the kids world?

AR: As most obsessive book lovers were, I was a pretty precocious reader in middle school/high school and I remember feeling frustrated that there seemed to be nothing between easy-peasy kids books and adult books that were way over my head. (I idiotically went through a Dostoyevsky phase, which I apparently didn't absorb a single thing from.) So I'm basically trying to find books that I would've read—challenging, quirky reads that make you realize you're never alone in your struggles, no matter how alien you might feel.
I went to a Libba Bray reading this weekend for her new book Going Bovine, and someone asked her why she chose to write young adult. She said that she had a pretty tumultuous childhood, which made this difficult transitional period in her life even more emotional and dramatic. Since adolescence is such a keyed up point in everyone's life, it sort of naturally becomes fantastic book fodder.

GLA: Let's dig deeper into what exactly you want in a kids submission. What areas or categories really interest you? What are you sick of?

AR: I most appreciate realistic fiction where the book has some anchor in reality. Fantasies on weird planets featuring characters with unpronounceable names are a little too much for me—ditto to faeries, "chosen ones," or sci-fi in general. I'm sick to death of vampires, angels, zombies, and werewolves. I'm open to picture books, but not ones about Jesus.

GLA: You say you want edgy fiction, dark fiction. Can you point readers to a few dark edgy works you loved so they can get a feel for the type of writing that catches your eye?

AR: I love quirky, funny books like ones by Tom Robbins, Christopher Moore and Carl Hiaasen; creepy, un-put-downable mysteries like ones by Tana French, Steig Larsson, and Boris Akunin; groundbreaking young adult books like ones by Sherman Alexie, Cory Doctorow, and Barry Lyga. I'm also a huge fan of Mary Gaitskill, Jonathan Lethem, David Sedaris, Norman Maclean, Junot Diaz ... etc!

GLA: If someone wants to query you (or Kirsten), what is the best way to do so?

AR: We ask for a query letter and first 50 pages be e-mailed to queries@wolflit.com. Our website is under construction, but we're hoping to get a splash page up within the month.

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

AR: None that I have scheduled!

GLA: What's something about you writers would be surprised to know?

AR: I have quite a few tattoos and can't wait to get quite a few more. Not exactly relevant, but there it is.

GLA: Best piece(s) of advice we haven't discussed?

AR: Read, read, read, read, read! No matter what happens with ebooks, iphone apps, hardcover editions, self-publishing, print-on-demand, or Google, write because you can't live without reading.

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 2011 Guide to Literary Agents today!

CWIM Interviews Kids Agent Tina Wexler of ICM

Chuck — Wed, 09 Dec 2009 15:34:46 GMT

My awesome coworker, Alice Pope (editor of Children's Writer's & Illustrator's Market) just posted an interview with agent Tina Wexler of ICM, who handles both adult and kids books. I've only met Tina once, but she seems very cool and very good at what she does.

See the entire interview here or read an excerpt below!

AP: What are the advantages for you working at a big agency? What are the advantages for your authors?

TW: The advantage of being at a big agency is that everything is kept in-house , which means having more control of what is happening with my clients' projects (and for the client, only one commission). We have the Los Angeles office shopping our books for film/TV; we have the London office securing UK and translations deals; we have an in-house lecture department; an agent who sells audio, ebook, and serial rights; and a theater department ready to negotiate stage adaptations of our books. I'm able to pull from a number of resources: our in-house attorneys, our tax and royalty departments, the knowledge and experience of the ten other agents working in our literary department. All of these elements come together to make my office run smoothly so I can focus entirely on my clients and their needs.

AP: What type of material do you represent? Are you open to queries?

TW: I represent mostly YA and MG (and adult non-fiction too). Within those categories, I'm interested in most everything: magical realism/paranormal, mysteries, adventure, suspense, contemporary, and some non-fiction for teens. I tend to shy away from high fantasy and poetry collections, but I love novels-in-verse. In short: make me laugh, make me angry, make me cry, make me pause. Also, I do not represent screenplays. I am accepting queries at twexler[at]icmtalent[dot]com, despite what ICM's website says about unsolicited material.

Want more on this subject?

Buy the 2010 Children's Writer's & Illustrator's Market.

See a great example of a young adult query that snagged an agent.

New agent seeking kids books: Gwendolyn Heasley of Artists & Artisans.

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: Josh Getzler of Russell & Volkening, Inc.

Chuck — Mon, 07 Dec 2009 14:52:43 GMT

"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 Josh Getzler of Russell & Volkening, Inc. Josh was previously with Writers House.

He is looking for: mysteries, thrillers, literary and commercial fiction, young adult and middle grade (particularly adventures and mysteries for boys). E-mail queries only. josh@randvinc.com.

GLA: How did you become an agent?

JG: I have an odd story. I was at Harcourt in the early 1990’s right after college, working with a senior editor and starting to work on books myself. I then went to business school at Columbia, really in order to begin to understand the business of publishing, but was sidetracked into a 13-year detour in minor league baseball. I owned and operated two minor league franchises—the Watertown (NY) Indians and then, from 1999-2006, the Staten Island Yankees. When it was time to leave that world—and it was time!—I knew I wanted to go back to publishing, and I also knew I wanted to be an agent rather than going back to the publisher side. So I joined Writers House and stepped all the way back to assistant—to Simon Lipskar and Dan Lazar, then just Simon—and started taking on clients in March of ’08. Since then I’ve sold a decent number of books—largely novels, mostly suspenseful, but also some literary fiction and a few (and growing) nonfiction books. In November of this year, I moved from Writers House to Russell and Volkening, where I’m an agent responsible for (again mostly, but not exclusively) frontlist fiction, with an emphasis on suspense. It’s a marvelous place—old and venerable, small, and when I look on the shelves I see Eudora Welty, Nadine Gordimer, Barbara Tuchman and George Plimpton, and that ain’t shabby!

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

JG: This summer I sold a terrific novel by Josh Gaylord (Hummingbirds), writing under the pseudonym Alden Bell, called The Reapers Are The Angels, to Marjorie Braman at Henry Holt. It’s literary and beautiful ... uh, with zombies. But really literary and beautiful. I also sold New Zealand rights to Penguin NZ for a sequel to MacBeth called Banquo’s Son by TX Roxborogh. It’s now out to publishers in the US, and I’m terribly excited about it—it’s got love, swords, knights, and, of course, the three witches.

GLA: You say you like commercial fiction. Just mysteries and thrillers, or all of the pop fiction genres?

JG: I like many of the pop fiction genres, though I have a real soft spot for suspense and crime. Not so crazy about the “I’m 23 and living in Brooklyn with my disaffected girlfriend, smoking too much dope and going to see Vampire Weekend while I think about what a great time I had in college and eat curry.” Some of those writers can actually write, but need a second book.

GLA: Let’s say you’re reading a partial for a mystery or thriller—where are people going wrong? What are the most common Chapter 1 mistakes you see?

JG: 1) Telling me what the weather’s like in order to set atmosphere. OK it was raining. It’s ALWAYS raining. 2) Not starting with action. I want to have a sense of dread quite quickly—and not from rain! 3) Sending me anything but the beginning of the book; if you tell me that it “starts getting good” on page 35, then I will tell you to start the book on page 35, because if even you don’t like the first 34, neither will I or any other reader.

GLA: Staying on these subjects for a second—mystery and thriller—do you have any specific subgenres that you lean toward? Technothrillers? Cozy mysteries?

JG: I actually don’t particularly love technothrillers, but I do love cozies (I feel like there are around 10 of us who love them, and yet there are a bazillion of them out there!). I like puzzles and historical and international (and international historical is great!), but I’m not crazy about Florida Keys Houseboat mysteries or dust bowl or Native American stories. Not that many of them aren’t great; they’re just not me. And although I’ve done some incredibly dark, and sometimes even extreme stuff, I actually am not typically a fan of what I call intimate violence—when you can really feel the knee hit the kidney and know our hero is going to be pissing blood by page 10. But I read those a lot, and take some on, because sometimes that’s how you get a voice that sparkles—like Charlie Huston’s in Caught Stealing or Angela S. Choi’s in Hello Kitty Must Die.

Josh repped Smasher by Keith
Raffel. Buy the book here.

GLA: A lot of people are writing kids books these days. What kind of kids novels are you looking for and not getting?

JG: I’m into YA and middle grade mysteries and adventures. I loved Encyclopedia Brown while growing up, and Ellen Raskin’s wonderful mysteries.

GLA: What do you pray for when tackling the slush pile?

JG: When I tackle the slush pile I pray for obvious decisions and a book that makes me sit up and take notice. I read my slush, typically, from 5-6:45 in the morning, when my kids are asleep and the house is quiet. I’m relaxed and really looking to find something great, but also trying to be efficient. So I’m looking for a voice that will make me put down my coffee and make an exclamation point on the paper. That could be a unique or fun subject, a compelling voice, or a character that comes alive right away. You have five pages max to make that first impression, and the good ones do it in less than that!

GLA: Do find a lot of NaNoWriMo submissions in December? What advice to you have for writers who are coming out of NaNoWriMo?

JG: Not a huge number in December—most NaNoWriMo authors sleep in December! I think writers coming out of that sprint/marathon need to really look it over and see if what they put together is coherent and finished, and not simply a stream of consciousness that needs to be edited.

GLA: Will you be at any upcoming conferences where people can meet/pitch you?

JG: I just got back from the terrific New England Crime Bake outside Boston, and I’m organizing a trip in Feb to the Left Coast Crime conference. I’ll be in Oklahoma City for their conference in May, and Thrillerfest in the summer.

GLA: What's the best way for people to contact you?

JG: I am always reachable via e-mail query at josh@randvinc.com. And even though my timeframe for response has been extended a bit due to the move and trying to settle in, I do read everything and respond. I need a letter and the first five pages of the manuscript. No CV, no synopsis.

GLA: Something about yourself writers would be surprised to know?

JG: I have my own bowling ball and shoes, I love goats, and I think Tofurkey is underrated.

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

JG: Query letters are very important, and are often ruinous. When I get a query letter, I want to know a few specific things: 1) What kind of book is it—historical mystery, literary YA, middle grade romance? I don’t need to know how long it is unless that number is unusual—If your thriller is 30,000 words or your picture book 180,000, I ought to know. But if your cozy is anywhere from 60k-120k (and that’s 95% of them), then it’s “Book-sized”. Might be short or long, but it’s a book. 2) Is it fiction or nonfiction? 3) Is it your first book?—what is your publication history (briefly)? 4) Two to five reasonably-lengthed sentences describing the plot. 5) What’s your educational background? And do you have anything in that background that makes you particularly qualified to write it, or gives you a platform? The lack of either does not disqualify you by any means, but if I see that a canine agility-training mystery is written by a top-ranked canine agility trainer with 18 published nonfiction books on dogs (Hi, Sheila!), I take notice. That’s it. I don’t need to know if you’re married, unless that’s relevant, or that you like spelunking (ditto).

Want more on this topic?

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Agent Advice: Meredith Bernstein of the Meredith Bernstein Literary Agency

Chuck — Fri, 04 Dec 2009 14:58:12 GMT

Agent Interview by

contributor Ricki Schultz.

"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 Meredith Bernstein of Meredith Bernstein Literary Agency. Meredith has been an agent for over 25 years and has run her own agency for most of that time. (She has no agency website.)

She is looking for: both literary and mainstream fiction, with a focus on psychological suspense, medical and legal thrillers, and love stories. In terms of romance, she's looking for contemporary, historical, paranormal, and suspense. For nonfiction, she seeks authors who are leaders in their field with strong commercial ties. She does not accept e-mail queries. Please query with SASE: Meredith Bernstein Literary Agency, 2095 Broadway, Suite 505, New York, NY 10023.

GLA: How did you become an agent?

MB: It happened organically. I was working for another literary agent as a Gal Friday (not to date myself), and I really did basic secretarial-type things. A friend called and suggested we meet the following weekend at a writer’s conference in Long Island—and I asked my boss if he would “send” me.
As it happened, I met a writer who seemed like another Anne Frank incarnate, and she had written a book about the impact of keeping a journal. She gave me her “book” to read on the train ride home—and I fell in love with it. I knew one publisher because he was also a client of my boss, so I told him about the book, messengered it over, and he called me the next day to make an offer.

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

MB: Because I have been doing this for a long time, the things I have most recently sold are new deals for existing clients. That said, the most exciting “new” thing is the House of Night series by P.C. Cast & Kristin Cast, which is in the YA category. It’s about a vampire finishing school and has been near the top of the New York Times bestseller list for well over a year now—and going strong with the latest title, Tempted. I have also just sold another parenting book in the bestselling No-Cry series by Elizabeth Pantley to McGraw-Hill.
And, I’m just completing an audio deal for my 2009 National Book Award nominee, David Carroll, for Following the Water: A Hydromancer’s Notebook from Houghton-Mifflin.

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

MB: I am always looking and praying for very compelling narrative nonfiction; and an unforgettable love story; and fiction that has a voice that you not only never want to walk away from—but that begs you to turn the page. If you are writing any of these—send them my way! I am also looking for literary fiction that has a haunting effect.

The House of Night series

GLA: You represent a wide array of categories in both fiction and nonfiction, but I didn't see anywhere online listing you as accepting juvenile literature—yet the House of Night series is huge. Are you currently seeking young adult or middle-grade lit?

MB: Because of my success with the Casts, I am now getting and seeking more YA. As for middle-grade, I still don’t feel confident I really know enough about it.

GLA: Do you notice any trends in what you tend to represent? Subgenres or elements that particularly grab you?

MB: I am extremely eclectic by nature, so whatever I represent that is of a “genre” is because I have responded to some element of that author’s creativity more than anything else.

GLA: Any topics that don’t capture your interest?

MB: Military history.

GLA: How do you prefer to be queried?

MB: Snail mail, please.

GLA: If you were teaching a class on nonfiction writing and submitting, what would be item number one on your syllabus?

MB: An inside-out knowledge of one’s subject matter. I also think that when one loves what they are writing about, it shows—and the reader can feel it. For example, when I read Jon Krakauer’s Into Thin Air, I was simply transported. I look for a writer who can transport me.

GLA: What would writers be surprised to know about you personally?

MB: That I am extremely artistic—and I do a mean “Hokey-Pokey.”

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

MB: RWA (July 28-31 2010) in Nashville is the next one.

GLA: Best piece(s) of advice we haven’t talked about yet?

MB: I respect people that work really hard at what they do. If you want to stay successful in this business, you have to understand that there is always someone else ready to move into your limelight. If you look at some of the names on the bestseller lists that have been there for years, I assure you—it is no accident. These writers deliver the goods that the public wants. It is their job to keep the readership wanting it!

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

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! >

Agent Advice: Alex Glass of Trident Media Group (Part II)

Chuck — Mon, 30 Nov 2009 20:46:31 GMT

Agent Interview by

contributor Ricki Schultz.
This is Part II. See Part I here.

"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 Alex Glass of Trident Media Group. Alex came to Trident as Chairman Robert Gottlieb's assistant in 2001 and was promoted to literary agent shortly thereafter. He has a BA in political science from Johns Hopkins and an MFA in creative writing from American University, and has worked in the literature program at the National Endowment for the Arts and in the marketing department of the Putnam Berkley Publishing Group.

He is looking for: debut literary fiction, crime fiction and literary thrillers, middle grade and young adult fiction, and pop culture, humor, and narrative nonfiction.

Alex Glass

GLA: Are there particular subgenres of young adult or middle-grade books that hook you? Adventure stories? Boy books? Vampires? Edgy stuff?

AG: Like the rest of my list, my children's list is diverse. I've done older teen novels, comedy, fantasy, realistic middle grade, historical, and boy books. I love realistic novels with a very strong voice or that tackle an important issue that kids can really relate to. It's easier to sell comic novels for children than adults, so I'm always looking for a funny novel with a pitch-perfect voice.
I think that children's books have been getting more and more concept-driven, so authors are feeling pressure to come up with that perfect idea combining angels, vampires, and spy kids, all set at a elite prep school for the ultra rich and debauched. A great commercial idea with great writing can definitely still bring in the big bucks, but I think there's been a backlash against a lot of these commercial conventions, so it's hard to know exactly what the market wants.
When I was a kid I was equally all over the place—I loved Lloyd Alexander, John Bellairs, Roald Dahl, and Beverly Cleary. Great writing still trumps a great idea, and the most important thing in kids books is the connection between author and child. It's hard to tap into characters and fantasy worlds and realistic situations that kids will get and identify with and get wrapped up in, and I think authors are most likely to achieve it when they start with a character and a setting that is meaningful to them and don't just write for the market.

GLA: Name three things that make you stop reading every time they crop up in a query letter.

AG: (1) The words "a fictional novel." (2) The words "this is my third (or fourth, or fifth, or sixth, etc.) unpublished novel, so I am clearly
very dedicated and hardworking..." (3) Dear (Insert name of other
agent here):

GLA: A nonfiction area you seek is family saga. This category lends itself to sequences of novels, being that it follows families (and sometimes generations of families or interrelated families) through time or history. When writers query you, do you prefer they mention any sequels they have, or is that better saved for a later conversation?

AG: I personally don't have experience with family saga as a series of books, and I don't think I would put much weight in a mention of sequels. It's not an obvious thing to discuss the way it would be for a mystery or a romance novel. But I have represented a lot of stand-alone family sagas, books like Da Chen's Brothers, Shari Goldhagen's Family and Other Accidents, and Erick Setiawan's Of Bees and Mist, and it's a category I really like.
I think a writer who can tell a story about a family over years or even generations in a single novel and keep the reader engaged, which is no easy feat, can have great success at creating a huge emotional reaction in the reader. Family is obviously at the root of human experience, and these novels show not only a snapshot or a summer or a year in the life, but how entire childhoods and lives turn out.

GLA: Can you tell us a little bit about what you look for in humor projects?

AG: Publishers are most concerned about "platform" when it comes to this category. The author should have a built-in audience of some kind and have had his or her talent validated in another medium before trying to put together a book. Usually humor books are written by magazine writers or newspaper columnists, stand-up comedians, or TV/radio personalities or writers. It is possible to come out of nowhere with a great humor book idea and sell it, but it's tough and it has to be a very creative, original idea, and, most importantly, funny.

GLA: What is the number one mistake authors make when pitching you in person at a conference?

AG: I'm pretty easygoing about the face-to-face stuff, I'm not likely to hold too much against a writer in that odd environment. It's never good to be pushy or demanding, which I haven't really run across. Although I have had authors be overly defensive and even argumentative after I've critiqued their pitch or query, which is not likely to get you very far. If you're like that before you're my client, it's not a good a sign.

GLA: Speaking of conferences, will you be at any upcoming writers' conferences where writers can meet and pitch you?

AG: Right now on the slate I've got the New York Writers Workshop Perfect Pitch conference on Saturday November 14, 2009 in NYC, and The Pennwriters 23rd Annual Conference takes place May 14-16, 2010, at the Eden Resort in Lancaster, Penn.

GLA: Best piece(s) of advice we haven't talked about yet?

AG: Etiquette and manners go a long way. Always be respectful and patient when dealing with agents. If we're not treating you likewise, or we're not responding to you at all and you've checked in and given us a chance to get back to you, move on. There are a lot of us. There is nothing more annoying than coming into the office on a Monday morning and you're behind schedule on a dozen things, and there's an e-mail from an aspiring author saying "Hellooo Alex???? Anybody home???" The chances of that writer getting signed are not strong.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

How can you improve your query letter?

Need to write your query to Alex and want some guidance? Check out The Writer's Digest Guide to 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 2011 Guide to Literary Agents today!

Agent Advice: Alex Glass of Trident Media Group (Part I)

Chuck — Fri, 27 Nov 2009 05:55:25 GMT

Agent Interview by

contributor Ricki Schultz.
This is Part I of II.

"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 Alex Glass of Trident Media Group. Alex came to Trident as Chairman Robert Gottlieb's assistant in 2001 and was promoted to literary agent shortly thereafter. He has a BA in political science from Johns Hopkins and an MFA in creative writing from American University, and has worked in the literature program at the National Endowment for the Arts and in the marketing department of the Putnam Berkley Publishing Group.

He is looking for: debut literary fiction, crime fiction and literary thrillers, middle grade and young adult fiction, and pop culture, humor, and narrative nonfiction.

Alex Glass

GLA: How did you become an agent?

AG: I was a bookworm as a kid and always gravitated to stories and the written word. That continued through high school and college, but I didn't realize it could have anything do with a career until I was a second-semester senior in college, when I took a creative writing course on a whim.
      After graduation I tried several different jobs related to writing and publishing. I worked at a major publishing house in the marketing department, got an MFA in fiction writing, worked as a writing teacher, worked in nonprofit literature, worked in a bookstore. In 2001, I became the assistant to Robert Gottlieb, the founder and chairman of Trident Media Group, and I've been here ever since.
      I love being an agent because it gives me the freedom to work on any kind of book projects I want and champion the novels and nonfiction ideas I believe in. My list is very diverse and eclectic and reflects my sensibilities, and I think that this is one of the few publishing careers that allows you that freedom.

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

AG: One recent deal is Jay Clark's first YA novel, The Edumacation of Jay Clark, which was sold at auction and will be published by Christy Ottaviano Books, an imprint of Henry Holt. Another is Stegner Fellow and O'Henry Award-winner Eddie Chuculate's first book, a story collection entitled Cheyenne Madonna, which will be published by David R. Godine.

GLA: What are you looking for right now and not getting? What do you pray
for when tackling the slush pile?

AG: I am always looking for a transporting first novel. A book that engages my attention from start to finish and has enough of those elements—originality, emotional resonance, compelling subject matter, innovative writing—to set itself apart from the crowd as deserving of a wide audience.

GLA: One area in which you specialize is debut literary fiction. What advice do you have for writers looking to break into this tough category? Is it just about the writing, or are there other factors you often see overlooked?

AG: I think authors can drive themselves crazy worrying about genre and marketability. I don't think new fiction authors are going to connect with readers unless they write about something that's meaningful to them. Writing for the market usually doesn't work. To me, the most important thing when looking at a debut novel that doesn't fall into an obvious commercial genre is how well and deeply it engages the reader.
      Does it grip the reader from the beginning and make it impossible for us to put it down? Literary fiction does not equal boring fiction; it must be infused with the same kind of forward momentum and narrative pull that a commercial novel has. Does it provide a transporting reading experience and make the reader forget we're reading a book and take us fully into another world? Does it create a strong emotional reaction in the reader? Is it funny? Do I care enough about the characters? Does the book stay with me after I put it down? If the answers to enough of those questions are yes, it doesn't matter if the book doesn't have a big one-sentence pitch or a big marketing angle.
      So how do you break into the "literary fiction" category. If a literary novel is one that relies on the quality of the writing, it stands to reason that you'll want to show agents some proof up front of the quality of your writing, the same way a thriller writer might lead with the strength of their concept. So if your novel is about a family in a farmhouse in Missouri or a twenty-something guy coming of age in the city, don't despair. But to make up for your "small canvas" or the fact that your story sounds quiet or familiar, you have to figure out other ways to get my attention.
      With a literary novel, the way to do that is to have your talent validated elsewhere first, and come with a calling card and some credentials. Submit short stories to journals and magazines. Go to conferences. Apply for grants and awards. Take continuing education writing classes, join writer's groups, hone your craft. Network. Meet other authors and people who can introduce you to agents. If you have a short story published in a literary magazine I've heard of, or have an endorsement from a writer I've heard of, it can make the difference between a query deleted and a query taken seriously.
      There are so many hopeful first novelists that come in that I have to be able to filter them—there is not enough time to consider them all—and if your idea sounds small or everyday and you have no credentials, it's tough to get in the door. A referral can be invaluable. Given that so much is asked of writers now when the book is actually published, as far as self-promoting and getting involved in publicity and marketing, why not start at the very beginning in your search for an agent?

GLA: Tell us about your interest in crime fiction and literary thrillers. What draws you to these categories? What are some subjects you see as overdone in these areas?

AG: I love crime fiction. There's nothing like a great fast-paced read with a lot of action, and I especially like the pulling-back-the-lid-on-a-subculture aspect. Cops and criminals and people living on the fringes of society are a fascinating subculture.
      An author who can bring the reader into that world, create compelling characters who live there, and make us root for them, (while at the same time taking the reader on a rip-roaring yarn) is the best. The market has room for lots of different kinds of detective novels and crime fiction and thrillers, and the subgenres are constantly rotating in and out of favor.
      My favorite are the tough-guy anti-hero novels and books that expose the dark underbelly of society—some favorites are John D. MacDonald, George Pelecanos, Richard Price, Stephen Hunter, and one of my own to watch out for, Dennis Tafoya. His second novel, The Wolves in Fairmount Park is due out next year from St. Martin's Minotaur.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

How can you improve your query letter?

Need to write your query to Alex and want some guidance? Check out The Writer's Digest Guide to 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 2011 Guide to Literary Agents today!

Agent Advice: Peter McGuigan of Foundry Literary + Media

Chuck — Sun, 22 Nov 2009 21:44:24 GMT

Agent Interview by

contributor Ricki Schultz.

"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 Peter McGuigan of Foundry Literary + Media. Peter has more than 15 years of publishing experience. He has worked as an active agent for more than ten of those years and served as Rights Director for two literary agencies. Peter studied creative writing, journalism, and literature at Virginia Tech and Virginia Commonwealth University and has a degree in English.

He is looking for: smart, offbeat nonfiction, particularly narrative nonfiction on pop culture, niche history, biography, music and science. He also represents novelists, both commercial and literary, across all genres, especially first-time writers.

Peter McGuigan

GLA: How did you become an agent?

PM: Mostly by chance. My first job in publishing was at a small agency, but I was just figuring out how everything worked. Then I spent four years working for publishing houses, and near the end of that period, I began to feel my entrepreneurial side coming out. I had been frequently suggesting book ideas to my colleagues and leaving magazine articles for them on their desks, and lo and behold, some of these ideas turned into real books.
So I thought maybe this was the right direction for me. I didn't like the endless meetings and politics of corporate publishing, and I felt that I belonged on the other side, as an advocate for writers. I was a writer myself, but I lacked the necessary discipline. Being an agent works well with my short attention span: I can juggle a number of creative projects, protect my writers and help them navigate their way through the publication process, which is almost never smooth sailing.

GLA: Tell us about something you’ve sold recently.

PM: I sold a sweet and funny memoir by SNL alum Jim Breuer recently to Gotham. I also sold a follow-up book to my biggest success so far, Dewey: The Small-Town Library Cat Who Touched the World, to Dutton. Both of these books exemplify what I try to do most often: Put together projects that are both commercial and high quality.
     Dewey may look like a silly cat book, but it's actually very intelligent and extremely moving—and it sold in 30 foreign countries. Jim may be known as that stoner guy from Half Baked, but when you read about his family, his struggles, and his faith in mankind, you can't help but be pleasantly surprised. That, to me, is the perfect combination.

GLA: What are you looking for right now and not getting?

PM: I am looking for every kind of book. I do literary fiction and kids books, history, and rock-n-roll bios. Really, if I like the writing and the subject, I'm open to it. And if it's good, but it's not for me, it's probably for one of my other Foundry colleagues.

GLA: Does that mean you give submissions to colleagues you feel the book is more appropriate for, or do you reject and refer the writer to a different agent at Foundry?

PM: We're lucky at Foundry in that we all overlap in interest, yet each of us has a core competency that is obvious. So when any of us finds a project that is good, it will find its way to the right Foundry agent without delay.
     I've actually sold books in the past, at other agencies, where one of my colleagues had rejected it rather than walk it 30 feet to my desk, yet the author found me, and we were a perfect fit. That's exactly what we are not about here. I think we enjoy a great balance: entrepreneurial yet collegial.

GLA: Your bio says you are “happiest when representing controversial, out of the ordinary, or provocative subjects and authors.” Can you give us a few examples of books you’ve repped that fit this bill so authors know what to send you?

PM: I have a book coming out next year called Chasing the White Dog by Max Watman (S&S). It's about America's secret history with whiskey, especially the illegal, homemade kind. Let's just say that the author spends equal amounts of time with the folks fighting moonshine and the folks making moonshine, and it makes the war on drugs look quaint by comparison.
     I have another excellent book that is hanging just below the bestsellers list right now called The Monuments Men by Robert Edsel. It's the amazing story of the art that the Nazis stole during WWII and the little-known group of soldiers who risked life and limb to find these works and bring them back. Stolen art from the war is still a majorly touchy subject—Robert just blew the whistle on SMU's possession of two paintings that were stolen by Nazis and never returned to their rightful owners. One of them even has a swastika burned on the back of the frame!
     I also did Lisa Lampanelli's hilarious, but admittedly un-PC, book Chocolate, Please. Extremely well written, off color, not for the faint of heart.
     Patrick DeWitt's breathtakingly gorgeous novel Ablutions, one of the darkest and smartest pieces of fiction I've ever read, about alcoholism and decay, was also mine.
     These are the kinds of projects that get me out of bed in the morning.

GLA: In addition, you work with a lot of first-time writers. In an industry that gets increasingly difficult to break into, what are a few things newbies can do in their query letters that might convince you to take a chance on them?

PM: 1) Watch those typos, folks! We do notice. 2) Don't try to be cheeky, it never works. 3) Tailor your submission to the agent, no "dear agent" letters! 4) Don't go to more than one agent at the same agency—that'll get you the delete button quicker than anything. 5) If it's fiction, a tight paragraph that includes a pitch and compares it to other books is helpful—"for readers who enjoyed X and Y." 6) For nonfiction, make sure we understand what the author's qualifications, or "platform," are. If you're trying to write a book about a subject you're not an expert on, it's probably not going to work out.

GLA: Regarding your interest in pet-related projects, are you more of a dog or cat person? Tell us about what draws you to this category.

PM: Ha! I was raised with (some would say "by") both dogs and cats, and I like both equally. I admit that cats are better city animals, since they don't require as much attention, but I'm happiest with one or two of each.
Ironically, I don't have either at the moment. I had two cats and a dog, but my ex took them both when we split up! (This is where the "aaaawwwwwww" goes...) I do have a pet snake, but he's not very cuddly...
I hesitate to say I'm drawn to the pet category. I'm attracted to all types of popular culture. When I read about Dewey, I knew he was a superstar among cats. I soon found out that Vicki Myron is also a superstar among librarians. Then I brought in Bret Witter, who is a superstar writer. And it worked! We sold a million hardcovers in the US, foreign rights in 30 countries, and we have a film deal with Meryl Streep attached. So sure, it starts with one cat, but it's much, much more multi-dimensional than that.

GLA: You seek nonfiction in a whole host of subjects. Any areas lacking in amount of submissions?

PM: I think we're overdue for a revival of upmarket crime books. Not mafia books, but In Cold Blood-style, literary narrative nonfiction that happens to be about a particular crime. We get these every so often. Midnight in the Garden of Good and Evil leaps to mind. Strange Piece of Paradise by Terri Jentz, which I was lucky enough to work on at my former agency. But there's room for more of these.
My client Robin Gaby Fisher is one of the best writers in this arena. Her book After the Fire hit the Times bestsellers list, and she's got a Pulitzer. This caliber of writer tackling upmarket crime is, I think, ripe for rediscovery. Her next book is a similarly upmarket crime story called The Boys of the Dark, about an insanely sadistic reform school in the South that did unspeakable things to the boys there, and the whole town was in on it! Robin knows how to make these kinds of stories get under our skin and stay with us for a long time after we've put the book down—that's her gift.

GLA: How much does a writer’s platform impact whether or not you agree to represent his manuscript?

PM: Major. As I said above, platform is everything when it comes to nonfiction. What gives you the credentials to author a book on subject X? A great idea needs to be paired with the right author. There's no way to get around it.

GLA: If you were teaching a class on nonfiction writing & submitting, what would be item number one on your syllabus?

PM: I like Stephen King's comment: Adverbs are not your friends. That's good writing advice. As far as submitting, if you can't summarize your idea in two to three sentences, it's not fully formed yet.

GLA: What is the one thing you’d like to tell authors pitching you in person at a conference?

PM: Good luck—I probably won't be there! Ha ha. Honestly, I've done a few of these things, and I love writers, but it really is the worst way to encounter someone's writing. So if I were there, I'd say, "Lovely. Send your materials to my office, and I'll look at it."

GLA: Best piece(s) of advice we haven’t talked about yet?

PM: I think I'm paraphrasing Harry Crews: "Fix your ass to the seat and write."

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

How can you improve your query letter?

Need to write your query to Peter and want some guidance? Check out The Writer's Digest Guide to 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 2011 Guide to Literary Agents today!

Agent Advice: Ann Collette of the Helen Rees Literary Agency

Chuck — Mon, 16 Nov 2009 02:22:02 GMT

"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 Ann Collette with the Helen Rees Literary Agency. Ann has agented for 10 years. She previously wrote for Fiction Writer magazine, and contributed to The Complete Handbook of Novel Writing.

She is looking for: "Adult fiction of all types, with the exclusion of sci fi and fantasy. I also do a certain amount of nonfiction, including memoir, military and war, and pop culture."

GLA: How did you become an agent?

AC: I spent fifteen years as a freelance writer and editor before meeting the head of the agency I'm with, Helen Rees. She initially hired me to go over her slush pile; she liked my work, and so asked me to become an associate.

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

AC: The Vampire Empire trilogy, by Clay and Susan Griffith. My assistant Rachel was going through my slush pile, and pulled out something that intrigued her—I'd never done a vampire novel before, but Rachel, who's considerably younger than me, thought it had a steampunk element that would appeal to younger readers. With or without steampunk, I knew it was a terrific story that drew me in from the first page with its mixture of politics, romance, and vampires both sexy and terrifying. Lou Anders at Pyr Books agreed, and bought the entire trilogy.

GLA: You handle adult fiction. All kinds?

AC: I'm open to all kinds of adult fiction, with the exception of sci-fi and fantasy. (I don't do children's books or YA at all.) I particularly love what's known as "category fiction"—meaning mystery, thriller, suspense, Western, and horror. I'm always on the lookout for commercial women's fiction, particularly novels that can be thought of as "book club" books. And of course, I would absolutely love to discover the next great National Book Award winner, so I'm always open to literary submissions. I have a strong interest in race and class, and a special weakness for books concerning Southeast Asia. Right now I'm actually trying to expand my list beyond adult fiction and into nonfiction: again, race and class are issues I'm interested in, along with military and war books, pop culture and biography.

GLA: On Publishers Marketplace, I saw three crime/fiction sales from Clea Simon. Tell us a little about what draws you to Clea's work so writers can understand some of your tastes.

AC: I'm not in the habit of posting all my deals on Publisher's Marketplace, though perhaps I should! Clea's not actually my client anymore, but in general, I like dark fiction, the darker the better. The first thing I usually look for, though, is strong prose. In category fiction, I like to see terse, punchy language where every word counts. In women's and literary fiction, I've got an eye out for lyrical prose. I like strong protagonists, clever and unusual plots, and lots of twists and turns in category fiction. For women's and literary, I like character-driven stories.

GLA: On this subject—crime fiction: If you had to give your best three tips on how to write effective crime fiction, what would you say?

AC: 1) Every word has to count. Every word and sentence and paragraph has to be there for a reason, or else the plot starts dragging and I put it down. 2) Every chapter has to end on a page-turning note. 3) Either the plot or the protagonist has to offer something fresh and new.

GLA: Let's say you're looking at queries in the slush pile. Where are writers going wrong?

AC: Two of the most common problems I see are pedestrian prose and predictable plots. The wonderful thing about category fiction is that you can learn how to write a great mystery or thriller—it's a matter of paring your language down to the bone. With literary fiction, you either have the gift or you don't, but category fiction really is all about rewriting so that every word is there for a reason. Editors today are real thrill-seekers, so are constantly looking for as many twists and turns as can possibly be crammed into a plot, so even if your idea isn't all that new, if the execution of it is, it'll catch my eye. And if it catches my eye, there's a good chance it'll catch an editor's.

GLA: You recently attended two conferences—SEAK and one in Maine. Tell us some of your thoughts on what writers are doing wrong when attending conferences—specifically, when pitching agents.

AC: First, don't waste your time or mine if your novel isn't finished. Agents aren't willing to invest time in an author who hasn't finished his or her book, because anything could happen, and that writer may never finish the novel. (Of course, it's different for nonfiction. Here, I want to see a completed proposal.) I, for one, would rather hear you talk about your book than yourself. If I'm not interested in your book, then I don't care what your background is. I know it's difficult to hear criticism, and it's hard when an agent turns you down, but try to keep your mouth shut and not get defensive. The agent may actually be giving you some really good advice on how to make your book more commercial that you can't hear if you're too busy defending a work the agent's made it clear he or she doesn't want to represent at that time.

GLA: At a prior writers' conference, practically at gunpoint, I was asked to predict what would be the next big thing. I said "War books" because of the Iraq War and the 150 year anniversary of the Civil War coming up. I see you look for war fiction. Any chance I was on to something?

AC: In general, editors feel there's a lot out of nonfiction out there on the Iraq War, so unless the book is offering something really special, such as fabulous writing, they're not terribly interested. I think they'd sing a different song if the book was on Afghanistan, though. Great fiction on either war would probably be of interest. As for the Civil War, I can count on getting a couple fiction queries on the subject every week. So yes, definitely the 150th anniversary is probably going to mean a couple of important books.

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

AC: I'll be at CrimeBake (I believe this is my sixth or seventh year attending) this November, and at the Connecticut Authors and Publishers Association in May of 2010.

GLA: What's the best way to contact you? What do you want to see and how do you want to see it?

AC: E-mail me at agent10702@aol.com. If it's a fiction submission, send a terse query with the first chapter of the novel included in the body of the e-mail. (No attachments please.) For nonfiction, send a query only. I respond to every one of my e-mails personally, so you can be sure you'll hear from me about whether or not I'm interested in your work.

GLA: What's something people would be surprised to know about you personally?

AC: Other than books, my two greatest loves are opera and martial arts movies.

GLA: Best piece(s) of advice we haven't discussed?

AC: I'm a great believer in writer's workshops. Feedback from other writers can help you improve your manuscript tremendously. It's to your advantage to always send me your best work, because the truth of the matter is I've only got time to give you one chance. You don't want to blow it with a manuscript that no one else has read over. I don't need to know who your other readers were (unless they're published authors willing to give you a blurb) but it's to your advantage to have gone over your manuscript one more time with someone's editorial feedback that you respect in mind before you submit to any agent.

The Bone Factory by Steve
Sidor was repped by Ann.
Buy it 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.

Google Alerts and 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 2011 Guide to Literary Agents today!

Agent Advice: Kate Schafer Testerman of KT Literary

Chuck — Thu, 12 Nov 2009 15:01:16 GMT

Agent Interview by

contributor Kerrie Flanagan

"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 Kate Schafer Testerman with KT Literary. After nearly ten years with industry powerhouse agency Janklow & Nesbit Associates, Kate formed kt literary in early 2008, where she concentrates on middle grade and YA fiction as well as diving into some adult commercial fiction and narrative nonfiction. Bringing to bear the experience of working with a large agency, she’s looking forward to concentrating on all aspects of working with her authors, offering hands-on experience, personal service, and a surfeit of optimism.

She is looking for: "brilliant, funny, original middle grade and young adult fiction, both literary and commercial; witty women’s fiction; and pop-culture narrative nonfiction. Quirky is good. Please note: at this time we do not represent picture books."

GLA: How did you become an agent?

KST: Perseverance, and being given a chance. I was working in the foreign rights department of a literary agency as an assistant, doing my job as it was required, but always eager to take on more responsibility. Over time, I was promoted to handle foreign rights on agency titles on my own, and as I did that, I also continued to volunteer to do more, especially in the realm of kids books. Eventually (and yes, this whole process took about nine years), I signed clients of my own.

GLA: What misconceptions do people have about agents who don’t live in New York?

KST: Very few, I find! I hear more and more lately about agents that aren't located in New York. With technology such as it is, it's almost easier today for me to stay in touch with people 1,600 miles away than a few years ago, when I was only six blocks away. One thing I do come across sometimes is when authors think if they live in Colorado, they need to have a Colorado literary agent. There's benefits, I guess, but I don't consider an author's location when deciding to sign them. And as an author, I wouldn't worry too much about an agent's location either.

GLA: What do you do to stay in contact with editors/publishers when you are back home in Colorado?

KST: My best tools? Facebook and Twitter! That, and regular e-mails and phone calls to check on submissions, and catch up on anything new and exciting.

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

KST: I just placed a YA novel with vintage photographs with Quirk Books. The author, Ransom Riggs, is an amazing photographer, with a a long history of interest in found photos—this novel will place that interest in the character of a young boy who discovers "orphaned" photos—in more ways than one.

GLA: Do you have any exciting news to share about current clients?

KST: I do! Maureen Johnson's forthcoming series about a British ghost police force has been sold in Germany, France, and Italy, with pending deals in two other territories! Plus, we're thrilled to be working again with Brilliance Audio on an audio edition of the series.

GLA: What are you looking for right now and not getting?

KST: Fantastic middle grade novels. I feel like my cup runneth over a bit in terms of the quality and quantity of YA submissions I receive, but I would love to see more great middle grade novels, particularly those you'd call "boy books."

GLA: What are you tired of seeing?

KST: Guardian angels, vampires, werewolves, and the over-used idea of a main character who suddenly discovers they're the only one in the world (or multi-verse) who can save X.

GLA: You represent mostly middle-grade and YA, but on your website you say you are open to some adult fiction. What does an adult fiction novel have to have for you to say yes?

KST: I think it would need to be compulsively readable and character-driven. In my free time, I love reading Nora Roberts and Jennifer Crusie and Sophie Kinsella—they write characters that I become emotionally involved with, and plots that make me keep turning pages. Plus, humor. It's got to be funny—or at least have a sense of humor about itself. I feel like I gravitate right now to characters in their late 20s or 30s—not just the wife and mom who's looking to make a fresh start because of something that happened, but bigger idea books.

GLA: What is a common mistake you see in the middle-grade/YA submissions you receive?

KST: In queries, telling me what happens without spending time allowing me to invest in the character. Without that connection, I don't care what happens. I also hate being told that that everything out there in the market is bad, or that the author couldn't find anything good to read, so they decided to write a book themselves. It's insulting to me and to my clients.

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

KST: I don't have any scheduled at this point, but if any of your readers are organizing conferences, I'd love to be considered. I've meet several clients through conferences, and really enjoy going to them.

GLA: What is something about yourself writers would be surprised to know?

KST: I'm not sure there's anything they don't know already! I put a lot of myself on my website, blog, and Twitter feed, so writers who follow me already know I used to work at a Renaissance Faire, belong to a coed bowling league, am going for my White Belt in Nia, and have a serious crush on Nathan Fillion. I guess one thing I don't speak too much about is my own interest in writing. It's on the backburner right now while I concentrate on building kt literary and working with my clients, but some day I'm sure I'll focus on it again. I think having some experience as a writer myself helps me be a better agent.

GLA: When writers first contact you, what do you want them to send and how?

KST: In a query, I ask for a letter pitching their book and a little about themselves, plus the first three pages of their manuscript. If I like that, I'll ask for the first five chapters and a full synopsis. If I like that and still want to read more, I'll ask for the full manuscript. I'm always amazed when someone thinks they have a better idea of what I want to see than I do. But seriously, five non-sequential chapters from somewhere in the middle of your book aren't it.

GLA: What advice do you have for new writers?

KST: Read everything you can get your hands on! Read novels in your genre, read books about writing, read author blogs. And know that just finishing a manuscript, while a personal triumph, doesn't mean your novel is ready to be shopped. Learn to love to edit, and find a critique group.

This agent interview by Kerrie Flanagan,
director of Northern Colorado Writers and
a freelance writer. Visit her blog, The Writing Bug.

Want more on this subject?

How to Write a Query Letter.

Agent interview: Elizabeth Pomada of Larsen-Pomada Literary Agents.

Agent interview: Michelle Brower of Folio Literary Management.

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: Chris Richman of Upstart Crow Literary

Chuck — Sun, 08 Nov 2009 18:36:56 GMT

"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 Chris Richman of Upstart Crow Literary. Chris received his undergraduate degree in professional writing from Elizabethtown College, and an MA in Writing from Rowan University. A former playwright, contributor to The Onion, and sketch comedy writer, Chris broke into agenting in 2008 and has sold several projects.

He is looking for: "Chris is actively building his list, enjoys working with debut writers, and is primarily interested in middle grade and young adult fiction, with a special interest in books for boys, books with unforgettable characters, and fantasy that doesn't take itself too seriously."

GLA: How did you become an agent?

CR: In 2008 I was a 25-year old writer desperate for a career in books who decided I had to move to NYC to make it happen. I brought my life savings and applied to every editorial position I could find. Then, on a whim, I applied for an internship with Firebrand Literary (who had already passed on a novel of mine). They let me come in and assist for a few weeks before deciding I had potential. They offered me a position and two months later, I sold my first project. It's been a bit of a whirlwind ever since.

GLA: Tell us about this move to Upstart Crow.

CR: Working with the great Michael Stearns was one of the main reasons I initially took a position at Firebrand, so it was an easy choice to join him at Upstart Crow. I've been told our love of books and authors shines through on our website, blog, and in the general way we speak about the agency, and I can say with confidence that it's no act or way of endearing ourselves to potential clients. We simply love books and want to do the best by them. It's wonderful being at an agency where the focus shines directly on the books and the writers.

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

CR: Lately we've been focused on selling lots of subrights on projects. It's been great to sell projects in foreign territories, like Jacqueline West's forthcoming The Books of Elsewhere series. In the states, it'll come out in June of 2010 from Dial.

GLA: Your history is as a playwright and comedy sketch writer. How does this influence your tastes and the way you read?

CR: My experience with comedy, though probably not as impressive as it sounds, has made me extremely picky with "funny" manuscripts. It takes a lot to make me laugh, so when something does, I find it extremely gratifying. However, I think sometimes people are a bit intimidated by my background in comedy, especially considering I briefly contributed to The Onion, but I'm here to assure you that 1) I'm not as funny as I think I am and 2) if you can hook me with humor, I'll be a terrific advocate for your work.

GLA: Before we get into your love for kids work, tell me: Do you rep any adult works?

CR: When I first started agenting, I though I might dabble in adult works. I imagined myself selling humor or sports books. I've learned, however, that it's incredibly hard to "dabble" in the world of publishing. I've decided that if I can't go into something 100%, it's better to stick with what I really know. For me, that's kid's books.

GLA: You seek YA and MG. Besides a soft spot for boy books, what else can you tell us about your preferences? What do you see too much of? What do you see too little of?"

CR: I'm definitely looking for projects with something timeless at their core, whether it's the emotional connection a reader feels to the characters, or the universal humor, or issues that are relevant now and will still be relevant years from now. Can readers truly understand what it's like to be the prince of Denmark? Probably not, but they can identify with feeling disconnected from a dead loved one and the anger at watching him be replaced by a conniving uncle. I want stories that, no matter what the setting, feel true in some way to the reader.
I definitely see too many people trying to be something else. I used to make the mistake of listing Roald Dahl as one of my favorite writers from my childhood, but I've found that just inspires a bunch of Dahl knockoffs. And trust me, it's tough to imitate the greats. I get far too many emulations of Dahl, Snicket, Rowling, and whatever else has worked in the past. It's one thing to aspire to greatness; it's another to imitate it. I want people who can appeal to me in the same way as successful writers of yore, with a style that's their own.
I see too few writers willing to take chances. I just finished Markus Zusak's wonderful novel The Book Thief. It breaks so many so-called rules for kids books - there are tons of adult characters and POVs, it's a
historical at heart, and it's narrated by Death for crying out loud. It's one of the best young adult novels I've read recently.

GLA: What are some Chapter 1 clichés you often come across when reading a partial?

CR: One of my biggest pet peeves is when writers try to stuff too much
exposition into dialogue rather than trusting their abilities as
storytellers to get information across. I'm talking stuff like the mom
saying, "Listen, Jimmy, I know you've missed your father ever since he died in that mysterious boating accident last year, but I'm telling you, you'll love this summer camp!" So often writers feel like they have to hook the reader write away. In some ways that's true, but in others you can hook a reader with things other than explosions and big secrets being revealed. Good, strong writing and voice can do it, too.

GLA: Tell me more about "fantasy that doesn't take itself too seriously." Help define this more so people understand what and what not to send you.

CR: When I was younger, I went through a big fantasy kick. I read Robert Jordan and Tolkein and the combo of Margaret Weis and Tracy Hickman. There's definitely a place for those types of books, but I now find myself drawn more to fantasy that's more fun. The thing about Twilight is that it's not fun at all. If you're going to send me fantasy, I want there to be more than an epic quest and worlds in peril and all that, if I'm going to take on any at all.

GLA: I know Michael (Ted, too?) reps kids books. Do you find yourself
discussing and passing along different projects in this new community
atmosphere?

CR: We definitely discuss projects at Upstart Crow. Before signing new
clients, in fact, we generally share a synopsis and sample chapters with the rest of the team, including Danielle Chiotti, our adult expert. It's always great to have another set of eyes on a project to make sure that it's not only good, but saleable.

GLA: Is Publishers Weekly right? Are vampires out and angels in? Regardless, is it fair to say there will always be a big call for "paranormal," though the specific paranormal item (zombies, vampires, werewolves) is in flux?

CR: I think people are saying that angels are "in" because of a few projects that have just pubbed or are about to, like Becca Fitzpatrick's Hush, Hush or Lauren Kate's Fallen. These things come in cycles, though, and more vampire books are coming out each season. I really think some things, like certain types of monsters, will always stay in fashion in one way or another, as long as the mythology stays interesting and there's romance at the core. Or comedy, like with zombies, because they're really funny.

GLA: What's something writers would be surprised to learn about you personally?

CR: That before becoming an agent, some of the ways I made money were by: waiting tables, teaching at a community college, writing jokes, writing about fantasy sports, bartending, and acting in a dinner theater.

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

CR: I'll be doing several SCBWI events over the next few months. Look for me at the Metro NYC in November, Princeton in February, North Carolina next September, and many other places. We keep an updated calendar online that we'll be adding more to soon.

GLA: Best piece(s) of advice we haven't covered?

CR: Take your time with your stories, listen to feedback, and, when you have a real winner, send it to me!

Want more on this subject?

Interview with agent Jeffrey McGraw (The August Agency).

Agent interview: Michelle Brower of Folio Literary Management.

Interview with agent Phil Lang (Reece Halsey North/Kimberly Cameron).

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 2011 Guide to Literary Agents today!

Agent Advice: Dan Conaway of Writers House

Chuck — Thu, 05 Nov 2009 01:31:20 GMT

Agent Interview by

contributor Ricki Schultz.

"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 Dan Conaway of Writers House. Dan has been Executive Editor at Putnam, Executive Editor at HarperCollins, Director of Literary Acquisitions at PolyGram Films, Story Editor at Citadel/HBO, Creative Executive at Tribeca Films, and Associate Editor at W.W. Norton.

He is looking for: literary fiction, true crime, commercial fiction, historical fiction, thrillers/suspense; and his nonfiction interests include history, pop culture, narrative, and journalism. He does not accept e-mail queries. See full submission guidelines here.

GLA: How did you become an agent?

DC: When I was an editor at HarperCollins and at Putnam, the agent I did the most business with—Simon Lipskar at Writers House—had become pretty much my best friend in the world. And one of our many standing jokes (our favorite: “friends don’t let friends write books”) was that how when (not if) I got fired, I’d come work for him.

GLA: Does that mean you were on the verge of being fired when you left Putnam in 2007?

DC: No—at least, not that I'm aware of! But I've always had this paranoid fixation with the number 52—that being the age at which I always figured my corporate superiors would at last judge me too expensive relative to my productivity, and cut me loose, leaving me to wander about aimlessly like some gray-suited ad-man in a John Cheever short story. And what happens to editors when they get fired—and they all get fired, eventually, don’t they?—is, they become agents. At the time I left Putnam, I’d published or had acquired bestsellers by Ridley Pearson, Martha Raddatz, David Stone, and Steve Lopez, and had published some other pretty amazing books along the way. So I wasn't feeling vulnerable at that time. But I did a little math and realized that 52 corresponded with another number: 17, as in the age my three triplet daughters would be when I turned 52. Three college educations to pay for? That seemed like a particularly bad year to get fired.
So, long story short, it occurred to me that my stock probably wasn’t going to get much higher than it was right then, and that if I really imagined I wouldn't survive to get my gold watch at the age of 65, maybe I should make the move to becoming an agent preemptively. Writers House was looking to grow the agency, so I was invited to come aboard. That was about two and half years ago.

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

DC: The End of Everything by Megan Abbott, sold to Reagan Arthur for her eponymous imprint at Little, Brown. A two-book contract; and we've since sold the book in a number of foreign countries, too.

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

DC: Slush or not, I keep my prayers simple: Let's start with a handful of really wonderful sentences strung together just so. "Just so," of course, speaks to the impossibly subjective nature of this racket.

GLA: You used to be the anonymous voice behind Mad Max Perkins of the now-inactive BookAngst 101, the blog that started out as a way to candidly discuss the industry with other editors and publishing types but emerged as a resource for writers. Do you miss it? Have you found another outlet for such conversations?

DC: I do miss it! BookAngst 101 was a wonderful experience, for a whole bunch of reasons. As time passed, it became less about industry stuff and more just my riffing on one thing or another, kinda self-indulgent, I suspect, but it was a uniquely satisfying outlet for me. But ultimately the energy I put into Mad Max is work that is more profitably channeled to my clients, with whom, in many cases, I'm allowed a great deal of creative input.

GLA: In an interview you did last year for Susan Henderson’s LitPark, you said you weren’t looking to take on any new clients. Still true?

DC: Kinda yes, kinda no. I will take on new clients when I'm bowled over.

GLA: Do you notice any trends in what you tend to represent in historical fiction? Elements that particularly grab you?

DC: First off, I'm never interested in anything but beautiful writing; engaging, urgent storytelling; characters you fall in love with—above all, voice. I'm reading a new novel right now by Robyn Young, a huge bestseller in the UK; the novel is called Insurrection, the first in a new series about Robert the Bruce and the wars for Scottish independence, and it's blowing me away on all these fronts.

GLA: What draws you to a true crime story?

DC: How annoying would it be if were to give you essentially the same answer? And yet it's true: I'm always looking for basically the same thing! Regardless of genre—thrillers, narrative nonfiction, anything—it's the writing and the voice and so on that are the determining factors for me.
True crime is a particular publishing challenge, because the phrase itself signals down-market crap-ola, and yet, so many of the most beloved and enduring works of narrative nonfiction could be categorized as such. The reason there will always be interest in good true crime stories is the same reason that dramatic adventure stories like The Perfect Storm or Into Thin Air continue to resonate: They're real stories, often about communities in crisis, dealing with matters of life and death. For more than a decade, I've wished I could find a new category tag/euphemism that would allow people to publish what we mean by "true crime" without the stigma the phrase connotes. If you come up with one, let me know.

GLA: If you were teaching a class on nonfiction writing & submitting, what would be item number one on your syllabus?

DC: On the submitting side, I'd say: Keep the pitch short and to the point. On the writing side, I'd say: When you think you're done—that is, after you've rewritten it a couple of times, set it aside, wait a while—then sit down and rewrite it again. Whatever you submit, it needs to be as good as you're capable of making it.

GLA: Concerning your nonfiction interests, what are three topics you would classify as overdone?

DC: For me, execution is everything, so anything handled the right way can still be interesting. We may not have another seafaring story quite so big as The Perfect Storm, but great stories told well, regardless of category, are likely going to find interest. One category that seems especially tough, though, is military memoir regarding Iraq and Afghanistan.

GLA: What would writers be surprised to know about you?

DC: What a terribly slow reader I am.

GLA: Best piece(s) of advice we haven’t talked about yet?

DC: It's not advice, really, but perspective: This really is a profoundly subjective business. Editors and agents respond to what they respond to—not so much to whether there might be a market for something, but whether they themselves are sufficiently moved by something to be the right person to help find that market. There's lots of good writing that doesn't quite light my fire; that doesn't mean there's anything wrong with it—it's just that it's not right for me.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

Interview with agent Jeffrey McGraw (The August Agency).

Agent interview: Michelle Brower of Folio Literary Management.

Interview with agent Phil Lang (Reece Halsey North/Kimberly Cameron).

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 2011 Guide to Literary Agents today!

Agent Advice: Erin Murphy of the Erin Murphy Literary Agency, Inc. (Part II)

Chuck — Sun, 01 Nov 2009 19:14:15 GMT

This interview with Erin is
Part II. Read Part I here.

"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 kids agent Erin Murphy of the Erin Murphy Literary Agency, Inc . Erin specializes in kids book and has agented for 10 years. She's based in Arizona.

She is seeking: Erin has a unique submission policy and only likes queries from writers she has met at one time or another, or writers who come through an impressive referral. She seeks kids books—young adult, middle grade and picture books.

How Do You Wokka-Wokka?
is a picture book Erin represented.

GLA: Let's talk picture books. These are very difficult to get published, it seems. What can writers do to enhance their chances?

EM: I know it sounds simplistic, but write the very best picture books you can. I think the market contraction has been a good thing, for the most part. I'm only selling the very best picture books my clients write—but I'm definitely selling them. Picture books are generally skewing young, and have been for some time, so focus on strong read-alouds and truly kid-friendly styles. I'm having a lot of luck with projects that have the feel of being created by an author-illustrator even if the author is not an artist, in that they're fairly simple, have all kinds of room for fun and interpretation in the illustrations, and have a lot of personality.
    A year or two ago, I had an early inkling that meatier, more story-based picture books might be coming back around, but then the economy crashed and that went out the window. It will happen eventually, and I will be glad, because I love those stories, too, but they're darned hard to sell right now.
    I see a lot of picture book manuscripts that depend too heavily on dialogue, which tends to give them the feel of a chapter book or middle-grade novel. The style isn't a picture book style.

GLA: Kids writing is one of those worlds where plenty of people still go straight to editors and sell things. Do you find that agented writers can secure better deals and advances?

EM: Well, I'd hope so, or we agents aren't doing our jobs! But having an agent is definitely not required to be successful in children's books, and advances aren't the only (or even the best) way to measure success. It's a very personal decision.

GLA: Do you also take submissions for juvenile nonfiction?

EM: I do represent nonfiction projects; Chris Barton is a primary example from my client list. One of the sales I'm currently negotiating for another client is for a middle-grade nonfiction piece. I don't ever picture a time when a huge percentage of my clients are focused in this area, though, and I already work with a few writers of nonfiction, so the odds are lower there for new writers subbing to me.

GLA: You have an associate agent: Ammi-Joan Paquette. Does she have different tastes readers need to know about? Same submission procedure?

EM: Same submission policy. Our tastes overlap quite a bit, so the agency identity didn't drastically change when Joan came on board, but of course we do have some differences. I'd say the main similarity is that we both love heart-driven stories. Joan is really talented with rhymed and metered picture book texts; I know a good one when I see it, but Joan is terrific with these and getting them into really strong shape. She is more drawn to paranormal YA, dystopian, and the like than I am; I am more open to historical (so long as it's not purely historical-for-the-sake-of-the-setting).

GLA: You've been in business for many years as an agent and editor. How do you see the industry and kids books changing? What do serious writers need to know?

EM: I think the thing I'm most focused on now is that the industry requires you to hone your craft. For many years, SCBWI was all about learning the market, and that's definitely important—but it seems to be harder and harder to find writers who have really let themselves sink into their craft, into developing as writers, and give the process the time that it takes.

GLA: Will you be at any upcoming conferences where people can meet/pitch you?

EM: I am not scheduled for any conferences in 2010, I'm afraid—and I hope to keep it that way so I can conquer this reading pile at last! The next conference I'm scheduled for is SCBWI Florida in Miami in January 2011. Joan will be at Missouri SCBWI on March 20, 2010, and NESCBWI on May 14-15, 2010.

GLA: Will you accept queries from those who don't meet you at conferences? Or is it best to meet you first or have a connection? Either way, what do you want to see and how do you want to see it?

EM: I have a pretty closed submission policy, which allows me to spend most of my time focused on my current clients. I don't accept unsolicited queries or submissions. If you go to a conference where I speak, or if you have a referral from someone I know, I will be happy to take a look. I prefer queries via e-mail.
        By the way, I don't put an expiration date on the offer for conference attendees. I'd much rather that a writer wait until a submission is truly ready than rush and get something undercooked to me in a certain window. I've received queries and submissions from people I met at conferences years ago, and I really respect the confidence it takes to reach out after all that time. I also find that those people have had long enough to get to know the business and develop their craft that they are generally more ready for representation.

GLA: What's something writers would be surprised to learn about you personally?

EM: Hmm! That's a hard one! Well, I just mentioned to a group at the Southern Ohio SCBWI Conference that I have a famous relative, so this won't be surprising to those folks, but perhaps it will for others: Allison DuBois, the Phoenix psychic who inspires the Patricia Arquette character on the TV show "Medium," is my second cousin through my maternal grandmother. At the beginning of her book Don't Kiss Them Goodbye, she talks about the great-grandfather who appeared to her after he died when she was a child, and was her first experience with the afterlife; that was my great-grandfather, too (and I had my own weird experience at his wife's, my great-grandmother's, funeral a few years later!). If she and I have met, though, it was when I was too young to remember; we haven't crossed paths as adults. I like to claim relational psychic ability when it's handy, though!
        Oh! And I can't wear a watch, because I make it stop, and it can't be started again; my maternal grandmother is the same way, so there's definitely something unusual going on in the DNA on that side of the family.

GLA: Best piece(s) of advice we haven't covered?

EM: Claim your spot in this world of children's publishing with confidence. Read what is coming out now; take advantages of the industry resources and insights the Internet provides; network how you can; stay in touch with the things that interest kids, and with kids themselves. But write for you, above all else. If you don't appeal to your own inner child, how will you ever be happy writing for kids?

Erin Murphy

Want more on this topic?

Interview: Kids agent Joe Monti of Goldblatt Literary.

Examine great high concept hooks for children's books.

New agency seeking kids work: Rodeen Literary Management.

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: Erin Murphy of the Erin Murphy Literary Agency, Inc. (Part I)

Chuck — Fri, 30 Oct 2009 13:38:57 GMT

This interview with Erin is
Part I. Here is Part II.

"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 kids agent Erin Murphy of the Erin Murphy Literary Agency, Inc . Erin specializes in kids book and has agented for 10 years. She's based in Arizona.

GLA: How did you become an agent?

EM: I was editor-in-chief at Northland Publishing and its children's imprint, Rising Moon, here in Flagstaff, Ariz., before going out on my own as a freelance editor. When lots of children's writers reached out to me and asked me to critique their manuscripts, distill/interpret comments they'd received from editors, and the like, it was a short hop to helping them sell the manuscripts to publishers. I didn't set out to become an agent, but it turned out to be a good fit for me. I love my job.

GLA: What are some sales you're excited about?

EM: I keep my recent sales list updated at Publishers Marketplace. I am so excited about the releases my clients have coming out early in 2010—it's going to be a banner year!
       Really lively, fun picture books: Jean Reidy's Too Purpley!, Chris Barton's Shark vs. Train, Audrey Vernick's Is Your Buffalo Ready for Kindergarten?
    Great chapter books and middle grade: new Theodosia and Nathaniel Fludd books by R.L. LaFevers; the latest Effie Malone book by Mary Hershey; stunning debuts from Olugbemisola Rhuday-Perkovich (Eighth-Grade Superzero) and Sarah DeFord Williams (Palace Beautiful); Laura Resau's first middle-grade story, Star in the Forest (Laura's YA, The Indigo Notebook just released last week!)
        Keep-you-riveted YA novels: The second half of the Oathbreaker duo, Prince Among Killers, by S.R. Vaught and J.B. Redmond; debut YA author C.J. Omololu's Dirty Little Secrets, about the daughter of a hoarder; the latest gorgeous read from Heather Tomlinson, Toads and Diamonds.

GLA: Why do you love kids books? What draws you to them?

EM: I love the clear connection between story and reader. There are so rarely filters the reader has to work through, layers of pretense or literary ambiguity that makes reading a scholarly exercise—but re-reading brings new meaning and new understanding, so it doesn't have a lack of richness. Emotion is so clear, whether it is pain or delight. Reading children's literature feels like tapping into something primal. I constantly have in mind the new readers out there, coming to new books; it is so satisfying to help writers to reach them!

GLA: Concerning YA and MG, what do you find yourself drawn to?

EM: Unforgettable characters; stories with heart; emotional transformation; strong relationships; laughter; tight plots that surprise me; worlds I don't want to leave. I like to connect with the protagonist, so disaffected characters have to let the reader behind the mask to catch my heart. I don't tend to get on the bandwagon—I'd rather turn the conventional story or the hot new thing on its head—so I'm rarely intrigued by a pitch along the lines of "Twilight meets X" or "the next A-List." I've been seeing a lot of stories for middle-graders that feel as though they would have fit in perfectly with new releases ten or twenty years ago; they are missing a freshness and a smartness that today's successful middle-grade stories need to have. For YA, I see a lot of stories that are supposedly about teens, but the characters feel 11 or 12 to me.
        I'd love to see solid, well-constructed mysteries with strong characters for either age; more romance (sweet young love for middle-grade, intense sparking for teens); and characters who reflect the splendid diversity of today's children (multicultural, biracial, homosexual, struggling with gender issues; with single parents, gay parents, grandparents doing the parenting; with half-siblings, siblings much older or younger than themselves; in nontraditional situations like house-sharing or single parents filling in for each other to cover gaps; religious, spiritually seeking, or forging their own spiritual paths) in a way that is fully integrated into character and story, not tacked on, not preachy, and not treated as a problem.
        I tend to like fiction that others might find "too quiet," but encourage writers to find a way to give them hooks—which doesn't mean throw in a werewolf or change the setting to somewhere more hip, it means give the story something to hang a description on, something that makes for an eye-catching cover and title. Can you still describe it in one sentence even if it's character-driven and quiet? With the right "something," yes.

GLA: What are some problematic chapter 1 clichés that you see often in a YA/MG partial?

EM: The biggest thing is starting in the wrong place—either having lots of backstory at the opening, which keeps readers from engaging, or conversely, starting so much in the moment of the story that, again, it's hard to connect with the main character. It can be hard to give enough context and get the story moving at the same time. The other thing I see a lot is "talking heads"—all dialogue, no narrative.

GLA: If someone was chatting you with over dinner and said they have a story but don't understand the line between MG and YA, how would you explain the difference?

EM: Is there a line? It seems to me there is scale more than a line. An editor said to me recently that if the main character is 14, it automatically gets shelved in YA in the chain stores. There's a line. But I work with authors whose light and wholesome novels, with teen MCs, are read mostly by tweens; and others whose novels are populated by middle graders going through such intense experiences that the readership skews to the high end of MG/low end of YA.
        In my mind, the best people to decide who the readers are for any particular book are the kids themselves, and the teachers and librarians who know the kids they work with, and who stay abreast of what is happening in today's juvenile literature. I try to focus on helping my clients making their stories the best stories they can be, rather than fitting them into boxes. The line sometimes feels like a moving target, and the writer has little control over it; better to focus on what you can control, which is how good it is.
        That said, characters should feel as though they are truly the age they are supposed to be—and that age *today*. Kids are more savvy than they used to be even five or ten years ago. They are exposed to more and more at a younger age. Writers should respect their readership accordingly.

My Fair Godmother

Want more on this topic?

Interview: Kids agent Joe Monti of Goldblatt Literary.

Examine great high concept hooks for children's books.

New agency seeking kids work: Rodeen Literary Management.

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 Elaine Spencer Talks Queries

Chuck — Mon, 26 Oct 2009 18:20:07 GMT

Agent Elaine Spencer of The Knight Agency talked queries at the South Carolina Writers Workshop. Here is what she had to say:

ABOUT HER INDIVIDUAL TASTES:

She likes you to explain the resolution of the story in the query - meaning you say how the story ends. (This is not typical, but important if you are contacting her.)
In queries, skip jargon that will confuse. For example, when writing a fantasy or sci-fi story, lay off species and world-building.
Avoid cast lists in queries.
Specifically, with the "historical romance" she seeks, she is looking for more good work - particularly Victorian era stuff, Edwardian era stuff and Regency.

ON QUERIES:

Give the title, genre and word count upfront.
If you have a reason you chose her (e.g., you met her at a conference or read an interview with her), say so.
When you pitch, get to your protagonist as quickly as possible, and tell us what makes them special or different.
After introducing the protagonist, introduce the conflict or complication or trouble (the "hook").
In the last paragraph, feel free to mention awards or organizations or blogs. This info will not hurt you; it may or may help you.

MORE

Her agency receives 50,000 queries a year and 80 percent are not appropriate submissions for their agency.
Make sure you are querying an agent who reps what you write.
Read cover copy of similar books in the bookstore to help shape your pitch.
Don't write to her after a rejection and tell her she's an idiot and will be sorry when you're a famous writer.
Network at conferences!

Elaine Spencer joined The Knight Agency in September, 2005. Elaine belongs to the Association of Authors' Representatives (AAR) and Romance Writers of America (RWA). She is actively building her client list, and is currently accepting submissions of the following types of books: commercial literary fiction, women’s fiction, contemporary romance, historical romance, romantic suspense, high-concept paranormal fiction, young adult and middle grade fiction, and select pop-cultural nonfiction.

Want more on this topic?

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 2011 Guide to Literary Agents today!

Agent Advice: Amy Tipton of Signature Literary

Chuck — Sat, 24 Oct 2009 00:42:07 GMT

"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 Amy Tipton of Signature Literary. Formerly, Amy was with FinePrint Literary Management.

She is seeking: Amy is looking for both fiction and nonfiction–edgy or quirky, commercial or literary–in particular, she is interested in YA, middle grade, and women’s fiction. In nonfiction she is looking for women’s studies/academia, fashion/beauty, and pop culture.

GLA: How did you become an agent?

AT: Peter Rubie. He encouraged me to take on clients when I was just an assistant. I was terrified! I had no idea I would love it so much.

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

AT: Janet Reid sold The Near Witch by Victoria Schwab to Hyperion/Disney on my behalf at FinePrint Literary Management. I’ve sold YAs to Saint Martin’s Press and Simon Pulse.

GLA: I read online that you're looking for gritty urban fiction. This still true? If so, can you give readers a few examples of books you love so they can get a feel for what to send you?

AT: Yes, but I don't want authors to think I'm talking about crime novels or hard boiled mysteries, neither of which I represent - so I don’t say I’m looking for “gritty urban fiction” anymore. All I meant by “gritty” was real, dirty, heartbreaking. I love authors like Michelle Tea and Eileen Myles because they expose themselves.

GLA: What nonfiction subjects do you take on?

AT: I do very little nonfiction. I like academia/feminist work. I also like beauty/fashion projects. I’m doing a retro-fashion/beauty guide right now.

GLA: What are you looking for and not getting? What do you pray for when tackling the slush pile?

AT: Something I can’t live without! Be it a YA, MG, adult fiction or nonfiction. I have eclectic taste so it’s not something easily pinpointed.

GLA: Let's talk children's for a moment. I believe you handle both YA and MG. What can you tell us about your love for these categories? For example, are you looking for boy books? Paranormal but sick of the vampire craze?

AT: Yes, I handle both YA and MG—and I love them! I really believe that Flux statement, “YA is a point of view, not a reading level.” I think the line between YA and adult has become transparent. I think MG is a little easier to distinguish. The language is simpler but you have to be careful with MG—you wonder if it’s just dumb (because you’re not used to reading at that level) or if it’s MG. Everyone wants a good boy-book! I would like a good boy MG, though I’m very girl-centric when it comes to YA. But in both categories, I’m big on reality-based stuff. No vampires here! Please ….

GLA: If I asked you for your top 3 tips on writing for kids, you would say ______ ?

AT: Don’t treat them like they're stupid, Use their language, Make it believable (like, if you’re writing fantasy, go all out—suck those kids in).

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

AT: No. I don’t have any upcoming conferences. But my colleagues do!

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

AT: I prefer e-mail queries: amy@signaturelit.com.

GLA: What's something writers would be surprised to learn about you personally?

AT: I just had a stroke (this year) and I’m still working … I think that says something about my love of books, my authors, and the dedication I have to this industry!

GLA: Best piece(s) of advice we haven't covered?

AT: Do your homework! Research agents before submitting to them.

Want more on this topic?

Interview with Signature agent Gary Heidt.

Interview with Signature agent Ellen Pepus.

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: Dorian Karchmar of WME (William Morris Endeavor) Entertainment

Chuck — Wed, 21 Oct 2009 17:40:52 GMT

Agent Interview by

contributor Ricki Schultz.

"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 Agent Advice: Dorian Karchmar of WME (William Morris Endeavor) Entertainment. Dorian has been a literary agent for over a decade.

She is looking for: "She represents bestselling and award winning literary and quality mainstream fiction and narrative nonfiction (memoir, biography, history), cookbooks and general upmarket nonfiction."

GLA: How did you become an agent?

DK: I started agenting in 1999 when I came back to New York after completing my MFA in nonfiction at the University of Iowa.

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

DK: Russian Winter, a debut historical novel by Daphne Kalotay, to HarperCollins; subsequently, we have sold it in 14 countries.

GLA: What are you looking for right now and not getting? What do you pray
for when tackling the slush pile?

DK: More phenomenal historical fiction—I get a lot in, but not a lot that’s as good as it needs to be—that, and a beautifully-written, very scary ghost story for grown-ups.

GLA: Can you tell us a little bit more about the kinds of short story projects you seek?

DK: I am not actively seeking short stories, as collections are nearly impossible to sell. The culture has moved away from stories to the point where they are nearly an endangered species from a financial perspective. That said, I do still take occasional leaps with collections, in which case I tend to be drawn to linked collections and collections that illuminate a place or culture that is unexpected or in some way deeply unfamiliar. (I would love to find something set in North Korea, written by an “insider.”)

GLA: I read online that you seek "offbeat/quirky" fiction. Can you give us 2-3 examples of books you've repped that fall into this category so that writers can get a better sense of what you mean here?

DK: That definition of what I’m looking for has probably caused me more trouble than almost anything else I’ve put out there, so I’m happy to have the opportunity to clarify. I love to be transported when I read, and what I’m seeking are stories and voices that I don’t feel I’ve read before. I’m not looking for the deliberately experimental, nor am I looking for much in the way of overtly comic novels (though I do love to laugh, I like the laughter to be only one part of what a book makes me feel—I’m not a big fan of satire, per se).
        I represented an extraordinary memoir last year called The House at Sugar Beach by New York Times reporter Helene Cooper, which was a New York Times bestseller. It’s the story of her growing up in Liberia and of her return there as an adult to try to find the foster sister she left behind when Helene’s family—a political royalty—was forced to flee the country in the way of the coup in 1980 when Helene was 13. That’s a story unlike any I had read before—something only this author could have written—and it completely transported me both emotionally and intellectually, to places I had never imagined. To me, that is very exciting.
        Last year, HarperCollins published a debut novel I represented called The Seamstress by Frances De Pontes Peebles, a young Brazilian-American writer. It is an epic set in Brazil in the 1930s, telling the story of two poor sisters who are separated as teenagers: one is kidnapped by a group of roving bandits and goes on to become their eventual leader; the other sister marries into a political dynasty in the capital of Recife. It’s a sprawling, deeply colorful story, and it felt both beautifully old-fashioned and refreshingly original to me in its settings and the intertwining of the political, the natural world, and the emotional pull between these sisters who are separated for over a decade. This wasn’t a book you would look at and necessarily think of as “quirky,” but, again, it could not have been written by anyone other than Frances, and I think it was an absolute triumph of historical fiction that used impeccable research without ever falling prey to it.

GLA: Do you notice any trends in what you tend to represent? Subgenres or elements that particularly grab you?

DK: I seek out assured and elegant voices—I’m a stickler for clean writing, which doesn’t mean it has to be spare, but I want writers who have made the tough decisions about what to include and what to exclude on a word level, line level, and plot level.
        I have lately been drawn to historical fiction and to fiction that has some sort of fabulous element to it—again, I’m dying for a ghost story: I’d like to be spooked out! I’m always interested in books that bring together unlikely people or pairings: something told from a unique point of view that we don’t often get to inhabit (an animal; someone with an strange and interesting job)—that’s back to the “offbeat” thing for me. I’d like to read about a Chinese washerwoman on a British naval vessel during WWI; an old gardener in the 18th century who takes it upon himself to redesign all the Queen’s gardens at some far-flung castle in France that the Queen never visits, etc.

GLA: You also rep some nonfiction areas. If you met a writer and suggested that he build his platform, only for him to ask "How do I do that?" - what would you say?

DK: Social networking via the Internet; lectures and other public appearances; building alliances with other professionals working in whatever his/her field of expertise may be.
The reality is that certain kinds of nonfiction—especially practical, advice, business, etc.—are only going to sell meaningfully if the author is already very established in his/her field and has a media presence—TV show, radio show, etc.—or a huge presence on the lecture/personal appearances circuit.

GLA: How do you prefer to be contacted by writers seeking representation? Do you want a synopsis and sample chapters right away?

DK: E-mail queries are fine. A simple, straight forward query letter laying out meaningful writing/biographical background and what the book is.

GLA: What is the number one mistake you see in queries?

DK: People querying too early—before their writing and their book has matured to the point it needs to be. Finding an agent should be the last step, not the first. If the book is truly wonderful and fully-baked, the author will be able to find an effective advocate for it. Most people querying are doing so well before their work can stand up to honest scrutiny.

GLA: Best way for people to contact you?

DK: Send a query to dkar(at)wmeentertainment.com

GLA: Best piece(s) of advice we haven't talked about yet?

DK: Don’t give in to internal and external pressures to try to find an agent before you’ve matured as a writer. The book business is very difficult and not getting any easier; most books that are published don’t sell well, and many careers end practically before they start.
        Write a book that only you could write, and rewrite, rewrite, rewrite.
        Be more patient and more honest with yourself than you ever thought you could be.
        Find a couple of writers who you think are better than you are, ingratiate yourself with them, and start reading and workshopping each other. And ask them—beg them—to be merciless. Be humble and quiet while they give you feedback.
        Be prepared to cut, delete, throw away, put in a drawer.
        Only when you’ve got your best possible work—something that can stand up there with the best of whatever genre you’re working in—should you start looking for the right agent to represent you. If you’ve got a terrific book, you should end up with plenty of good agents from which to choose, so don’t jump at the first person who says “yes.”
        Put the good of the work before the good of your ego as much as you can.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

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 2011 Guide to Literary Agents today!

Agent Advice: Byrd Leavell of Waxman Literary Agency

Chuck — Fri, 16 Oct 2009 15:06:08 GMT

"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 Byrd Leavell of Waxman Literary Agency. Byrd began his career at Carlisle & Company and then served as an agent at InkWell Management and Venture Literary. Byrd says: "As a literary agent I believe in representing works that carve out new territory and authors who are committed to creating books that succeed in the marketplace. I specialize in working with authors who have established a following on the Internet, athletes, celebrities, journalists, and first-time writers who are bound for glory. I love narrative nonfiction that pushes the envelope and finds new audiences, talented fiction that is a blast to read, and anything written by a motivated, confident, unapologetic author with a story to tell."

He is looking for: General fiction, Mystery, Reference, Biography, Business/investing/finance, History, Health, Travel, Sports, Horror, Humor, Memoir, Pop-culture.

GLA: How did you become an agent?

BL: I graduated from UVA, attended The Radcliffe Publishing course in Boston, caught a ride to New York, and then landed a job as Michael Carlisle’s assistant. I worked at Carlisle & Company for the next four years and made the jump to handling my own clients during that period.

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

BL: I just sold a hilarious book by Justin Halpern, the writer behind Shit My Dad Says (on Twitter), to Kate Hamill at IT books. Mark my words, it is going to be on bestseller lists next Father’s day.

GLA: From what I can gather, you are pretty open as to what you accept concerning nonfiction, and there are even some novels in your repertoire. Can you help readers better understand what you are looking for in fiction vs. categories you don’t represent?

BL: With fiction, I don’t want to rule anything out; if it’s good, it’s good, but I tend to gravitate toward the end of the spectrum where smart and commercial overlap. I only sign a couple novels a year, and it’s always because something leapt out of my inbox to the point that I couldn’t stop reading it.

GLA: You look for authors who have used the Internet to creative a unique and wide platform. Can you give us some examples of how clients have done this prior to you signing them. This may help writers understand how to cultivate a fan base before approaching an agent.

BL: I do indeed. Tucker Max (I Hope They Serve Beer in Hell) was one of the first clients I signed, and as I pitched his book to publishers, he had X amount of visitors each month - a huge fan base, etc. I realized I had hit on a formula that I completely identified with and believed in.
        Since I’ve been in the industry, publishing has gone through a couple different stages as it has tried to figure out what can make the jump from the web to the bookshelves. For a while, if you had a great blog, you could land a deal. Traffic was maybe mentioned in the third paragraph of the Author Bio section. And then none of those worked. Then for a while, if you had some insane amount of traffic and a big web presence, you could land a deal. But none of those really worked either (Fark, Perez, others). Now, editors seemed to be focused on Twitter, and after that, it will be the next thing. How many people hang out with your 3-D image at their house, etc.
        The key is this: You have to have lots of fans who will actually want to buy your book, and then you have to write a book that can succeed on its own in the marketplace, without any support from those fans whatsoever. Look at Clay Travis. He has a great web presence, but the guy writes terrific books about SEC football that sell to a very receptive audience. Other authors in his position usually make the mistake of trying to do sports humor books that they think their online readership will buy, and none of them sell more than 8,000 copies.

GLA: Speaking of Tucker Max, that book is approaching one million sales and the movie is coming out – congrats. You represent memoirs. A lot of people like to write memoirs or vignettes about their own life, but most don’t get sold let alone sell a million copies. What can people learn from Tucker’s writing and his success?

BL: That Tucker is a force of nature, knew that his book was going to be huge when I first spoke to him while he was sleeping on a friend’s couch, and the level of success of IHTSBIH is a reflection of this more than anything else.
      Tucker’s book also worked because it was the first to appeal to an audience that publishing had decided would never buy books and because he is a great storyteller. No one ever gives him any credit for this, but it is the main reason his book has stayed on the list for the last two years and will hit the #1 spot for the first time next week. If you want to write a memoir, you need to create something that appeals to an audience and not just your own need to write about yourself. (For the record, if you are reading this, don’t start your query with “I am the next Tucker Max.” I will just delete it.)

GLA: I see several sports books on your list – one from a journalist, two others by sports celebrities. Are you looking for more sports submissions by journalists? Something specific perhaps?

BL: We represent some of the best sports writers in the business and are always looking for submissions from journalists.

GLA: Most common problems you see in a query letter?

BL: A general lack of professionalism. That and writing three paragraphs about the plot.

GLA: What are you praying for when you tackle the slush pile? Specifically, what are you looking for that no one seems to send?

BL: Good question. Most of my clients are actually people I have tracked down on my own. The one thing I never see, that I would love to find, is an author that has sold a large number of their self-published book, (think above 30,000) completely on their own. (I represent Once a Runner, and by the time I reached out to the author he had single-handedly sold more than 100,000 copies.)

GLA: When you get a narrative nonfiction submission, do you want to see a proposal? The whole ms?

BL: I usually just want the first couple pages pasted below the query.

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

BL: I’ll be on a panel at the Digital Book World Conference called “The New Farm System: Scouting Blogs and Self-Publishers for Commercial Books.” The event is Jan. 26-27, 2010, in NYC.

GLA: What’s something writers would be surprised to learn about you personally?

BL: Pass.

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

BL: Read more books. And the novel you are sending out isn’t ready yet.

Want more on this subject?

Agent interview: Jim McCarthy of Dystel & Goderich.

Agent interview: Sha-Shana Crichton of Crichton & Associates.

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: Michelle Humphrey of Sterling Lord Literistic

Chuck — Tue, 13 Oct 2009 21:56:38 GMT

(Editor's note: As of Fall 2009, Michelle left SLL and joined Martha Kaplan Agency, 115 West 29th Street, New York, NY 10001. Her new e-mail for queries is michelle.c.humphrey@gmail.com.)

"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 Humphrey of Martha Kaplan Literary. As an assistant for the Renee Zuckerbrot Agency and then Anderson Literary, she's worked with such authors as Kelly Link, Amy Ryan, Barry Lyga, and Helen Benedict. Prior to agencies, her gigs have included English Teacher, Proofreader, and Freelance Book Reviewer; her reviews have been published in Bitch, Bust, and The Women's Review of Books.

She is looking for: "She is interested in representing writers of young adult fiction (historical, contemporary, literary), middle grade, memoir, women's fiction, and narrative nonfiction (history, psychology, women's studies).

GLA: How did you become an agent?

MH: After working numerous non-fulfilling jobs (I think my low-point was when I was a proofreader for the yellow pages), I took an internship at the Renee Zuckerbrot Literary Agency, and have been working at agencies ever since - for three years.

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

MH: This month, I've sold a YA novel called Steinbeck, the Scoot and the Pull of Gravity, by Gae Polisner, to Frances Foster at Farrar Straus and Giroux Books for Young Readers.

GLA: You seek awesome YA. What can you tell us about your love for this category?

MH: I'm drawn to teen heroines. It seems like all the great battles happen for them: girl versus family, girl versus boy, girl versus best friend from childhood, girl versus popular crowd, girl versus Evil Creature of the Night. Who can resist?

GLA: You seek not only contemporary and literary YA, but also "historical." Can you give us some examples of historical YA you loved so writers can get a feel for your tastes.

MH: One of my favorite books is The Green Glass Sea by Ellen Klages, which is about the Manhattan project. I love those characters, and I especially love World War II history and 20th-century history in general. If characters are likeable and dimensional, I could get into any kind of historical context, but 20th-century history is probably my favorite.

GLA: Do you also accept middle grade, as well?

MH: Yes I do! I'm open to anything, especially stories that are character-driven.

GLA: Some agents love synopses and some don't. Where do you stand?

MH: I am pro-synopsis - no more than three pages, though. Not a fan of synopses in the query. Query letters should have a teaser for the story (like a blurb on the back of a book), whereas a synopsis should be separate from the query letter.

GLA: When you get a narrative nonfiction submission, do you want a full proposal or the entire book, or a combination thereof?

MH: Full proposal and sample chapter, please.

GLA: Do you find yourself getting proposals for narrative nonfiction that really aren't narrative NF at all, but rather mis-classified?

MH: I don't get many proposals, unfortunately, but I'm always on the lookout for great narrative nonfiction. I do get memoirs in proposal format, and I'm generally not a fan. For memoir, I'd prefer to see the writing - first three chapters, for instance.

GLA: What are the most common and recurring problems you see in chapter 1 of a garden variety fiction partial?

MH: This is an excellent question. The most common problem is that the writing feels a little clichéd (i.e., it's something I've heard before, and it's not particularly vivid). Or, I just don't get a sense of a story happening. Even character-driven stories, I think, need a clue of the drama right from the beginning.

GLA: What's something writers would be surprised to learn about you?

MH: I am obsessed with Red Hot Chili Peppers - band and food.

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

MH: Nothing planned right now. People can query me at michelle.c.humphrey@gmail.com.

GLA: Best piece(s) of advice we haven't covered?

MH: Embrace rejection! Wink at it, laugh, maybe bake a rejection pie. You'll get there -- why not have fun along the way?

Want more on this subject?

Examine great high-concept hooks for kids books.

New agent seeking kids stuff: Adriana Dominguez.

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: Nathan Bransford of Curtis Brown, Ltd.

Chuck — Thu, 08 Oct 2009 18:28:32 GMT

Agent Interview by

contributor Ricki Schultz.

"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 Nathan Bransford of Curtis Brown Ltd. Nathan was born and raised in Colusa, California, where he learned a thing or two about rice farming, and graduated from Stanford University with a degree in English. Besides the usual agenting duties, Nathan is well known for his popular blog on agenting and publishing, widely regarded as one of the best (if not the best) blogs by literary agents on the Internet. In addition, he is a new writer of middle grade works, with his first book due out in 2011.

He is looking for: a wide range of genres and is particularly interested in literary fiction, narrative nonfiction, young adult fiction, historical fiction, mystery, science fiction, business, sports, politics and popular culture. He does not represent poetry or screenplays. He welcomes submissions via e-mail. Please send a brief description of your project (no attachments, please) to nb@cbltd.com.

GLA: How did you become an agent?

NB: I really love books and wanted to work with authors. When I graduated from college, I decided to go into publishing and found my way to Curtis Brown Ltd., where I started as an assistant. I've been with Curtis Brown ever since.

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

NB: The most recent deal I announced was a debut suspense novel, Rock Paper Tiger by Lisa Brackmann, which will be published by Soho Press in 2010. When the author queried me, it was one of the best I'd ever received, and the manuscript didn't disappoint.

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

NB: I'd like to see a bit more nonfiction, but I'm really just looking for new, talented writers of all types.

GLA: How long have you had your blog?

NB: I've been blogging in earnest since early 2007.

GLA: Has the volume of submissions you get increased significantly since you started the blog?

NB: Definitely. I now receive somewhere between 15,000 and 20,000 queries a year, and I think the blog is the main reason behind the high volume. When the legendary anonymous agent blogger Miss Snark linked to me for the first time, I received several hundred queries almost instantaneously, and it's been a steady stream ever since. But I'm very thankful for the queries I receive, even if it's an ongoing challenge to keep up.

GLA: On your blog, you have an extensive list of tips, rules, and good/bad examples you refer to as "The Essentials," which you request writers read before querying. Where are new writers are going wrong in the queries you see?

NB: I always recommend that authors carefully target their agent search and personalize their queries, and I wish more authors took the time to do this. Personalization shows that an author has chosen to query an agent specifically and isn't simply blasting an e-mail out to every agent they can find on the Internet. It also means they've taken the time to research the business. All of these qualities bode well for the author's professionalism and the quality of the manuscript.
Queries also tend to be either way too long or way too short—it's surprising how few queries provide just enough information without being overly long. It shouldn't take much more than 250-350 words, but then, it shouldn't take only 50 either.

GLA: With regard to "The Essentials," do the queries you receive show evidence that the senders have done the homework?

NB: I'd say about 25% of the queries I receive really take the advice to heart. No matter how much advice is out there, not everyone is going to follow it.

GLA: You represent young adult fiction but tend to stay away from middle grade projects. Has this changed since writing and selling (congrats on your book deal, by the way!) a middle grade sci-fi novel? As well, do you find you lean more toward sci-fi when it comes to juvenile literature?

NB: Thank you! As an agent, I'm actually drawn more to the types of books I read than what I write. I may write sci-fi, but I read all types of books and don't really prefer sci-fi over other genres. I'm drawn to the author's talent and the particular stories they tell more than the genre they're writing in.
    When it comes to children's books, the projects I have taken on have been all over the map, from dark literary fiction to fun commercial genre fiction. I tend to lean more toward the young adult side of the children's book world as a reader and agent, but I'm open to the right middle grade project as well.

GLA: Two nonfiction categories you accept are "history" and "business." With so many books already written in these subjects, what must book proposals in these areas have in order to get you interested?

NB: For history and business, the author needs to have impeccable credentials, the writing talent to engage the reader, and must be addressing the topic in a unique fashion and/or charting new territory. It's a tricky and somewhat rare combination, which is why there's such a premium on the authors who possess all of these qualities.

GLA: In addition, you represent sports-related books. What topics are you tired of seeing in this area?

NB: I'm definitely open to sports nonfiction, but fiction in the sports world can be somewhat tricky. In real life, sports already provides such a compelling ongoing narrative, and sports novels that try only for verisimilitude can sometimes have a difficult time competing with what's actually happening in the real word. I mean, Cincinnati Bengals wide receiver Chad Johnson legally changed his name to Chad Ochocinco because his jersey number is "85." How can a novel compete with that?
        In order for a sports novel to work it usually has to be what I call "sports plus." Literary sports novels have worked, historical sports novels have worked, children's sports novels have worked, suspense novels in the sports novels have worked, etc. But just a "sports novel" is difficult.

GLA: You are a self-proclaimed "e-book aficionado." Having embraced what many believe will take over the publishing world, do you have any advice on how writers can maximize their success in this changing industry? What are your thoughts on the future of publishing?

NB: Things are going to be changing very rapidly in the business in the coming few years as e-book adoption continues to rise. The business is going to have to adapt, and it may necessitate new business models.
        But I don't think everything is going to change. People will still want to read books, there will still be a demand for great books, and authors will still be needed to write them. The delivery of those books to readers may change, but books aren't simply going to disappear.
        The most important thing an author can do as the world of books changes is to keep doing what they've always been doing: write as well as they possibly can. After that, it's a matter of letting the chips fall as they may. Even if they're digital chips.

GLA: Best piece(s) of advice we haven't talked about yet?

NB: I like to encourage authors to engage in "productive procrastination." Everyone needs to take breaks while writing from time to time, but instead of fiddling with fonts and the cover page, instead: read industry blogs and newsletters and try and find out as much about the industry as possible. I'm always looking for authors who demonstrate a high level of professionalism and take the time to learn the ins and outs of the business. There's a whole lot of great information out there, and authors who take the time to learn about the business before querying agents and read industry blogs (like your GLA blog) will have a big leg up.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

How to Write a Query Letter.

Agent interview: Elizabeth Pomada of Larsen-Pomada Literary Agents.

Agent interview: Michelle Brower of Folio Literary Management.

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: Matt Bialer of Sanford J. Greenburger Associates

Chuck — Thu, 24 Sep 2009 19:45:59 GMT

Agent Interview by

contributor Ricki Schultz.

"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 Matt Bialer of Sanford J. Greenburger Associates . Matt has been in the publishing community since 1985, including 14 years in the book division of the William Morris Agency.

He is looking for: fantasy, science fiction, thrillers, and mysteries as well as a select group of literary writers. He represents many veteran authors, but also enjoys finding unique new voices. He also loves smart narrative nonfiction including books about current events, popular culture, biography, history, music, race, and sports. See full submission guidelines here.

GLA: How did you become an agent?

MB: I had been an English major at Vassar College. I thought I might pursue being an academic, but then I realized I wanted to be out in the "real world," so to speak. It was 1985. I sent my resume to publishers. But then a dear friend of mine (an assistant to an editor at Crown) told me that a literary agency was looking for an assistant. I didn't even know what a literary agency was! So Jane von Mehren (she is a VP and head of trade paperbacks at Random House—the assistant grew up) helped me get my first job, and it was at Curtis Brown, Ltd. in New York. I was Perry Knowlton's assistant. And then, I went on to William Morris for many years, and I eventually became a book agent there. But to answer your question, I kind of fell in to being an agent and being on that side of the fence. I realized that I enjoyed it and that we offer a kind of stability for authors, and I can take on whatever projects I please. I enjoy the freedom. I enjoy handling all different kinds of books. And I get paid for it, too.

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

MB: I just sold a big, new prehistory project by my clients W. Michael and Kathleen O'Neal Gear to Tor/Forge. Mike and Kathy are masters of the prehistory genre, and they have sold many copies of their books over the years. I also sold an exciting new series by Tad Williams to DAW Books titled Sleeping Late on Judgement Day. It is a fantastical noir about a dead man caught in a war between heaven and hell. I sold a first novel titled High Before Homework by Maya Sloan. It's a riot. It's about a boy named Doug in a small town in Oklahoma. He is pretty bored and cynical and wise beyond his years. He works at a shopping mall and has crush on a girl named Laurilee who works at the mall, too. She likes all of the stupid big guys. So what does Doug do? He becomes a crystal meth addict so he can get put in rehab, impress Laurilee, and live happily ever after.

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

MB: I am looking for something supernatural that fits into this whole paranormal craze going on. But I want something fresh and with a world pretty mapped out. I found something in the slush titled Mark of the Demon by Diana Rowland. Well, my assistant Lindsay Ribar, found it. We sold it to Bantam. But I like what is really good and new. I always like a great fantasy or a great thriller that has a new twist on something. In thrillers, I like either the Harlan Coban kind of domestic suspense (ordinary people in trouble), or I am looking for thrillers that have some crossover into the fantastic or supernatural. I like literary fiction, too, but that is a tricky area. I think novels that take place in more exotic places are what sell in that area.

GLA: One area of interest for you is women's fiction. What draws you to this category?

MB: It is a healthy area of publishing, and a career can be nourished and grow. It also deals with "real issues" that women face in their everyday lives often crossed with an element that make the story more surprising.

GLA: You also seek multicultural pieces in both fiction and nonfiction. What subjects are you tired of seeing in this category? Are there any subjects you feel are untapped and would, therefore, be a refreshing change from the typical multicultural manuscript or proposal?

MB: In more upscale fiction, I like stories set in more exotic locales. I think it is no surprise that some of the better selling literary fiction is written outside of this country or set outside of here. In nonfiction, I am struggling with that question myself. I think reader taste here has grown more inward due to what has been going on. I am not sure if there is the same interest in reading about other cultures, unless it is a form of escape.

GLA: What are three things that make you stop reading every time they crop up in a manuscript?

MB: The story is not grabbing me. The writing is flat. I feel like I have read this too many times before.

GLA: In a query or book proposal?

MB: A lack of knowledge about the publishing world. Many people just put on their blinders and shotgun their queries out there. It shows. I think it is good for a writer to come across like they follow trends, they know what sells, who they would compare their work to, why they chose to write to me in particular. Presentation makes a big difference. Only a small percentage of queries have a savvy.

GLA: Specifically within science fiction, what themes that particularly hook you—such as time travel, post-apocalyptic, or first contact?

MB: I think post-apocalyptic stories can have possibility if the story is set in a world that is not too far a stretch from the world we live in now. I always believe in science fiction stories that can cross over into mainstream. They're rare, but they do happen. Look at Michael Crichton or The Traveler. A time travel book can always sell if it is really good and fresh. I would love to sell a great time travel book. I still love Time and Again. Editors would love to see a story like that.

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

MB: I hope to be at the World Fantasy Convention in October. And I like to go to the Thrillerfest in New York.

GLA: Best piece(s) of advice we haven't talked about yet?

MB: Just keep writing. And pay attention to the business. If something becomes a bestseller, check it out and ask yourself why. But the most important thing to do is to keep writing. It might not happen with your first or even second or third novel. You have to develop. I think one of the biggest changes in the business over the years is that there isn't really a "farm system" for writers anymore. It's like you make it to the Majors or you don't. That means the writer has to develop a good game and let yourself mature as a writer. It takes time to develop the skills.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this topic?

Agent Lucienne Diver is also a big fan of science fiction and fantasy.

The Rappaport Agency is another agency that likes science fiction and fantasy.

If you're writing women's fiction, check out all posts in that category.

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: Lucienne Diver of The Knight Agency

Chuck — Thu, 17 Sep 2009 15:16:01 GMT

Agent Interview by
contributor Ricki Schultz.

"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 Lucienne Diver of The Knight Agency. Lucienne joined The Knight Agency in 2008, after spending fifteen years at Spectrum Literary Agency. She has sold more than 600 titles to every major publisher and has built a client list of more than 40 authors spanning the commercial fiction genres. Her authors have been honored with the RITA, National Readers' Choice Award, the Golden Heart, and the Romantic Times Reader’s Choice and have appeared on the New York Times and USA Today bestseller lists. She is also a writer, having recently published a YA book, Vamped. See her personal website here: www.luciennediver.com.

She is looking for: fantasy, science fiction, romance, mystery, suspense, erotica, and young adult lit. She does not accept nonfiction. See full submission guidelines here.

Lucienne Diver

GLA: How did you become an agent?

LD: I always knew I wanted to go into publishing, though I was also drawn to forensic anthropology and applied to graduate schools in the field as I was applying for entry level positions in the book world. Originally, I thought I wanted to be an editor. Until I was called in for interviews, I’d never even realized that book agents existed; I’d never really thought about it. However, when I landed my literary assistant job at Spectrum Literary Agency over sixteen years ago, I fell in love. As an agent, I have the freedom to “acquire” anything I fall in love with. I don’t have to worry about the needs of a line, though I do approach my list with the idea of diversity. (I’m an omnivore anyway, and I like to make sure that my authors complement rather than compete with each other.)

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

LD: Just today I did a deal for Japanese language rights to an erotic romance by Jasmine Haynes. I’m also finishing up a UK deal for a young adult series by Chloe Neill that’s already sold in the US. Shortly before that, I did deals for German, Hungarian and Polish language rights to various books in Rachel Caine’s bestselling Morganville Vampires series and sold a new urban fantasy series for her and for Faith Hunter.

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

LD: I represent more than 40 authors, so I’m possibly not looking as actively as I used to be. That said, though, I took on a new author just last week whose urban fantasy novel blew me away. I don’t set out looking for a particular genre or theme, really. As mentioned, I’m a voracious and omnivorous reader. I want something, anything, that will impress me and keep me reading late into the night. I love a strong voice and a really unique, well-paced plot.

GLA: You write some young adult lit (Vamped) and have represented it in the past. Do you still accept submissions in this area?

LD: I represent all kinds of fiction—adult and young adult—though I don’t do early children’s and haven’t done middle-grade (not that I’d close that door if the right project came along).

GLA: In science fiction and fantasy, what are a few topics you feel are overdone?

LD: You know, there are some things out there in abundance, but I love them still. Characters who kick-butt and take names, vampires and shape-shifters and demons, oh my! There are few things so done that you can’t find a new angle and a fresh take on them, though it does become harder the more crowded the field.

GLA: Tell us a little bit more about your interest in romance. Do you accept both category and single titles? As well, are there specific subgenres you prefer over others (i.e., contemporary vs. historical romance)?

LD: I love romance. I’m not looking for a lot of category romance, but I have a couple of authors who do it very wonderfully and successfully. Mostly, I’m interested in single title. I love suspense, paranormal and anything quirky. Books don’t need to have all three of those to catch my interest, but if none of the three are present, chances are I’m not the right agent for the work.

GLA: Staying with romance, is there a difference between the subgenre “erotic romance” and straight-up “erotica”? If so, how does a writer know which she’s written?

LD: The difference to me is that erotic romance is primarily between a couple (or sometimes a threesome) that will have a happily ever after. At its heart, it’s the story of people finding their soulmates and exploring the connection via sex. Erotica doesn’t have to end in a committed coupling. The focus (to me, and I’m sure others’ mileage will vary) is more on the voyage of self-discovery … a character or characters learning what it is that makes him or her happy and comfortable and finding the courage to accept whatever might be revealed. It’s almost that erotica is to romantica as chick-lit is to romance. Does that make sense?

GLA: It does. You also seek mystery and suspense novels. How can a new writer break into this category without producing a run-of-the-mill detective story? What are some untapped subjects you feel would make for fresh and intriguing queries in these areas?

LD: Producing a “run-of-the-mill” story is the surest way not to break in. Again, what distinguishes work that sells for that which doesn’t is frequently voice, the way the tale is told. Of course, you do have to develop a strong story with red herrings, a sufficiently diabolical villain (though very definitely not in the cartoonish way) and a sense of urgency driving the plot. Aside from that, though, there are no real “musts.” Untapped subjects? Hmm….I’d love to see more psychological storylines. I’m as big a fan of psychology as I am forensics. Unless you’ve got a really new angle, I’d leave stalkers, serial killers, organized crime and terrorists behind. Whatever that leaves, there’s still room for it!

GLA: Where are new writers most commonly going wrong in the query letters you see?

LD: Ever since I started taking electronic submissions, I’ve found that many people don’t put the care into query letters that they would have in a hardcopy submission. It’s as if they see an electronic query letter more as an e-mail than a professional introduction to their work. So I’m seeing the disturbing, “Hey, Bob, I’ve got this manuscript I think is right up your alley. Can I send it?” sort of letters. Writers should think of the query as they would a cover letter that goes along with a resume. You wouldn’t dash that off carelessly (or CC it to everyone in the field, another common mistake), so don’t do it with query letters. Also, I see a ton of queries for material I don’t represent, like nonfiction. It’s important for writers to do their homework on agents so they don’t waste their own or the agent’s time.

GLA: How much does a writer’s platform impact whether or not you agree to represent his or her manuscript?

LD: I think platform counts a lot more in nonfiction than in fiction. It’s wonderful, of course, to find that an author has a great starting point for promotion, but what really sells a work to me is the writing itself.

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

LD: October 17th I’ll be doing a three-hour workshop for the Gulf Coast Writers in Ft. Meyers, FL. October 23rd through the 25th I’ll be at the Kiss of Death Writers Retreat in Albuquerque, NM and I’ll be in San Jose for the World Fantasy Convention the week after. Then, I think, I’ll collapse from exhaustion!

GLA: Best piece(s) of advice we haven’t talked about yet?

LD: The best piece of advice I can give is: Don’t ever rush things out the door. You know the saying, “Act in haste, repent at leisure.” This definitely goes for rushing query letters, synopses and/or manuscripts out the door before you’ve revised and polished them to the best of your ability. To borrow on yet another cliché, you may not get a second chance to make a first impression.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

Interview with agent Jeffrey McGraw (The August Agency).

Agent interview: Michelle Brower of Folio Literary Management.

Interview with agent Phil Lang (Reece Halsey North/Kimberly Cameron).

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 2011 Guide to Literary Agents today!

Agent Advice: Natanya Wheeler of Nancy Yost Literary

Chuck — Mon, 14 Sep 2009 23:26:46 GMT

"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 Natanya Wheeler of the Nancy Yost Literary Agency. Previously, Natanya was an agent at Lowenstein-Yost Associates.

She seeks: literary fiction that touches on current events or multicultural issues; family sagas; dark and edgy thrillers with a great new hook, moody mysteries and cozy mysteries. She loves to find new writers and does not shy away from debut talent. For nonfiction, Natanya would love to find authors with strong platforms who write in the areas of nature, especially birds, women’s issues, alternative lifestyles, green living and food.

Natanya Wheeler

GLA: When did you first fall in love with books?

NW: Oh! Can't remember. Always?

GLA: How did you become an agent?

NW: I just really wanted to work with books and it seemed like a creative and fun job. And it is!

GLA: Tell us about this move to Nancy Yost Literary.

NW: We share office space with Liza Dawson Associates and the Laura Dail Literary Agency - it's a wonderfully cooperative and sunny atmosphere.

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

NW: The working title is Bingo's Run (Spiegel & Grau) by James A. Levine. The story follows the extraordinary life of a young drug runner in a Kibera slum.

GLA: You seek genre categories – thrillers and mysteries. The standard advice is not to query for more than one book (e.g., a trilogy, or series). Do you agree with this personally?

NW: When an author sends me a query with a whole bunch of books listed, it feels very unfocused. If the book is the first in a proposed series, of course I would like to know that. But yeah, just one book at a time.

GLA: What draws you to a good thriller or mystery? Strong protagonists? Dark themes? A killer hook? All of the above?

NW: I like some psychology with my mysteries and thrillers. If the author gets me inside of the head of the protagonist or the antagonist, I'm definitely going to keep reading. A killer hook is great and all, but I find myself more drawn to a conflicted protagonist trying to right some wrong.
I don't have many pet peeves really - it's kind of a joy reading the slush and discovering the wealth of creativity in the world. I actually love it. I'll admit though if a query is about a bunch of beautiful models, beautiful blondes or beautiful brunettes getting serial-killed, I'm going to stop reading. This is one I see a lot. Unless it's central to the plot, I kind of feel like this is a book, not a TV show, not a movie - so why not make it a little deeper? I really do get this one a lot. Let's not kill all the beauty in the world.

GLA: With literary fiction, do you put much stock in the query or synopsis? Is it all about the writing in that category?

NW: It's definitely all about the writing, which is why I really prefer to get a sample of the writing. Actually, I prefer a sample of the writing for all fiction queries.

GLA: Besides just general “good writing,” what’s something specific you’re always looking for but never getting. What do you pray for when tackling the slush pile?

NW: I just look to be lost in the voice of the writer, no doubts, no hesitations, just completely drawn into the author's world. I think I am finding what I'm looking for, on the whole. I'm really looking for unique and standout voices in fiction - and by definition, that's not going to be an everyday occurrence in the slush. Would I love to find more? Yes! That's why I keep reading.

GLA: When we crossed paths at a conference last year, you told everyone that you enjoyed birdwatching. Are you on the lookout for books in this subject area?

NW: I would love to find a book about vultures a la John McPhee. To me, it seems like a fascinating subject. Vultures have a lot of historical and cultural significance from ancient society to the present. Some cultures view the bird as a charm, while others revile it. Does it all go back to how that culture deals with death? Plus they have some fascinating, albeit kind of gross, science. Vultures!

GLA: There have been a lot of “green living” books in the past few years – and there’s always a decent number of food books. How does a submission catch your eye in these areas? Is it as simple as a good platform and the ability to sell books? Or maybe a fresh take on an old subject? Something you’ve never seen before?

NW: With food books, I'd say something I've never seen before and absolutely top notch writing. For green living, it's definitely about the platform and ability to sell books. I think you're right - there have been tons of green living books and we might be reaching market saturation in that area.

GLA: If you were teaching a class on nonfiction writing & submitting, what is the first thing you wish every author would be educated about?

NW: Learn how to write a nonfiction proposal. It makes my job so much easier!

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

NW: Please visit our website, where you can find submission guidelines. My e-mail is on there, so feel free to query me through e-mail. However, I have found that I tend to respond better to paper submissions. Just a personal preference.

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

NW: I'll be at the SoCal Writer's Conference San Diego in February.

GLA: What’s something surprising writers would be interested to hear about you, apart from your ornithology interests?

NW: I once rode my bicycle across the U.S., not perfectly dipping a toe in each ocean, but close. I also rode my bike from Paris to Barcelona, in a zigzag like fashion. Fun! Even with all that, riding a bicycle in Manhattan scares me - a lot.

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

NW: Oh, this is going to sound flaky, but listen to your inner voice. Don't write for the market or what trends may say the market is. Write a book that challenges and satisfies you.
Also, don't quit your day job. Not just yet. Establishing a writing career is a process, not a one-shot deal. There's a fine line between realistic expectations and cynicism. So let's all quit the cynicism because what is cynicism but intellectual laziness? Publishing is not dead! It's just having a few growing pains.
Which is to say - you have time! I love books. You love books. Lots of people love books. It's all going to be okay. Oh, and the last piece of advice is that you should always do what your agent tells you to do.

Want more on this subject?

Interview with agent Jeffrey McGraw (The August Agency).

Agent interview: Michelle Brower of Folio Literary Management.

Interview with agent Phil Lang (Reece Halsey North/Kimberly Cameron).

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 2011 Guide to Literary Agents today!

Agent Advice: Emily Forland of The Wendy Weil Agency

Chuck — Mon, 07 Sep 2009 21:42:47 GMT

Agent Interview by
contributor Ricki Schultz.

"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 Emily Forland of The Wendy Weil Agency, Inc. Emily is in her twelfth year at The Wendy Weil Agency, Inc. In addition to representing her own list of authors, she also handles the agency's foreign rights. Originally from Texas, she has a B.A. in English from the University of Chicago, an MFA in Poetry from Sarah Lawrence College, and an MFA in Graphic Design from the School of Visual Arts in New York.

She seeks: The Wendy Weil Agency, Inc. represents fiction and nonfiction for the trade market. We work with literary and commercial fiction, mystery/thriller, memoir, narrative nonfiction, journalism, history, current affairs, books on health, science, popular culture, lifestyle, and art history. We do not handle screenplays or textbooks. See full submission guidelines here.

Emily Forland

GLA: How did you become an agent?

EF: By accident. I needed a summer job after my first MFA year at Sarah Lawrence College. I met Wendy Weil and became an intern, which means I spent a summer reading manuscripts at the agency, answering the phone, and dragging packages to the mail truck. This was just after Wendy had been profiled in Poets & Writers sounding like herself, an approachable agent who champions writers. This resulted in a huge flood of submissions and it was my job to go through those manuscripts. Out of that unwieldy stack, I hit upon one that stood out, and that became an Oprah Pick, Mother of Pearl by Melinda Haynes. It was tremendously exciting to watch that happen. I got hooked. It was supposed to be a summer job, but it is 12 years later, and I am still here.
      I like writers, and I like working with writers. I think having a bit of a writing background makes me empathize with the vulnerability of writers and what they go through in putting their work out into the world.
      Also, lunch is a nice thing.

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

EF: In fiction, a transfixing debut called Stiltsville by Iowa MFA grad Susanna Daniel. A love song to Miami, this episodic novel follows the life of a marriage, starting in the 1960s and ending in the 90s. It will be published by Jennifer Barth at HarperCollins next summer.
      Nonfiction: Playwrights at Work, by Rosemarie Tichler and Barry Jay Kaplan, a lively collection of interviews with great American playwrights of the day, to Northwestern University Press.

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

EF: I’m looking for a distinctive voice. That can mean a lot of things, but I look at every submission wanting to be gobsmacked on the first page (and those that follow!) by original, compelling, well-crafted sentences. I like character-driven stories. Humor helps, though it isn’t a requirement.

GLA: Within commercial fiction, can you tell us about two or three manuscripts you recently agreed to represent and what grabbed you about each to the point where you knew you had to represent them?

EF: I guess I tend to be most interested in commercial fiction with literary qualities.
      I took on a novel that made me laugh out loud on pretty much every page, at the same time that every sentence is so polished as to almost be some kind of perfect haiku. The structure is idiosyncratic, and the subject is an extremely timely take on the spiritual estrangement of contemporary culture. I was wowed by the writer’s originality and craft.
      One novel is set on a hardscrabble subsistence farm in the Australian outback during World War II, beautifully and slyly told in the salty first person narration of the main character, a farmwife named Gin Toad. It is extremely accomplished.
      Another novel follows an immigrant Russian family with three daughters of marriageable age. The writer’s approach is playful and original. She pokes fun at her characters, but she handles them with real affection. The dialogue is fizzy and hilarious. That dialogue got me. It jumps off the page.

GLA: Specifically within the thriller genre, do you prefer any particular subgenres, such as legal, psychological, or supernatural thrillers, etc.?

EF: I like a psychological novel. I have a knee-jerk reaction against the fantastical and supernatural (my own limitation) that I can get past when the story is grounded in strong writing.

GLA: Where do you notice most nonfiction book proposals fall short?

EF: Voice again. I want a proposal to be thorough, meticulously researched, well-organized, etc., but it also needs to be a compelling argument for the subsidized existence of this particular book. And the most convincing way for an author to demonstrate that is by being good company on the page. Also, there is that whole thing about platform (groan).

GLA: One area of nonfiction you seek is journalism. With the Internet pushing us toward an increasingly paperless society, many see the world of journalism as changing. Do you think printed newspapers and magazines will be obsolete one day? What should a journalism proposal look like in order to stay current with the times as well as catch your attention?

EF: I like paper and the tactile nature of books and magazines and newsprint. That said, I do read most of my news online. It is hard to deny that the magazine and newspaper business is heading that way. Ultimately, though, I suppose the story is what’s important and the medium of delivery is secondary.
      Because of the way a publishing timeline usually works, a journalism book proposal should anticipate where the news is going and what we’ll be interested in a couple of years. The writer needs a solid platform, an area of expertise, to have done the research, and to convey it in a lively manner that convinces me I’m interested in a subject I didn’t necessarily previously know I wanted to read about. I once heard a nonfiction editor say that a journalistic book should either be the first book on a subject, or the last (definitive) book on a subject.

GLA: Is there a particular angle to explore or avenue to attempt for writers without celebrity status who wish to break into memoir?

EF: It depends on what you mean by ordinary people. If you mean a non-celebrity, yes definitely. But if you mean a common experience written in unextraordinary prose, probably not. What makes a successful memoir is a distinctive story, or else a distinctive take on a common life experience, combined with highly readable prose. And I’ve found that you really need both. Both the story and the voice. It doesn’t work when you have just half.
      An example of a memoir that really worked is Jennifer Traig’s Devil in the Details (Little Brown). It tells about the author’s girlhood as an obsessive-compulsive religious fanatic. Books had been written about OCD, but at that time nobody had written about the disorder called scrupulosity. And Jenny’s writing is sympathetic, smart, and FUNNY. She has the distance on this period in her life to render it an insightful and very enjoyable reading experience.
      Another was Margaret Sartor’s Miss American Pie (Bloomsbury), which, through compelling, moving, and sometimes unintentionally humorous diary excerpts, traces the author’s evolving girlhood, which was rife with romantic, identity, and spiritual crises in 1970s Louisiana. The authenticity of her voice crackles on the page.

GLA: Would you say your MFA in Graphic Design influences your acceptance of art pieces? For example, are you more interested in graphic design books? As well, what topics are you drawn to most in this category? Least?

EF: I am a visual person with an affinity for visual texts (art and design books, picture books, graphic novels, etc.) but have represented very few. Art books can be expensive to produce and challenging to get published, but I am always open to being wowed by a project.

GLA: Best piece(s) of advice we haven’t talked about yet?

EF: In terms of submitting material, we always talk about the importance of writers putting their best foot (feet?) forward. Because we’re all (editors and agents) inundated with reading, we don’t usually have time to see potential in work and nurture it until it becomes a polished finished piece (which isn’t to say that there isn’t some editing, and there are always exceptions). It is always a good idea for writers to ask another trusted reader to take a look before sending out their materials. It is to authors’ advantage to make sure their work is far along when it is goes out into the world for consideration.
      In terms of writing, I once heard Tony Hillerman give a talk at the Taos Writers Conference and he spoke about how each person is the world’s expert on their own life experience (whether it be following the crime beat as a news reporter in the Southwest, or something else). He talked about the breakthrough in his own writing when he decided to mine the territory in which he was the world’s smartest. I guess that’s not new advice, but I thought it was a good way of thinking about it.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

Check out all the agents I've interviewed here.

Want to query Emily? Check out How to Write a Query Letter to 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 2011 Guide to Literary Agents today!

Agent Advice: Joe Monti of Barry Goldblatt Literary (Part II)

Chuck — Thu, 03 Sep 2009 00:43:53 GMT

Agent Interview by
contributor Ricki Schultz.

"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 is part II of II, and features Joe Monti of Barry Goldblatt Literary. Joe has been in the business for more than twenty years. He started as a bookseller, became the children's fiction buyer at Barnes & Noble, worked at Houghton Mifflin, and recently at Little, Brown Books for Young Readers as their editorial director of Paperbacks.

He seeks: children's and young adult and takes a special interest in multicultural and boy-centric books. As well, he represents graphic novels, picture books, and some adult genre fiction, with particular regard to fantasy and science fiction.

Joe Monti

GLA: Do you notice any trends in what you tend to represent? Subgenres or elements that particularly sucker you into accepting them?

JM: There’s a lot of paranormal or urban fantasy out there—too much that’s not innovative or challenging to the reader to either transport or help to lift the veil of possibility in the mundane world we live in. I’ve been a reader and fan of this sort of fiction for decades now, and you really need to stand out to impress me. Fortunately, I’ve found some. I am a sucker for that well-done magical realist and urban fantasy novel because it just opens up the world of possibility.
      And then there’s the middle grade novel aimed at a male reader. As I mentioned above, I’m desperately looking for books that would attract that kind of reader, but the male coming of age experience is one I hope to help bring to light more often. (In fact, give me a searching for a father figure themed novel, and I’m yours.)

GLA: Tell us a little bit more about your interest in graphic novels and picture books.

JM: Picture books can be difficult. Right now I’m only looking to represent writer/artists. It’s not any easy market to break into, and then succeed within, and I feel that being able to represent a whole package to an editor makes for a stronger proposal and opportunity for acquisition. That said, I think the picture book market is secretly more vibrant than it seems at first glance, and that makes the possibility of a new artist succeeding more possible than not. But here, it’s the smart picture book, like Jon J. Muth’s, that I think tends to rise to the top most often, from obscurity.
      The same actually goes for graphic novels, or more accurately, sequential artists and cartoonists. Although I am far more open to representing a writer who does not illustrate his graphic novels, I’m particularly interested in writer/artists. One client, Mike Cavallaro, who was nominated for an Eisner for his Parade (With Fireworks) has done illustrations only in addition to his own work. (His forthcoming YA urban fantasy graphic novel, Foiled, written by incomparable Jane Yolen is an example.) Then there’s Charles Vess, who has done all of the above and more.
      And I am very excited about the changes in the graphic novel world, the expansion of it to a general readership through the bookstores, and then particularly in children’s literature. While YA graphic novels are still in their infancy, largely because some of the range of topics that are explored, and explored so well in fiction, when illustrated raises the target audience to an adult section placement. I think several publishers, like First Second and Henry Holt, are publishing smart works for the YA category. Paul Pope’s forthcoming THB is dream come true!
      And then for the younger reader there have been some tremendous successes, the best of course being Jeff Smith’s Bone series. But I’m very interested in finding writer/artists who can create for a six- to 10-year-old readership as I think the demand is there; but the supply is scant, so it’s hard to see it.

GLA: You represent some adult genre fiction as well. Can you be a bit more specific about what you’re looking for (or not looking for) here?

JM: Right now I’m mostly looking for genre writers of fantasy and science fiction. Specifically, in the genre world, I’m looking for challenging works that do not tread on the same ground the genre has gone through the past few decades. In many ways, I think the adult fantasy and science fiction world has lost some of its vibrancy and innovative hubris. There’s been a lot of self-reverential works out the last decade or so, but the opportunity and demand for fresh works is rewarded when they arise. I’m tempted to give a list of some favorite writers here from Bradbury, de Lint, Beagle, Sturgeon, Le Guin, Herbert, and Zelazny to Buckell, Bacigalupi, Stephenson, Blaylock and Gibson, but then I’d only scratch the surface.

GLA: Name three things that make you stop reading every time they crop up in a manuscript.

JM: Not following our submission guidelines.
Reading a cliché within the first paragraph. (They usually crop up within three sentences.)
Poor dialogue.

GLA: What is the number one mistake you see in queries?

JM: "I see you represent Author X, my book is just like/similar to Author X’s, so I know you’ll love it."

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

JM: I will be attending the Rutger’s One-On-One Plus Conference in October 2009; others are slated for later in 2010.

GLA: Best piece(s) of advice we haven’t talked about yet?

JM: Don’t hold back from your passion. Too many folks get caught up in what the marketplace is supposedly looking for, and they lose sight of what they’re trying to write. That and read your drafts (Note the plural usage!) aloud for imperfections of language and cadence. It’s an old horse, but not done enough because it may take you days to finish—but the results are astounding.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

Along with Joe, another new agent at BG Literary is Beth Fleisher, who I profiled before.

See all children's related posts and agent info here.

Need to write your query to Joe and want some guidance? Check out The Writer's Digest Guide to 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 2011 Guide to Literary Agents today!

Agent Advice: Joe Monti of Barry Goldblatt Literary (Part I)

Chuck — Sun, 30 Aug 2009 20:44:24 GMT

Agent Interview by
contributor Ricki Schultz.

"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 is part I of II, and features Joe Monti of Barry Goldblatt Literary. Joe has been in the business for more than twenty years. He started as a bookseller, became the children's fiction buyer at Barnes & Noble, worked at Houghton Mifflin, and recently at Little, Brown Books for Young Readers as their editorial director of Paperbacks.

He seeks: children's and young adult and takes a special interest in multicultural and boy-centric books. As well, he represents graphic novels, picture books, and some adult genre fiction, with particular regard to fantasy and science fiction.

Joe Monti

GLA: How did you become an agent?

JM: I wanted to marry the unique retail experiences I acquired as a children’s fiction buyer at Barnes and Noble along with my publishing experiences in sales and editorial in a creative way that would also let me utilize my skills in advocacy for my clients.

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

JM: Eisner and World Fantasy award winner Charles Vess’s next picture book, written by Neil Gaiman, titled Instructions, coming late Spring 2010 from HarperCollins Children’s Books. Bits on the creation of the book can be seen here.

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

JM: Non-genre middle grade fiction, because as much as I love genre fiction, with a fierce passion, there is nothing finer to me than reading a middle grade novel that can accomplish so much, so elegantly, and with minimal word choice. I like to cite Jerry Spinelli’s Loser as my example of this. At the end of the novel, there’s a snowstorm, and the not-as-whimsical-as-he-was protagonist dives outside into it to help a friend. His parents follow suit. On one level, it reads like a desperate search through a blizzard; on another, deeper level, that perhaps only a sophisticated or adult reader can appreciate, Spinelli is plotting out a discourse on the meaning of loss. What is lost? What does it mean to be lost? And how do you know you truly are? And what then signifies you as a loser? Brilliant.
      Another deep interest is YA science fiction aimed at a male readership. I’m a big believer that the going wisdom that boys of a certain age do not read is utterly wrong. I do believe that we lose a lot of boy readers after a certain age because there isn’t a lot for them to read, nor to easily designate as potential reads, after the ages of 11-13. When I was at B&N, I was fortunate enough to be in the position as a children’s fiction buyer when everything was changing, and thus be a part of it. In YA, while I think Burgess’s Smack, followed by Anderson’s Speak were the two biggest initial, critical successes, Von Ziegesar's Gossip Girl series deserves equal time as a herald, as it proved to publishers that there was a large female readership here and that they should publish towards it.
      In other words, GG was the gateway fiction the YA category needed to jumpstart it. I feel that smart, high-action science fiction (and action thrillers) will help to do the same for male readers. YA had Paolini, while the books became a phenomenon; oddly not many have tried to write more action-driven fantasy for boys. Give me some smart military science fiction for teen boys and you’ll see that readership start to pick up writers like John Green and Barry Lyga. Then, the category will get even more interesting. So I’m also talking to adult science fiction writers who have shown an interest or a particular appropriate voice in their works to write a YA novel. Whether I represent them or not, I think it’ll be good for the industry as a whole. Doctorow’s Little Brother, which I loved with an intense passion, is a great example.
      Then, there’s another old flame: Steampunk. So, a lot of what I’ve seen is pseudo-steampunk: Quasi Victorian or Edwardian era fiction with some absurdist machinery. What Steampunk really was, and can be, is a rebellion against the mores of society, largely through the utilization of science and education. The rebellion, hence the punk aesthetic, is largely lost in the brass bolt tech or Victorian-ish era setting. I’m looking to put the punk back in steampunk and I hope I get such a manuscript across my desk because the era is such a wonderful mirror to our modern times in many ways. Except for the equality of race. But a good modern steampunk novel should address that as well as have some kick-butt action and tech. A lot is riding on Scott Westerfeld’s forthcoming Leviathan series to help break this subgenre out. But Scott’s got the talent to make it happen, so we may see more of it.

GLA: Why did you choose juvenile literature as your primary area of interest? What is it that draws you to this category?

JM: Honestly, I was lucky. Like many in our field, I fell into it, and within three months of reading it intensely, I was in love and never looked back. In large part, I believe it’s because I can relate to the literature at a deep level. Take my love of middle grade: I had a traumatic experience at the age of nine when I had open-heart surgery. Back then, it was a life or death thing, and they waited to perform the surgery until I was just old enough to survive it. I quickly became the introspective, chubby nine-year-old that enjoyed talking to adults cliché and had a sense of mortality and a level of empathy beyond my years. So when I read books like Because of Winn-Dixie, I not only know that girl, Opal, I also wish I had her story to help me understand what I was going through at that age. Thus, getting behind a book like that is not just a personal advocacy, but also a need to share it in a social sense to pay it forward. Children’s and YA fiction has the ability to transform a reader, and a bookseller, far more than any other category.

GLA: Cultural diversity also interests you. What subjects are you tired of seeing in this area? As well, are there any subjects you feel are untapped and would, therefore, be a refreshing change from the typical multicultural story?

JM: As our president famously said, I’m a mutt. My parents both immigrated here, my mother from Argentina (and her mother a full-blooded Quichua), and my dad from Italy. My wife, also a child of immigrants, is Chinese-American, and our son is all these things and more. So there’s our family history that colors so much of how I perceive the world, as a lens, not a filter.
When I was a buyer, I was tired of certain subject matters only because those subjects have been explored so well, so often, that you really needed to bring something special to the page to make anyone take notice. The Book Thief is a recent example of a Holocaust story done so well that it transcends and sits alongside some of the other great WWII works. Send me a story about some modern immigrant stories, some multi-generational stuff, like the forthcoming (in the US) YA novels of Carlos Ruiz Zafon. There are deeply rich stories about being an outsider, and yet how assimilation means a compromise and loss. I’d also love to see more issues of race discussed in modern terms, where there is the melting pot happening across the US, yet the tensions are still there, like the fear of the other. I think these stories, when done well, are universal stories, as we all feel that way at some point. Look at Junot Diaz's The Brief Wondrous Life of Oscar Wao as exhibit A.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

Along with Joe, another new agent at BG Literary is Beth Fleisher, who I profiled before.

See all children's related posts and agent info here.

Need to write your query to Joe and want some guidance? Check out The Writer's Digest Guide to 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 2011 Guide to Literary Agents today!

Agent Advice: Amberly Finarelli of Andrea Hurst Literary Management

Chuck — Fri, 28 Aug 2009 06:55:54 GMT

She is seeking: Her nonfiction areas of interest: Humor/gift books, Crafts, How-to (financial, house and home, health and beauty, weddings), Relationships/advice, Self-help, psychology, Travel writing, Narrative Nonfiction. Her fiction areas of interest: Commercial women's fiction, Comic and cozy mysteries, Literary fiction with a focus on the arts, culture, and/or history. She is NOT looking for: True crime, Thrillers, Science fiction, Children's, Fantasy, or Young Adult.

GLA: How did you become an agent?

AF: After finishing my degree in English with a concentration in professional writing, I worked for a small press in Sacramento, CA, where I came in contact with Andrea Hurst and worked my way from assistant agent to agent.

GLA: What's the most recent thing youve sold?

AF: One of my favorites is Imagine Life with a Well-Behaved Dog (St. Martin's Press, by Julie A. Bjelland).
We've also been packaging for the Complete Idiot's Guide series.

GLA: You seek mysteries but not thrillers. What draws you to the mystery genre?

AF: Perhaps it's just the fact that I grew up in a small town, but I love the intimate, slow-paced lifestyle that is found in both small town life and cozy mysteries. Something in the idea that these protagonists could be my next door neighbor just sucks me in.

GLA: You're also seeking comic mysteries. Could you help define this category? Are there some examples people should read?

AF: Loosely, a comic mystery is simply a mystery with humorous elements. Janet Evanovich's Stephanie Plum series and our own Presley Parker Party-Planning mysteries by Penny Warner are good examples.

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

AF: I am looking for fiction in any of the areas I represent, really whose voice just utterly blows me away. Maybe it's the sheer amount of submissions I read per week, but it can be difficult to find that powerful voice combined with a unique storyline that makes me shove the other manuscripts aside and succumb to the power of the narrative. Developing voice is a lifelong process, and a very slippery one at that, but as long as writers are aware of what voice is and can identify what makes their own writing voice unique, it can' t help but be evident in their writing.

GLA: I know that AHLA now has five agents. If a writer sends you a promising query outside your specific areas of interest, will you pass it along to another agent?

AF: I generally will, because I like to connect great authors with great agents, but I would caution writers against depending on this too much. Make sure you do your research, check out our site to see what areas we each represent, what books we like, and then pitch us. We will appreciate the leg work you've done, and you'll appreciate the faster response!

GLA: We met at the Reno Writers Conference. You likely took a lot of pitches that day. When writers sit down to pitch you in person, what are they doing wrong?

AF: For me, it mostly comes down to preparedness. In my experience, writers can be overprepared, where they have a pitch that they've obviously memorized, and they become very nervous if they stray from it. In most cases, these pitches end up sounding monotonous, like a customer service recording rather than a human being talking about their human story. Writers pitching me can also be underprepared, talking too long about the overall storyline of their book instead of focusing on key points and characters, and saying too little about their writing experience and commitment to writing. Remember that it's like an interviewcome prepared, but don't forget the human element.

GLA: Speaking of conferences, will you be at any upcoming writers' conferences where people can meet and pitch you?

AF: With our new agent additions to our team, we're currently working out our conference schedule for next year, but be sure to check out our web site for conference schedule updates.

GLA: Lets talk about women's fiction, for a moment. Lets say the query is intriguing and you request a partial. When you start to read women's fiction partials, where do you see writers going wrong?

AF: Because the genre is so inundated, if I feel like it's like something I've read before, I stop reading. In light women's fiction, this often happens when a book starts out like a real workday: the protagonist is late, rushing to the office (usually in some writing/publishing related field), chewing an apple and putting her heels on at the same time. Then we meet her best friend/co-worker then there's the demanding boss and finally the dreamy co-worker love interest. And don't even get her started on dieting and her parents coming into town.
In serious women's fiction, because it usually deals with more serious aspects of life, if I feel like the writing is melodramatic or heavy-handed, I'll stop.

GLA: You also rep some nonfiction areas. If you met a writer and suggested that they build their platform, only for them to ask "How do I do that?" - what would you say?

AF: That's a common question! Thankfully, there is a lot of information on the subject, but some basics: Have a web site. Internet presence is imperative in todays market. Start a blog, Twitter account, or e-newsletter - something that builds your Internet base. Also, continue to nurture and grow your client base in your professional field, as these will be the most obvious people to purchase your book. Generally, were hoping that this platform is built up before authors approach us.

GLA: What is something about yourself writers would be surprised to know?

AF: I'm a sucker for a really good caf mocha.

GLA: When writers first contact you, what do you want them to send and how?

AF: Unless weve spoken or written previously and I've requested something more specific, an airtight, professional e-mailed query is the best way to get my attention.

GLA: Best piece(s) of advice we havent discussed?

AF: I think my colleagues at AHA could attest to the fact that weve seen an increase in unconventional query letters. Unconventionality in itself isn't a bad thing, and can sometimes work at getting my attention, but please be aware that the conventions in query writing help both the agent and you. Dont begin queries with "I know this isn't a real query, but I wouldnt be surprised if you just deleted this on sight." Wow us first with your professionalism and unique story, and then with your unique creative prowess in your book.

Want more on this subject?

See all agents I've interviewed here.

If you're interested in Andrea Hurst Literary Management, I've interviewed Andrea before and profiled Gordon Warnock.

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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: Diane Freed of FinePrint Literary Management

Chuck — Tue, 25 Aug 2009 02:20:38 GMT

Agent Interview by
Contributor Ricki Schultz

"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 Diane Freed of FinePrint Literary Management in Manhattan. Diane has been in the book publishing field her entire career, and with FinePrint since 2006. She owned and managed an independent publishing services company, edited reference books for U.S. News & World Report, and has coordinated book promotional campaigns for Time-Life Books.

She is seeking: Diane is looking for nonfiction projects in the categories of advice/relationships, spirituality, inspiration, health/fitness, memoir, narrative nonfiction, popular culture, lifestyle, women’s issues, the environment, and humor. Her fiction interests generally are commercial and literary fiction, including women’s commercial fiction. Diane accepts e-mail submissions only. See full fiction submission guidelines here and full nonfiction submission guidelines here.

Diane Freed

GLA: How did you become an agent?

DF: I’ve always loved how reading a book can transport you, so this sparked my fascination with books as a kid. Each submission, fiction or nonfiction, is in some way a new idea, and it’s satisfying to be part of getting new ideas into the marketplace. Day to day, I like the process of working with an author to help develop and organize a manuscript and/or proposal. In turn, I value the relationships that develop with my authors. For 15 years, I worked in publishing houses (Time-Life Books, U.S. News & World Report Books, Prentice-Hall, Addison-Wesley) in editorial and production positions. Then I owned and managed my own full-service book packaging company for 10+ years. In each capacity, and now as an agent, I’ve enjoyed bringing books to fruition.

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

DF: My most recent sale isn’t typical of what’s on my list, but I’m really excited about it. It’s Sammy in the Sky, a children’s picture book, to be published in late 2010 by Candlewick Press. It’s a touching and uplifting story about the death of a family’s pet dog. On a whim, author Barbara Walsh called Jamie Wyeth—knowing the Wyeths are a family of dog lovers—and asked Jamie if he’d read her story and consider illustrating it. He loved it and, to her amazement, agreed! He’s working on the sketches now.

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

DF: I’m looking for a fiction submission that knocks my socks off—I start reading and then put everything aside because I’m so excited about the writing! I’m open to all kinds of commercial fiction and commercial women’s fiction, but am especially taken by character-driven stories that explore relationships between people and ultimately give the reader insight into his or her life in some way.

GLA: One of your areas of interest is memoir. Given your experience, is there a particular angle to explore or avenue to attempt for an ordinary person to break into memoir?

DF: Memoir is a tough sell because readers apparently love celebrity stories, either written by the celebrity or by someone who knows a celebrity well. Otherwise, editors want memoirs by people who have lived in the extreme in some way (as in waaay out there). I do get these, but they have to be jaw droppers and well-written, and all too often submissions don’t meet both criteria. For a regular guy to break into memoir, it would help if the story fits nicely into the current cultural or political climate. As one example, we’ve been hearing lately about hidden alcoholism among mothers of young children, and I have a submission from a mom who tells just this story about herself and her play group friends. I perk up when someone’s story matches the zeitgeist.

GLA: You also seek “baby boomer trends.” To give writers a better sense of where to start, can you be more specific about what qualifies as a baby boomer trend? Also, are books in this category best left to writers who are baby boomers themselves?

DF: I suppose the word “interest” is a better word to use than “trend.” Boomer interests would include their concerns about how they’ll leave their “legacy” in some way now that they’re in their 50s and 60s; being caregivers to their parents while still raising their own children; unique ways that they are dealing with retirement (or lack of it) in this economy; women, and men too, coming into their own after years of raising children. Just about all of the baby boomer stories I consider are written by boomers themselves. Stories written by boomers and for boomers have particular appeal—they’ve all been there, or are heading there, in some way.

GLA: At the next month's Writer's Digest Conference, you will be on a panel discussing self-publishing and mainstream publishing. Other than impressive book sales, what are a few things in the query of a previously self-published book that might gain your interest in representing it?

DF: Such things as: The book won a contest. The first book I sold that was originally published as a POD book, Bufflehead Sisters by Patricia DeLois, was notable because the story won a contest through a writers’ website. The author’s “prize” was the site sponsor publishing it as a POD book. She was also out giving readings in the New England area, so I was impressed that she was out promoting it.
The author must have lots of energy and passion for the book. I recently sold two book journals, originally self-published, to Sourcebooks: Read, Remember, Recommend (adult version, teen version) by Rachelle Rogers Knight. The author researched, designed, typeset, and had them printed (in China); they were striking in content and design. I almost passed on them, but the author was persistent and sent me the books so I could see for myself. She won me over.
The book must appeal to a wide audience. Many people self-publish a book because they want their family story in print, which is just fine, but for a commercial publisher to consider it, the book has to speak to an audience beyond immediate family and friends. The same goes for self-published books with only regional appeal; some are only of interest to readers who live in or are familiar with the geographic setting of the story.

GLA: What is the number one problem you see with queries that come across your desk on a daily basis?

DF: For fiction, some writers don’t check our agency website to see that we want a synopsis and the first couple of chapters in the body of the e-mail. For nonfiction—and I’m seeing more and more of this—some writers don’t prepare a proposal to accompany their sample chapters or manuscript. A proposal is part of a nonfiction package; it shows that the writer has done his or her research on the project and is a tool for the agent in making her decision. And with memoir, the story should be complete and have a proposal before querying.

GLA: Concerning another area of interest for you, adult nonfiction, what are three topics you would classify as overdone in this subject?

DF: Depressing misery lit; memoirs comparing themselves to Eat, Pray, Love; and diets to end all other diets.

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

DF: Other than next month’s Writer’s Digest “Business of Publishing” conference, and I’ll be at the Maine Writers & Publishers Alliance pitch session this winter. These sessions are fun and worthwhile; it’s great to meet new writers one-on-one. But e-mail submissions do the job, too; after all, it’s a writer’s story that begins the relationship between author and agent.

GLA: Best piece(s) of advice we haven’t talked about yet?

DF: Know how to write a winning query letter. Face it—this is your ticket in the door. Too many writers don’t realize the importance of presenting themselves as professionals. In the query, you’re presenting not only your writing, but yourself as a potential client as well. The agent wants to get the impression that you’d be a reasonable, mature person to work with. Also, in your query, be sure to explain who your audience is and why you’re the best person to write this book.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

If you're interested in FinePrint Literary Management, check out previous interviews with FPLM agents Ward Calhoun and Janet Reid.

In this WD article online, Diane and other agents talk about what to do when taking a self-published book and trying to give it a second life.

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: Ward Calhoun of FinePrint Literary Management

Chuck — Wed, 19 Aug 2009 04:17:23 GMT

Agent Interview by
Contributor Ricki Schultz

"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 Ward Calhoun of FinePrint Literary Management in Manhattan. Ward has helped develop several best-selling humor titles, has both written and edited several books for Sports Illustrated, and has overseen the production of titles ranging from science to entertainment. Most recently, at Hylas Publishing, his projects included books on music, fitness, and history. During his time there, he also managed to write a book or two, including The Llama Sutra (2006) and Must-See Movies (2008).

He is seeking: He’s currently looking for nonfiction titles in the areas of: sports, humor, and pop culture. See full submission guidelines here.

Ward Calhoun

GLA: How did you become an agent?

WC: After hitting most of the stops along the editing line—assistant editor, associate editor, project editor, managing editor, senior editor—I think I was done with editing, and it was done with me. My first job in publishing was at John Boswell Associates, which was a literary agency/book packager. I really enjoyed that development side of the business. The idea of dealing directly with writers and helping build something from the ground up is one that has always appealed to me. So, in a way, this move brings my publishing career full circle. Also (FinePrint President) Stephany Evans threatened to have my legs broken if I said “no.” She can be very persuasive that way.

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

WC: I’d love to see some more humor. Just about every week, I receive three or four web-based bits of goofiness from friends. Not all of these sites translate into books, but some of them surely do. Another area I’d like to explore is simple gift books that go after particular niches, such as first-time dads or surfing dogs or alcoholic golfers. The only thing I pray for when tackling the slush pile is more time. There are just too many snap decisions to make.

GLA: Can you tell us something that will make you stop reading every time it crops up in a book proposal?

WC: I’m not a fan of the rambling mad scientist types who can write a 10-page sentence on how they’ve devised a formula to turn sea water into gasoline.

GLA: To you, what is essential to a promising book proposal?

WC: In some way, it really has to be entertaining. I mean, no one wants a proposal that reads like a textbook, even if the book you’re trying to sell is a textbook. If you’re pitching a humor project, make sure your proposal is in some way funny. If you’ve got a book on a disgraced college football coach, don’t dwell on his first job in Pop Warner football. Get right to the moment he started unraveling. In the end, people want to be entertained when they read, and proposals are no different than the books themselves.

GLA: How much does a writer’s platform impact whether or not you agree to represent his or her manuscript?

WC: Let’s just say, it doesn’t hurt. Look, if a particular book concept catches my interest, I am not going to turn my back on it because the person doesn’t have his or her own blog. However, if I am on the fence and the author does appear to have an impressive background, it may be the thing that sways me to take a shot.

GLA: You represent pop culture projects. In your mind, what defines this subject?

WC: Uh oh. Someone once asked me this question during a job interview, and I proceeded to ramble on for around a half hour on everything from Quisp cereal to why Taxi was one of the five greatest television sitcoms of all time. Needless to say, I didn’t get the job. If I were to take another crack at defining pop culture, I would say it is the non-biodegradable stuff (both experiences and tangible artifacts) that sticks in our collective consciousness both as Americans and, in many instances, as a global community. Sure, we’re all very different. But go and recite a line from Caddyshack in a bar or make a bold statement about who makes the best hot dogs, and watch complete strangers line up to put in their two cents.

GLA: Staying with pop culture, can you give some examples of books you’ve repped in this area so writers can get a sense of your tastes in pop culture work?

WC: At my first job, we created an instant book during the O.J. Simpson trial called O.J.’s Legal Pad, which I thought was a brilliant idea. Henry Beard, John Boswell, and Ron Barrett took this circus trial phenomenon and banged out a very funny book in record time. But, not all pop culture projects have to be done on the spot. I love reference guides like Alex McNeil’s Total Television as well as books that dissect aspects of popular culture itself.

GLA: We have not discussed humor projects much in previous agent interviews. Can you tell us a little bit about what grabs you in this category?

WC: My guess is the reason it hasn’t been discussed very much is that what most people, including myself, are looking for is originality. For instance, I thought Don Novello’s The Lazlo Letters (1977) was hilarious and inspired. So when Jerry Seinfeld’s incredibly similar Letters from a Nut came out in 2001, I was considerably less impressed. Not that I wouldn’t have jumped at the chance to rep Jerry Seinfeld. I’m not that crazy. But, I just feel if you’re going to use an existing idea as inspiration, do something different with it. The Worst-Case Scenario Survival Handbook was both clever and funny, and when Max Brooks came out with The Zombie Survival Guide, it was very funny, too, but in its own right.

GLA: You also seek sports-related books. Can this be anything? Coaching? Memoir? Weird statistics? Anything?

WC: Just about anything. There are subjects that don’t interest me as much, such as fishing, auto racing, and figure skating, but you never know. Oh, wait, I got one. This is probably a mistake on my part, but I’m really not interested in seeing any books on ultimate fighting or mixed martial arts. I don’t mean to offend anyone; this is just a personal preference.

GLA: What are three topics you would classify as overdone in sports-related books?

WC: The first thing that comes to mind are the proposals you get after a major sports team wins a championship. It’s one thing if a coach or player wants to write an account of that magical season, but you also get all sorts of people pitching books who are peripherally connected to the team. I’m just not sure that anyone wants to read the story of the 2008 Pittsburgh Steelers as told by a guy who plays golf with the equipment manager’s brother. Another overdone category in sports is leadership books by coaches. Finally, I’d say anything on synchronized swimming. If there’s even one book on this sport, it’s one too many.

GLA: Best piece(s) of advice we haven’t talked about yet?

WC: Don’t get too despondent when an agent passes on your submission. Sometimes the concept just isn’t right. I usually like to keep a list of writers whose proposals I may have passed on, but who are otherwise talented, so that I can contact them should other projects arise that would be a good fit. Finally, always wear clean underwear when you’re going to meet with a publisher.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

A previous post on the blog revealed agent Ted Weinstein's tips on writing nonfiction.
If you're writing nonfiction, you need to start thinking platform. Check out Christina Katz's Get Known Before the Book Deal.
If you've been looking over the agents at FinePrint Literary, stay posted to this blog. An interview with agent Diane Freed is forthcoming shortly!

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: Jessica Sinsheimer of Sarah Jane Freymann Literary

Chuck — Mon, 17 Aug 2009 03:54:19 GMT

She is seeking: She handles literary fiction, young adult, women’s fiction, food memoirs, travel memoirs, parenting, psychology, and cookbooks. See full submission guidelines here.

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: Elisabeth Weed of Weed Literary

Chuck — Fri, 14 Aug 2009 02:48:49 GMT

"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 Elisabeth Weed of Weed Literary. She previously worked at Curtis Brown and Trident before starting her own agency.

She is seeking: She handles "upmarket women’s fiction as well as an eclectic mix of non-fiction, with an emphasis on narrative, investigative and women’s issues from the humor driven to the thought provoking."

Elisabeth Weed

GLA: How did you become an agent?

EW: Much to my dismay, I learned in my college fiction writing class that I was a much better editor than a writer. I wanted to work with books in some capacity and loved the idea of agenting. The (eventual) autonomy you have to pick and chose what you want to work on was really appealing. I sent resumes out to every agency in the Jeff Herman Guide (this was pre Chuck Sambuchino!) and Curtis Brown called me back.

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

EW: I just sold a fabulous hybrid memoir/how-to by Sister Madonna Buder, an 80-year-old nun and Iron Man competitor to Marysue Rucci at Simon & Schuster. The title is still up in the air, but Running on Faith, God Speed, Iron Nun are all in the "running."

GLA: We know you’re seeking upmarket women’s fiction, but not most genre fiction. That said, what about other categories? Literary fiction? Romance? Any children’s?

EW: I would love to do more literary fiction. I've just signed up a two new novels that I think fall into that grey (but very appealing!) area between literary and commercial. I guess you could say, I am looking for terrific writing that isn't quiet. A great high concept always helps. (How original of an answer is that?)

GLA: You’ve sold plenty of upmarket women’s fiction. What draws you to this specific category?

EW: In part I can relate to it, but also, it sells! Specifically, I am drawn to fiction that with a touch of magic. Allison Winn Scotch's Time of My Life is about a woman who gets a chance to go back in time and live her life over again and Therese Walsh's upcoming debut, The Last Will of Moira Leahy involves an ancient dagger with supernatural powers that takes the protagonist on an incredible journey of sorts. I guess one of the things I love about my job is that I am continuously and pleasantly surprised by what I find. I wouldn't have thought I'd fall in love with a book about a magical dagger but I requested it when my son was three weeks old and read it in two days. It was so good! All to say, these categories can shift a lot.

GLA: Besides “good writing,” what are you looking for right now and not finding?

EW: I would love to find a great new voice in women's self help. For example, I sold a book to Crown last year on Impostor Syndrome which is something smart and ambitious women seem to suffer from. In a nut shell, they think they aren't smart or qualified enough, despite their amazing resumes and in turn suffer by over-preparing to an unhealthy degree. Sound familiar, anyone? The author has been studying the phenomenon for years and speaking at companies and business schools across the country about it and on how to get a handle on it - aka the author really knew her subject and had also built up a potential audience for when her book is published. I'd love to work with someone doing something similar.

GLA: When I attend writers’ conferences, I run into a lot of women writers who are writing similar stories – about a middle-aged woman who is stifled in her home life and leaves to get in some kind of adventure. As someone who seems to specialize in women’s fiction/nonfiction, do you see a lot of these submissions? If so, what separates the good from the bad?

EW: I do. And it's tough because a lot of the stories are good. Some are really good. But at the end of the day, that's not always enough, especially in today's climate. So, rather than separating good from bad, I find myself separating the fresh from the familiar. Even if it's been done before it needs a new setting or twist. I imagine that's a vague and annoying answer but it's also a tough question. The truth is, I know it when I see it.

GLA: Book proposals: Besides lack of platform, where are writers going wrong?

EW: A lot of memoir comes across my desk and it's really hard to tell an author that their personal narrative just isn't that interesting. What they need to do is ask themselves who is going to play $25 to read my story? Same is true for all nonfiction, which is why the platform is essential. If you are an expert in a field then people will come to you. It also helps a publisher see where they will find an audience should they decide to buy that book.

GLA: Do you put a lot of weight into a synopsis? Some agents do and some do not.

EW: I don't read synopses. For fiction, a great cover letter that gets to the essence of what the book is about (think jacket copy) is really helpful.

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

EW: I will continue to go to Grub Street in Boston as long as they will have me. It's the best conference I've been to.

GLA: What’s something about you writers would be surprised to know?

EW: That I don't usually do these sort of interviews because I hate talking about myself. I hope it's a quality that makes me a good agent because I love talking about my authors.

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

EW: Read! It makes such a difference to me when a query letter cites a comparison book (and it actually lives up to it) as it shows me that the author knows her audience and has done her homework. And buy books. Our industry isn't in a great place at the moment and needs all the help it can get. And, if you want to be published and have others buy your book you really should be doing the same.

Please note that Elisabeth does NOT handle the following: Picture books, mysteries, thrillers, romance, military.

Want more on this subject?

Check out all the agent interviews on the GLA 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 2011 Guide to Literary Agents today!

Agent Advice: Susanna Einstein of LJK Literary Management

Chuck — Sun, 09 Aug 2009 15:11:23 GMT

Agent Interview by
Contributor Ricki Schultz:

"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 Susanna Einstein of LJK Literary Management. Susanna has worked in publishing since 1995 and is one of the founding agents at LJK, where, since 2005, she has been building a client list and selling projects ranging from children’s picture books to adult literary fiction.

She is seeking: She is interested in: crime fiction, historical fiction, literary fiction, and women’s fiction, as well as the occasional narrative or practical nonfiction book. She is particularly interested in finding great middle-grade or young adult books. Her primary requirement for any project she handles is having a distinct voice.

GLA: How did you become an agent?

SE: I had worked as an editor and as a scout, and while I loved both of those jobs, I wanted to work on the books that interested me, as opposed to the ones I needed to acquire for a particular list or ones I needed to read for a particular client. As an agent, I don’t have to work within a niche—I can work on crime novels, young adult novels, practical nonfiction, memoir, literary fiction—whatever I think I can sell!

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

SE: I just sold a second novel by a super-talented young-adult author, Lara Zielin, to Putnam Books for Young Readers. Her first book, Donut Days, comes out on August 6, and is getting terrific reviews and word of mouth. The new novel is called Promgate and is based on a true story about a high school scandal in which a pregnant teen was elected Prom Queen.

GLA: What is it that draws you to the middle-grade and young-adult age group?

SE: I love middle-grade and YA books for many reasons. For one thing, the books I read as a child and young adult are the ones that made me love reading, that transported me and made me into the bookworm that I am today. So the opportunity to be involved in that process, where kids and teens discover their own favorite books, is one that I couldn’t pass up. And there’s a joy and creativity in the children’s/YA market that is less present, or at least less visible, in the adult market. I also think, perhaps naïvely, that there’s a sense of purpose, of good work being done, in finding and selling books that young people will want to read, and that’s important to me. Last but not least, the children’s/YA market is flourishing and expanding in terms of subject matter, kinds of books, and sales. What’s not to like?

GLA: You also seek crime fiction, historical fiction, literary fiction, women’s fiction, and sometimes nonfiction. This leaves a lot of wiggle room for authors wishing to query you. Do you have particular "likes" or "dislikes" as far as subgenres for any of these categories?

SE: If a book tells a good story, I am all for it. To me, that means a book I can’t put down because I have to know what happens next, or one in which I’m so seduced by the world the author creates that I just want to stay there. I’m reluctant to say “never” vis-à-vis subgenres, but that said, I am probably not the ideal person for books of military history or military fiction—if battle details and hardware play a huge role, I tend to zone out. I’m also not particularly drawn to what I think of as the MFA novel—a book which has exquisitely chosen words but a plot I’ve read a gazillion times before.

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

SE: I pray for excellence. I see lots of books that are perfectly adequate. They tell a good story, they observe the conventions of their genre, etc., but they don’t stand out. In this market, it’s not enough for a book to be just fine. It has to be superlative.

GLA: Within all your areas of interest, you say you are looking for anything so good you “can’t put it down.” Have a you noticed any trends in what you tend to represent—things you are particularly a sucker for—that prevent you from putting down a manuscript?

SE: Honestly, not really. I have eclectic taste. All of my clients are wonderful storytellers, though, who create tangible, believable worlds. If a book makes me cry, then that’s a good sign, but that’s not to say I’m only looking for tearjerkers. I do find that I like reading about characters whom I’d like to be, if only for a day. I want characters who are charismatic—which does not mean likeable, necessarily—and I want there to be an arc to their story, some real emotion, something at stake. What do they want and how do they get it?

GLA: On the other side of that, what are some things that make you stop reading a manuscript every time you see them?

SE: Bad dialogue stops me immediately. I’m shocked by how many writers don’t seem to read their dialogue aloud, since if they did, they could surely tell it was stopping the reader cold. I subscribe to Elmore Leonard’s rules of dialogue (“Never use a verb other than said to carry dialogue. Never use an adverb to modify the verb said.”). A good writer will be able to give their characters distinct voices and will be able to convey emotion without spelling it out. Anything too derivative of another writer makes me stop reading, as does anything that’s written to a trend—since, in the amount of time it takes to publish the book, the trend will have ended. And, of course, bad grammar, bad spelling, single-spaced manuscripts—all the usual suspects.

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

SE: I just finished a summer full of conferences, so am taking a break for a while. But I’m sure I’ll be at some in the future—I like getting out of New York City and meeting writers.

GLA: Best piece(s) of advice we haven’t talked about yet?

SE: 1. The best writers I know are the ones who treat writing like a job, whether or not they have another one. They work every day, they revise, they network, they educate themselves. They don’t think of themselves as artists, but as workers, and they take rejection in stride.
        2. Your first book may not be publishable. Really consider that when you’re beginning to look for representation. Is this the best possible book to go out with, or do you just want it to be published because you worked hard on it? There are those books that teach writers how to write—and there’s a lot of worth in that, even if they never reach a wider audience.
        3. Join a critique group—one that does not include your family or friends.
        4. Just because I don’t like something, doesn’t mean another agent won’t.

This agent interview by Ricki Schultz,
freelance writer and coordinator of
Shenandoah Writers in VA. Visit her blog
or follow her on Twitter.

Want more on this subject?

To see all the many agent interviews on this blog, click 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!

Interview with Kids Agent Jill Corcoran Online

Chuck — Tue, 04 Aug 2009 14:30:28 GMT

Over on the Hunger Mountain website, there is a good interview with agent Jill Corcoran of Herman Agency, who is relatively new but decently known because of her blog.

Jill reps young adult and middle grade works. See the entire interview here or read below to see a small portion of the exchange. (Find the Herman Agency homepage here.)

HM: What types of work are you looking to represent?

JC: I represent Chapter Book, Middle Grade and Young Adult authors. I am a huge fan of humor. If you can make me laugh or crack a smile, you are my kind of writer. Even in a serious literary book, there is room for humor.
        Some of my favorite books are Frindle, Stargirl, Speak, Stuck in Neutral, How I Live Now, Millicent Min, Good Enough, Seeing Emily, Things Left Unsaid, Flipped and Because of Winn Dixie. I would also love to find funny books that are mixed prose and graphic novel a la Wimpy Kid and Bruce Hale’s Prince of Underwhere.
        For published Chapter Book, Middle Grade and Young Adult authors and SCBWI members, please email a query plus the first 10 pages of your manuscript to: Jill@HermanAgencyInc.com. No attachments, please.

HM: What’s the biggest challenge in selecting clients?

JC: I have to love a book to take it on, to commit to that book and that author for the long-haul.
        Sometimes, I have a manuscript crush. I’m enamored by its beautiful language, blinded by its witty and fun, or steamy and dark characters, swept up in its sexy plot. But with time away from its intoxicating pull, I begin to question the book’s integrity. Recognize flaws. Be irked by the little things. Sometimes an author can make the changes to turn a crush into true love. But if not, I must be honest with myself and with the author.
        The books I represent also represent me. Editors judge my taste by what I submit to them. I owe it not only to myself but to all the authors I represent to be highly selective and utterly in love with each and every book I represent.

Want more on this subject?

If kids writing is up your alley, check out all the GLA blog posts relating to juvenile writing and agents.
I previously blogged about Jill joining Herman Agency. See that post here.
Meet Alice Pope, the editor of Children's Writer's & Illustrator's Market, at one of two WD Intensive Workshops here in Cincinnati (Oct. 3-4 and Dec. 12-13). You may even have some manuscript pages critiqued by her!
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: Sheree Bykofsky of Sheree Bykofsky Associates, Inc.

Chuck — Thu, 23 Jul 2009 14:35:44 GMT

"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 Sheree Bykofsky of Sheree Bykofsky Associates, Inc.

She is seeking: prescriptive nonfiction with a fresh idea and a twist on standard advice. She also seeks narrative nonfiction with a sharp voice, a point of view, and a reason for readers to discover it: weird, intelligent, funny pop culture, and music. Also, popular reference with an edge to it. She does very little fiction, but would love to find a wonderful new voice. No sci-fi, horror, romance, or juvenile. "At this time, we request only e-mail submissions sent to submitbee@aol.com with no attachments."

GLA: How did you become an agent?

SB: I used to be the executive editor of The Stonesong Press, a book packaging company. We were most famous for the New York Public Library Desk Reference, for which I served as co-editor. When authors would approach us to represent them, we would send them to agents. My boss at the time said, "Why don't you become an agent so you don't have to turn away good writers?" I think I surprised him when I took him up on his suggestion.

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

SB: Just out, Mike Matusow's Check-Raising the Devil. Here are some other books out now: Don't Swallow Your Gum: Myths, Half-Truths, and Outright Lies About Your Body and Health by Dr. Aaron E. Carroll and Dr. Rachel C. Vreeman (Griffin/St Martins); and Am I the Only Sane One Working Here: 101 Solutions for Surviving Office Insanity by Albert J. Bernstein, Ph.D. (McGraw-Hill).

GLA: You say you’re open to finding a fresh new fiction voice, but it seems like you don’t want genre/commercial or kids submissions. Does this mean you’re seeking literary and mainstream voices, perhaps?

SB: That's correct. We like mainstream fiction with a literary quality. I also like the mystery genre.

GLA: You specialize in nonfiction. Let’s talk about a book proposal – specifically, the Overview section that agents see right away. When you look over a proposal, what do you want to get out of Overview or you’ll stop reading?

SB: I want to know what the book is about right away. I would like to see a thoughtful title, even though it will change. I like to believe from what I'm reading that not only is this a great new idea but that this author is the bes author to write this particular book.

GLA: You wrote an edition of The Idiot’s Guide to Getting Published. When you were writing that book, what are some good, general points of advice you wrote down that you think everyone should know?

SB: It is a best-selling book, now in its fourth edition. The five reasons authors need an agent: 1) contacts; 2) contracts; 3) money; 4) guidance; 5) subrights. Truly, I believe every author should read that book before approaching agents.

GLA: On that note, I see another “Idiot’s Guide” on your sales list. Are you looking for more queries that are for the Idiot’s series?

SB: We represent many Idiots authors. None of them is an idiot! (That doesn't sound right, but it is correct grammar.) The publisher usually likes to suggest titles for the series, and then we find the author. But sometimes we do submit authors and ideas to them, and so the answer to your question is yes.

GLA: You seek prescriptive nonfiction. The first thing that comes to mind with me is something like “How to Stay Healthy,” but certainly prescriptive nonfiction expands past the category of health/wellness. Can you give me/us some examples of prescriptive nonfiction not in that category?

SB: Other perennial topics are business, parenting, relationships, personal finance, how to play poker, etc.

GLA: You’ve repped poker books and even written a few. Two questions: How did your love for poker come about, and would you be willing to rep even more poker books?

SB: Yes, I would be willing to look at more poker books. I used to play tournament Scrabble (R). My Scrabble friends (the national champion and other top players) formed a poker game over 25 years ago. We played very seriously. By the time the lipstick camera was invented and poker became a big spectator sport, I was already an expert at it.

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

SB: I will be teaching doctors how to get their novels published at the SEAK conference in Hyannis in October.

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

SB: Do it right the first time.

Want more on this subject?

Read an interview with agent Jessica Regel (Jean V. Naggar Lit)

Read an interview with agent Meredith Kaffel (Charlotte Sheedy Lit)

Read an interview with agent Lucienne Diver (The Knight Agency)

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 2011 Guide to Literary Agents today!

Agent Advice: Laura Bradford of the Bradford Literary Agency

Chuck — Tue, 16 Jun 2009 18:10:41 GMT

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.

"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 literary agent Laura Bradford of the Bradford Literary Agency, who specializes in romance. She has 13 years of professional experience as a literary agent, editor, writer and bookseller. Laura began her career as a literary agent at Manus and Associates Literary Agency and is a member of the Romance Writers of America. As an editorial-focused agent Laura works closely with her clients developing proposals and manuscripts for the most appropriate markets.

Seeking: "The agency specializes in all types of romance (including category), romantica/erotica, women’s fiction, mystery, thrillers and young adult. We also represent nonfiction and other fiction genres. All queries sent to us will be considered with the exception of poetry, children’s books, screenplays and short stories."

GLA: What’s a recent thing you’ve sold?

LB: I recently sold the first three books in a new urban fantasy series by Ann Aguirre to Ace. They feature a woman cursed with the gift of psychometry who, after struggling to sever all ties with her past, is reluctantly drawn into the search for a missing woman along with her former lover (who would rather not be "former" any longer) and an empathic cop with similar romantic designs on her. The series has tons of danger and action, a little romance and bad guys who are are just as likely to hire a warlock as a hitman to even the score. And zombies.
Plus, I just received an offer on an erotic romance novel today, so by the time this interview posts, Out of the Ashes by Beth Kery will be my most recent sale. This one has heat and heart in equal measures, I'd say. Scorching. With a hero who is so Alpha, it hurts.

GLA: You specialize in romance. Aside from writing, what should beginning romance novelists be doing to help their careers?

LB: I think that the most important thing a beginning writer of any genre needs to do is educate him or herself about the market and how they should go about selling their work. This can be done lots of different ways, but romance writers are lucky that there is such a large and extensive group, RWA, where they can easily tap into the collective knowledge base. There is a wealth of information to be shared within that group. There are other online writing groups and loops that can be mined for information as well.

GLA: How exactly do you define “romantica”?

LB: It tends to get defined one of two ways depending on the person doing the defining. 1) It is a romance, with all the characteristics of being a romance, like the "happily ever after" ending and relationship-focused center of the plot, but with extra, extra spicy sexual content. More extensive sex scenes, more frequency, more kink, harder language (no sexual euphemisms here!), etc. If the sex was taken out, you would still be left with a complete, whole romance story. Or some people define romantica or erotic romance as being 2) a sex-centered romance with all the extra spicy elements I mentioned before: frequency, kink, language, etc. In this definition, the sex and the sexiness are fundamental to the plot and if the sex was removed, it would be clear that core of the book was missing. Some publishers consider the first definition to cover what they call simply a very hot (but not erotic) romance.

GLA: Romance can also be tied in with other genres—a romantic mystery, paranormal romance, etc. Is there a line where the writing ceases to be “romance” any longer and has shifted into another genre?

LB: A romance is a pretty specific type of book. At it's core, a romance is story about people falling in love and it always ends on an optimistic, emotionally satisfying note. A book can absolutely be romantic though, and not be a romance, per se. I think that there is room for romantic elements in almost every genre of commerial fiction and as someone who loves a good romance, I find those elements add an additional layer of depth to a novel. I think a novel ceases to be a romance whenever the focus of the book shifts away from the romantic relationship and starts to be more about the other plot elements (finding the serial killer, stopping the alien invation, making peace with the death of the character's father). If a book strays too far from traditional romance rules, it just isn't a romance anymore and that is fine. I think that genre-straddling books are fun and fresh and I love to read them. mixing genres, whether that mix involves romance or not, keeps publishing dynamic and continually evolving.

GLA: Romance has several sub-genres, such as historical romance. Is the genre continuing to fragment? or is it fairly set?

LB: I don't really think of romance as a genre that is fragmenting with all of its myriad sub-genres. The labeling of the sub-genres is really just a way to help romance readers find the books they most want to read by preference for setting and style. As long as the book has that romantic relationship core and heat, romance is romance whether it takes place in medieval times, present day, the Scottish Highlands, a church or the surface of Neptune. I think the fact that both the markets for erotic romance and inspirational romance are blooming is fabulous. I think that there are a few romance sub-genre classics that will be around forever, like historical, romantic suspense, paranormal, but I love the idea that there will always be room in romance for a new and fresh angle on a type of book that is so beloved.

GLA: If a man were to query you with a romance novel, will he likely be published under a pseudonym? If so, should he query you under that pseudonym? How does this work?

LB: Male romance authors traditionally sell more books when they are published under female pseudonyms ... or so we seem to think. Yes, the standard seems to be to publish male authors under the female pseudonym, but since I have no personal experience in that particular area, I'm not certain if it was the author's choice or the publisher's. An author can query me using their real name or a pseudonym, it makes no difference to me. I review the manuscript and make my decision based on the writing.

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.

Google Alerts and 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 2011 Guide to Literary Agents today!

Agent Terry Burns Interviewed on Novelists, Inc.

Chuck — Sun, 14 Jun 2009 16:45:03 GMT

I've met agent Terry Burns of Hartline Literary at a conference down in Texas. Good guy - and he's a writer, too, as well as an editor.

Novelists Inc. just posted a nice interview with Terry. I've pasted some of the Q&A below. To read the rest, see the full post over on Novelists, Inc.

NI: What makes a writer a good choice for you? What makes you a good choice for a writer?

TB: I need a writer that is flexible and committed, that understands the need to develop a good platform, promote and generate visibility. That understands the task of getting published is a team effort. The writer has the right to expect that each client will be treated the same and that the full resources of the whole team will be focused on making it happen for them.

NI: How much input do you expect to have on a client’s work?

TB: I don’t try to write for my clients, but I often will point out areas of concern that I believe need to be addressed to make a project more publishable. How it is addressed is up to the client, but I would hope that they take the need serious.

Want more on this subject?

See a profile of Christian agent Rachelle Gardner of Wordserve.

Read an interview with Christian agent Chip MacGregor.

Buy the memoir guide, Writing Life Stories.

Read an interview with Christian agent Joyce Hart of Hartline 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 2011 Guide to Literary Agents today!

Agent Advice: Jennifer Weltz of Jean V. Naggar Literary Agency

Chuck — Mon, 01 Jun 2009 17:01:38 GMT

"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 Jennifer Weltz of the Jean V. Naggar Literary Agency.

Seeking and submissions: To contact her, send an e-query with no attachments to jweltz@jvnla.com. Your query should include a short description of the work and yourself. She specializes in compelling historicals and thrillers that stand out from the crowd as well as women's fiction with a taste of the unusual and an emotional tug. She also works with middle grade and picture books where she looks for a voice that you can't resist to get to know.

Jennifer Weltz

GLA: How did you become an agent?

JW: It seemed like a good idea at the time and I do love to read a good book!

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

JW: Today the answer is By Accident by Susan Kelley - a beautifully written novel about the dramatic shifts that random accidents can render on a family; tomorrow my answer will be a middle grade historical novel about two sisters ... but I can't tell you anything more until we officially accept.

GLA: Talk to us about historical fiction. Do you seek any category? Historical romance? Historical thriller?

JW: I love romance, thriller and just a wonderful story about a great figure in history that we didn't know or know well enough. I love to learn something new and to plunge into a world and live there for a few days. If it's a thriller, it had better be tight on the facts and the resolution, because I'm pretty good at figuring it out and I am a sucker for a wonderful romance but never downplay the importance of anticipation. Check out The Last Queen by CW Gortner to see the kind of historical writing I tend to love. Also Pope Joan by Donna Cross.

GLA: You say you seek "women's fiction with a taste of the unusual and an emotional tug." To give us more perspective on this, can you give us an example (or two) of a women's fiction book you repped and what about it grabbed your attention?

JW: A wonderful example is The Tale of Halcyon Crane by Wendy Webb. This is a present day ghost story with a bit of a mystery and a great love story. One thing I have realized is that I love stories that verge on the fairy tale in their tone but give us a twist we didn't expect. I love to be surprised and also have a bit of a dark sense of humor. I am also a great fan of our books The Last Bridge by Terri Coyne, La Cucina by Lily Prior and Affinity by Sarah Waters.

GLA: You rep mid-grade works and picture books, but not young adult?

JW: Jessica Regel in our office has a great eye for YA's and so I leave it up to her. I do go for YA's if they are more the fun or fantastical. Angst is not my forte.

GLA: A lot of people write picture books but most of them never get published? Where are writers going wrong?

JW: Picture books are actually the hardest market to break into right now. I find myself turning down many books that have nothing wrong with them because I know there is no way I can sell them in this market.
        1. Unless you are an artist, do not send illustrations with your book.
        2. Most picture books that are selling these days have a character you can't resist with a great twist.
        3. Quiet pretty stories are not selling right now.
        4. It's all in the voice
        5. see 4

GLA: Specifically with picture books, are you looking for text-heavy work? Minimal text?

JW: Minimal. A picture book is like a poem. Every word must justify it's existence. No rhymes though please!

GLA: What, in your mind, differentiates a thriller from mystery or suspense?

JW: Great question and one I asked myself when I started agenting 14 years ago. Commonly, in the thriller, our main protagonist is directly involved in the danger and is directly affected by the outcome (they might go to jail or die if they don't resolve) whereas in a mystery the main character is solving a crime that was done to someone else. They might be in peril but the crime originates with another character.

GLA: In general, what are you looking for right now and not getting? What do you pray for when tackling the slush pile?

JW: I pray a lot when tackling the slush pile. I'm looking for something I have never seen with writing that grabs me from the first page and a character that comes to life from the moment I meet him/her. The voice, the originality of the story and a story that takes me out of the world and life I am living (i.e., don't send me a thriller around swine flu!).

GLA: In your opinion, how is the economic climate affecting writers' chances of getting published? Are you seeing smaller advances? Fewer buys?

JW: Yes, yes, yes. A writer needs to be prepared to be in it for the long haul and to give it everything they have got to succeed. And they need an agent who is passionate about their career and their writing. You don't want me unless I am excited!

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

JW: Thriller Fest in June.

GLA: Best piece(s) of advice we haven't discussed?

JW: Make sure to tell me what your book is about front and center when sending me a query, especially if it is fiction. I'll read about the other stuff later but only if the story grabs me. One last thing - I read every query with great hope and desire to find something wonderful that I can love because first and foremost I am a reader!

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 2011 Guide to Literary Agents today!

Agent Advice: Greg Daniel of Daniel Literary Group

Chuck — Mon, 18 May 2009 20:21:45 GMT

"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 Greg Daniel of Daniel Literary Group. Greg specializes in religious and inspirational works of both fiction and nonfiction. He also accepts nonfiction that has no religious angle. Send submissions to submissions@danielliterarygroup.com.

GLA: How did you become an agent?

GD: I’ve spent about 12 years in publishing, eight of which were at Thomas Nelson Publishers, where most recently I was VP and Associate Publisher. I’ve always known that one day I would open my own literary agency. I loved the notion of being with authors throughout their publishing careers, helping them navigate the publishing waters, and guiding them in such matters as branding and editorial direction. So in April 2007, I made the leap to agenting. I’ve never looked back. It’s been a real joy.

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

GD: Last week I sold inspirational fiction author Denise Hildreth’s next two novels to Tyndale. Denise is a wonderfully fun southern author who has had some nice success.

GLA: You say you’re open to any type of nonfiction submission, and a lot of fiction, but almost all of your recent sales have some angle of religion or inspirational to them. That said, are you still interested in queries that have no religious angle?

GD: Currently about 85% of the books I’ve sold have had some element of religion or inspiration, but I’ve also sold such nonfiction books as narrative history, pop culture, and business. I am open to nonfiction of almost any sort, that being my true specialty. I’d love to see more non-religious nonfiction. I’m extremely selective about the fiction I represent, and currently it consists primarily of inspirational fiction.

GLA: You seem to be right in the thick of inspirational and Christian publishing in what you do. Can you tell us how the Christian publishing world is changing?

GD: As Christian bookstores, especially the independents, struggle a bit and as general market stores keep increasing the size of their religion departments, it is opening up opportunities for a broader spectrum of Christian books to be published, not just the strictly evangelical books that Christian publishing used to be primarily confined to. There is a more ecumenical approach and spirit in Christian publishing these days.

GLA: Talk to me about a good platform for writing religious nonfiction. Besides being a preacher, what are other elements you’d like to see in proposals?

GD: Actually, being a preacher or pastor is not at all a prerequisite for writing religious nonfiction. I think I have only a couple authors who are pastors of some sort. Platform in religious nonfiction can be everything from pastoring a megachurch to having a wildly successful blog to being a notable scholar or thought leader. But it is important to have a platform and for that platform to be ever expanding.

GLA: What are the most common ways you see writers going wrong when they submit a query to you?

GD: Many nonfiction authors have almost no platform whatsoever. It is near impossible to publish nonfiction without a platform or recognized expertise in an area. Fiction authors err in sending manuscripts and queries that seem as if they’re first drafts - lacking the multiple drafts of rewriting that are necessary to truly hone and perfect their work.

GLA: Let’s say you sit down to read a Christian/inspirational fiction partial. What are some cliché openings that you see right there on page 1 or in chapter 1? What do you see way too much?

GD: I don’t think I see a whole lot of difference between the cliché openings of inspirational fiction and the cliché openings of every other kind of fiction. I must see 5-10 queries a day that begin their first chapter with a description of the sky or weather. Doesn’t matter what kind of fiction it is.

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

GD: The next conference I’ll be speaking at is the Southern Christian Writers’ Conference.

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

GD: Read deeply and widely in the area you want to be a writer. It seems that so often I receive queries where not only are the authors not at a point where they should be approaching agents yet, but they also appear to not even be astute readers of the categories they’re writing in. In addition to writing, writing, and rewriting in order to be a better writer, I’m a firm believer that the more intelligently you read, the better writer you’ll become.

Want more on this subject?

See a profile of Christian agent Rachelle Gardner of Wordserve.

Read an interview with Christian agent Chip MacGregor.

Buy the memoir guide, Writing Life Stories.

Read an interview with Christian agent Joyce Hart of Hartline 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 2011 Guide to Literary Agents today!

Agent Advice: Jim McCarthy of Dystel & Goderich

Chuck — Fri, 01 May 2009 13:33:54 GMT

"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 Jim McCarthy of Dystel & Goderich. Jim interned for DGLM while studying urban design at New York University.

Seeking: "literary and commercial works. He is particularly interested in literary women’s fiction, underrepresented voices, mysteries, romance, paranormal fiction, and anything unusual or unexpected. In addition to fiction he is also interested in narrative nonfiction, humor, memoir, paranormal nonfiction, and anything related to architecture, planning, or real estate." His e-mail address is jmccarthy@dystel.com. To contact him, enclose a cover letter, outline or brief synopsis of the work (with word count if possible), a sample chapter, and SASE for our response. Please type all of your correspondence and double space everything other than the cover letter. E-mail queries are fine (no attachments). Please be sure to query only one agent at this agency.

Jim McCarthy

GLA: How did you become an agent?

JM: I really stumbled into the industry. I was studying Urban Design at NYU and needed a part-time job. Stacey Glick, my now colleague, was the first person to call me back from the forty resumes I sent out. I didn't even know what a literary agent was at the time. Ten years later, I know it was a hell of a lucky break.

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

JM: One of my most exciting recent sales was for a literary novel called Yield by a young writer, Lee Houck. I originally signed it on in 2006. It sold last month to Kensington. It was a long, long process, but it's a book I've always adored, and I'm thrilled that it will be seen in print. I also just sold seven new young adult titles by the outstanding (and New York Times bestselling) Richelle Mead to Razorbill.

GLA: I'm very curious. What constitutes these "underrepresented voices" you
seek?

JM: This is very open for interpretation. What I really mean is that I want to see stories that aren't being told. I think there are a lot of groups that don't necessarily see themselves represented in the literary market as much as they should: whether that means underrepresented ethnic, religious, or even geographic narratives or simply people who feel like they fall out of the mainstream, I'd love to have a look.

GLA: When you're looking at a submission for a literary novel, how much stock do you put into queries and synopses?

JM: I always want to see samples when I'm looking at literary queries. There are tons of books that I probably wouldn't be especially interested in just based on a synopsis that I ultimately end up loving. Coetzee's Disgrace is a great example. The plot didn't appeal to me, but the book was dazzling. Once I see that something is literary, I tend to skip to the sample to see if the voice grabs me.

GLA: When I think of paranormal romance, I think of vampires and more
vampires. What other things do you see would classify the fiction writing to be in this category?

JM: Well, I certainly do love my vampire romances. And zombies, succubi, werewolves, and all of those other glorious fantastical creatures. But what I'm seeing a lot of (and am really encouraged by) is that the boundaries of the subgenre are being stretched. I love fiction that is fantastical--alternate worlds, alternative realities, that sort of thing. It isn't so much about the entities you're writing about as it is the ability to create a world that feels wholly realized and entirely believable in its own right.

GLA: We met recently at the Las Vegas Writers Conference. You took a lot of pitches. What were the most common mistakes you saw writers doing concerning in-person pitches?

JM: Fear. Writers get so caught up in making sure they capture everything about their book in as short a time as possible that they get really worked up and flustered. I'm not looking for a synopsis of everything that happens in a book when I'm getting pitched. I just want to hear someone talk about why they wrote their book and what excites them about it. It should be a much more natural process than a lot of people are ready for it to be.

GLA: Concerning the mystery and romance genres, do you seek anything specific here? Do you have particular "likes" (subgenres, etc)?

JM: I'm really open to anything, but I particularly love serial killer thrillers, ghost stories, and anything hardboiled in mystery. I'd love to find my very own Chelsea Cain or Charlie Huston. On the flipside, I adore a good cozy mystery series, particularly if there is an element of humor. In terms of romance, I skew more contemporary than historical, still love a good sense of humor, and am always on the lookout for writers who pull off sexy really well (it's tougher than it sounds!).

GLA: On the same subject, what do you pray for when tackling the slush pile?
What do you keep looking for and not getting?

JM: I always used to answer this question by saying that if someone would write a novel about Elvis, vampires, and road trips, I would definitely sign it on. Happily, someone finally took me up on it! So now I'm dying to find some great big Gothic thriller or romance. A 21st Century The Ghost and Mrs. Muir is my current dream project.

GLA: I've been talking a lot about memoir on the blog recently. Is there anything you can add when talking to writers about writing and submitting memoirs, since so many people are doing so?

JM: Two bullet points I'd throw out there: first, make sure you're ready to share your story on a major scale. I've seen people write their memoirs and then pull them from consideration and, once, even from publication, when they realized that they weren't prepared to deal with the emotional effects of sharing something so intimate. It's something you really need to be sure you explore personally before you take that step. And when you do decide to write it, my second piece of advice is to find your framing mechanism. It isn't usually enough to just present a snapshot of your life. You need to find a narrative in there--something with a beginning, middle, and end. It doesn't have to be chronological, but you need to give the reader structure. I always find myself recommending three memoirs that I think do this especially well: The Glass Castle by Jeannette Walls, Strip City by Lily Burana, and the amazingly funny (and truly moving) I Am Not Myself These Days by Josh Kilmer-Purcell.

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

JM: I'll be at PNWA in Seattle from July 30-August 2, and at the South Carolina Writers Workshop conference October 23-25.

GLA: Best piece(s) of advice we haven't covered?

JM: If you think you can give up writing, then give it up. If you can't ... if you know that no matter how much stress or rejection or frustration you face, that you can never stop writing? In that case, never give up. Publishing is too hard to face if you aren't in it for the right reasons. But it's not too hard to break into if it's what you need to do.

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.

Google Alerts and 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 2011 Guide to Literary Agents today!

Agent Advice: Kate McKean of Howard Morhaim Literary Agency, Inc.

Chuck — Tue, 28 Apr 2009 19:43:46 GMT

"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 Kate McKean of Howard Morhaim Literary Agency, Inc. A native Southerner, Kate earned her Master's degree in Fiction Writing from the University of Southern Mississippi before starting her career as a literary agent.

She is seeking: Her interests lie in literary fiction, contemporary women's fiction, paranormal romance, urban fantasy, mystery, young adult and middle grade fiction, narrative nonfiction, sports related books, food writing, pop culture, and craft. She prefers email queries and can be reached at kmckean@morhaimliterary.com. She is not accepting any epic fantasy, science fiction, or children's picture books.

Kate McKean

GLA: Briefly, how did you become an agent?

KM: I've always loved writing and books, but I'm also a very outgoing person. As an agent, I get the best of both worlds--the creative aspect of helping my clients craft great novels and proposals, and the social aspect of networking with potential clients and editors. There are editors, teachers, writers, and salesmen in my family. Being an agent is like all of those professions put together.

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

KM: Most recently, I've sold audio rights for some agency clients, which is always fun, but the last book I sold was the sequel to the New York Times bestselling I Can Has Cheezburger called How to Take Over Teh Wurld.

GLA: To me, at least, it seems like a lot of fiction stories that writers are pitching at conferences are about middle-aged women who break out of their unsatisfying life to live a life of adventure and/or excitement. As someone who looks for contemporary women's fiction, do you see a lot of these queries? And if so, what advice can you give writers on standing out from the crowd?

KM: I see a TON of novels like these, and haven't signed up any of them. The advice I would give to writers working on this subject would be to focus less on the WHY the characters are changing their lives and more on WHAT they're doing to change their lives. The emotional reasons behind these stories are familiar to readers, but what they do with it can be new, different, and interesting. Bottom line, though, writing trumps all. A well-written novel with this subject matter would catch my eye.

GLA: What are you looking for right now and not getting? In other words, what do you pray for when tackling the slush pile?

KM: I'm looking for a novel to fall in love with. I'm looking for excellent writing, with a plot that keeps me turning pages. I'm looking for the diamond in the rough. I know that that's not a helpful answer to writers looking to query me, but I find that if there's a certain topic I'm looking for, I know how to go out and find it. I'm now just looking for that serendipitous connection of a great story and impeccable writing---just like every other agent and editor on the planet.

GLA: It says you seek paranormal romance, but nothing about any other type of romance. What attracts you to this specific subgenre?

KM: I'm a finicky genre reader, especially in fantasy. I don't want to learn a new language when I read a book, or have to create a completely new universe in my imagination, but I do want to escape my mundane existence. I particularly like that paranormal romance is equal parts a new and interesting, but takes place in a setting that I'm usually familiar with (you know, with the same laws of gravity and such). In the end, I'm a sucker for a romantic story, so paranormal romance satisfies both those cravings for me as a reader.

GLA: No agent has ever really talked about urban fantasy before. If someone asked you for your "Three Tips if Writing and Submitting an Urban Fantasy," what would you tell them?

KM: Frankly, those tips would be just about the same for a writer writing in any genre.
        1. Give me characters I can care about.
        2. Give those characters something to DO.
        3. Be aware of the genre, so you know if you're treading the same path as other authors.

GLA: People say fantasy books tend to be longer than most books and don't abide by normal word counts. Is this true with urban fantasy?

KM: Any story that requires the author to create a new world different from our own is going to need some extra pages to flesh that out. As long as this is done in a way that keeps the plot going and keeps the reader turning pages, the final word count doesn't really matter to me. But yes, fantasy does tend to be a little longer.

GLA: You seek young adult works. You don’t want picture books. Do you accept middle grade?

KM: Yes, I will consider MG.

GLA: You seek sports-related books. Can this be anything? Coaching? Memoir? Weird statistics? Anything?

KM: I'm a huge college football fan and I'm making it my mission to prove to the publishing world that football fans will buy books. (Whether or not I'm tilting at windmills here is another matter.) But I am interested in all sports, and all topics. I have one client writing a memoir as told through baseball cards, and another working on ideas about the NFL in it's early years. Practical nonfiction on sports topics is harder, because the writer needs a major platform to sell books.

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

KM: I'll be in Denver at the Romancing the Rockies conference May 1-2, 2009.

GLA: Best piece(s) of advice we haven't discussed?

KM: I believe that all writers who hope to be published should remind themselves daily that they're writing for their readers, not for themselves. Writing is definitely a personally gratifying experience and can have wonderful therapeutic and self-esteem building results--but if your reader isn't compelled to turn the page because of something the writer is *trying* to do with the narration or theme, then what good does it do? One of my writing professors used to say: "Mean less." To me, that means don't set out for your book to be *about* something, especially an abstraction (love, trauma, homesickness). Just find some characters in your imagination. Make them do something. Make the reader care about what they do.

Want more on this subject?

Kate contributed one of the examples in the "Successful Queries" series.

If you're interested in the Howard Morhaim agency, I previously interviewed agent Brandi Bowles.

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!

If you're into the categories of paranormal or urban fantasy, check out The Encyclopedia or Werewolves, Vampires and Other Monsters.

Literary Agents Tell All at Boston Conference

Chuck — Tue, 28 Apr 2009 00:28:35 GMT

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.”

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.

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:

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 (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 2011 Guide to Literary Agents today!

Agent Advice: Christine Witthohn of Book Cents Literary

Chuck — Fri, 03 Apr 2009 14:54:01 GMT

"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 Christine Witthohn of Book Cents Literary Agency, LLC.

She is seeking: Fiction areas of interest: Single Title Romance (Contemporary, Romantic Comedy, Paranormal, Mystery/Suspense), Women's Lit (must have a strong hook), Young Adult, Mainstream Mystery/Suspense, Medical or Legal Fiction (something that hasn't been done before), Literary Fiction. Nonfiction areas of interest: We are looking for very specific NF. Women's Issues/Experiences, Fun/Quirky Topics (particularly those of interest to women), Cookbooks (fun, ethnic, etc.), Health, Gardening (herbs, plants, flowers, etc.), Books with a "Save The Planet" theme, Entertaining, Reference, How-To Books. Not interested in: Category Romance, Erotica, Inspirational, Historical, Sci-Fi/Fantasy, Horror/Dark Thrillers, Memoirs, Short stories/Novellas, Poetry, Screenplays.Christine is looking for romance and other genre, as well as kids works.

Christine Witthohn

GLA: How did you become an agent?

CW: I decided I wanted to do something I enjoyed, yet something challenging. I had always been a book worm and loved to read, and had experience as a fierce negotiator (coming from a family of eight kids) so becoming a literary agent was a natural fit for me. I started by offering myself up as slave labor (all expenses on my own dime) to many literary agencies, only to get the doors slammed in my face! This only made me more determined.
        Four years later, after monthly trips of traveling back and forth to NY to meet with publishing pros, developing and nurturing important industry contacts, taking classes and attending legal/contract workshops on both coasts, and attending a numerous conferences … I finally opened my agency’s doors in 2006.

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

CW: Kathryne Kennedy’s Talismans of Elfhame, her new historical paranormal romance series, to Deb Werksman at Sourcebooks, at auction, in a three-book deal.

GLA: Concerning children's writing, you seek "tween." Do you mean middle grade or true tween?

CW: Middle grade. I am finding that interest in middle grade is really starting to pick up. Many of the editors I talk to are looking for wholesome, character-driven tween stories (for example: a boy and his dog/a girl and her horse). Don’t get me wrong, editors are still looking for great YA (young adult), but don’t overlook middle grade.
        As for marketing middle grade and tween, that can be a little tricky. It can also depend on the subject matter and bookstore. Sometimes I see tween in the teen section of book stores and sometimes it will be displayed in the children’s section.

GLA: In YA and teen, what are some page 1 cliches you come across? What do you see too much of at the beginning of a juvenile ms?

CW: The most common problem I see is a story that’s been told a million times before, without any new twists to make it unique enough to stand out. Same plot, same situations, same set up = the same ole story. For example: abusive parents/kid’s a rebel; family member(s) killed tragically/kid’s a loner; divorced parents/kid acts out.
        Another problem I often see is when the protagonist/main characters don’t have an age- appropriate voice. For example: if your main character is 14, let him talk like a 14-year-old.
        And lastly, being unable to “connect” with the main character(s). For example: characters are too whiny or bratty. Character shows no emotion/angst.

GLA: Speaking of which, what do you come across too much of in romance concerning the hook or on page 1?

CW: 1) Too much backstory in the set up. 2) The hook/heroine’s situation isn’t unique enough to stand out. 3) The story doesn’t grab you from the beginning to make me (or any reader, for that matter) want to keep reading. 4) The writer has a really good plot idea, but the execution falls short.

GLA: You seek romance, but are you looking for single-title or series or ... ?

CW: I rep single title romance (unless a current client writes category, too).
I look for contemporary (esp. with humor), paranormal (no werewolves or shapeshifters, please), and love mystery/suspense.

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

CW: Something so entertaining and well written, I can’t put the story down!
If you are a writer and have a story like that… please drop everything and send it to me, along with a synopsis! (cw@bookcentsliteraryagency.com)
        What do I pray for? For Judith Ann (a junior agent) to come and tell me she’s already read through the whole pile! No, seriously… to find a jewel of a story.

GLA: Let's say someone came up to you and said, "I have this story about a woman but I don't if it's women's fiction or literary fiction." What would you say to them to help them decide?

CW: Great question! I won’t take the easy way out and say, “I know it when I see it.” The difference is often subjective, but women’s fiction really focuses more on the voice/narrative and the plot, whereas, literary fiction has more emotional depth and focuses more on style.
        I would ask the person to tell me a little bit more about their story (I need more info than “this story about a woman”). If the story sounded interesting, I’d tell them to send me a synopsis and the first chapter.

GLA: Let's stay on the topic of women's fiction because no agent has ever really delved into it. From reading good books and seeing bad submissions, what can you tell us about the dos and don't of this category? In other words, fill in this sentence, "If you're writing a women's fiction book, three things are of the highest importance ... "

CW: 1) You must have a unique plot with a great hook. 2) The story needs to be single title length (do your homework!). 3) READ - know the market you are targeting.

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

CW: Yes, and I go out of my way to be approachable and make myself available to writers. I try to participate in many festivities at most of the writers' conferences I attend and I never leave early. I encourage people to introduce themselves to me at conferences and I always make time for them when they do.
       Upcoming conferences: RT Convention (April 23-26), MWA Edgar Symposium (April 29-30), The Writer's Digest Books Conference Pitch Slam (May 28), BookExpo America (May 29-30). I will be at many more. Check my website.

GLA: Speaking of conferences, tell us a little about this conference you co-sponsor in Italy...

CW: In 2007, I was invited to the Women’s Fiction Festival (WFF) in Matera, Italy. I attended, and loved it! So much so, I became a sponsor. By far, it was the best conference I had ever been to. Believe it or not, it’s not just the shopping, food, or wine that makes this conference stand out. It’s the people! The festival is an international writers' conference. Writers have access to agents and editors from the American, British, German and Italian markets (soon to include French and Spanish). I have never been to a conference where writers have so much one-on-one access to industry professionals. This is particularly valuable to someone who is already published and wants to promote themselves in a foreign market.
        As if that isn’t enough, the municipality of Matera (a UNESCO world heritage site and popular film locale) holds its own town festival around the writers' conference so attendees can taste local foods. Booths are set up with free samples of: breads, wines, cheeses, olives, produce, and pastries. They also provide entertainment with live bands on Friday and Saturday nights. What’s not to love?

GLA: Best piece(s) of advice we haven't discussed?

CW: Writing is a process - Writing IS re-writing. Hone your skills (take classes/study the craft). Believe in yourself and your work. Maintain a sense of humor. Never give up. And most important ... Keep writing!
        The very best of luck to everyone

Want more on this subject?

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 2011 Guide to Literary Agents today!

Agent Advice: Meredith Kaffel of Charlotte Sheedy Literary Agency

Chuck — Wed, 01 Apr 2009 03:59:09 GMT

She is seeking: "or children's books, my first love is YA. And my YA tastes run the gamut from the highly literary (especially fish out of water tales, outsider stories told teetering from the edge, high concept novels taking on themes with gravity, up-market historical fantasy and stories involving the arts in some way), to the highly commercial (teen paranormal with a twist, high school dramas and friendship sagas, anything with sass and attitude, etc). I also enjoy smart middle-grade fiction, and I will take on the occasional quirky picture book manuscript. I'm actively looking for new illustrators as well -- for both the picture book and graphic novel/comic markets. As for adult manuscripts, I'm primarily looking for narrative nonfiction (specifically books dealing with food, science, international themes, feminism, cultural trends, art and literary history, music, and general "juicy" history and biography), and the rare literary novel that steals my heart. I tend to be drawn more toward darkly wry and edgy fiction than novels brimming with sugar-and-sunshine, but my rule about taking on a project is that there are no set rules. I just have to love it." I accept both email and snail mail queries. For email, please send to meredith@sll.com, and for snail mail, to: Meredith Kaffel Charlotte Sheedy Literary Agency, 65 Bleecker St., Ste. 12, New York, NY 10012. For initial queries, I prefer a query letter along with 1-3 sample chapters for fiction, or a proposal for nonfiction."

GLA: How did you become an agent?

MK: I interned for agent Sarah Burnes one summer, when I was an undergrad at Yale. I watched the rhythm of her day, the intimate author and editor contact, the invigorating daily flurry, and thought "that's what I want to do." After that, I kept interning in publishing until I graduated, and then, after a brief stint as a writer's assistant, I joined the Charlotte Sheedy Literary Agency.

GLA: You have a Sterling e-mail, but you're not technically with Sterling, is that right?

MK: Good question. Charlotte Sheedy Literary Agency (CSLA) is an affiliate of Sterling Lord Literistic (SLL). Charlotte owns her own agency, but we're a sister company of SLL – a boutique agency within the larger agency. It’s really a best of both worlds situation: the intimacy of a small agency, complete with the wonderful SLL extended family.

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

MK: A hilarious, quirky middle grade novel called Flirt Club by Cathleen Daly. It went to Neal Porter at Roaring Brook exclusively, because I wanted Neal's gorgeous aesthetic on this book. Thankfully, he loved it as much as I did.

GLA: You look for a lot of children's stuff. Specifically, with "fish out of water" stories - do you gravitate toward multicultural tales? Or can it simply be "poor kid gets sent to a rich boarding school" story?

MK: Charlotte and I both are very interested in multicultural tales, yes. But I'm also interested in any character who feels like an outsider, a misfit, anyone struggling to figure out who he or she is or how to exist outside his or her comfort zone.

GLA: Does "tween" exist as a category? If you got a query for a tween book that clearly straddled the YA-MG line, would you take it on? Or is it too hard to market because it's neither one nor the other?

MK: Tween does exist, and various publishers even have specific tween imprints in place. As for queries, the same standard holds true for me in terms of tween as it does with YA or MG: if the voice is authentic, then I'm probably interested. However, I do look more at plot with tween novels: right now, it's not enough just to have a great tween voice -- the storyline also needs to be unique enough to stand out in the marketplace.

GLA: What's more common? Seeing a juvenile ms that talks down the audience, or one that's a little too purple-prose and over their heads?

MK: Well, typically I'd say the former. But since CSLA is the agency of Lemony Snicket, we also see a lot of queries attempting to mimic Snicket's highly idiosyncratic voice – which sometimes unfortunately results in the latter!

GLA: What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

MK: Things I cross my fingers for:
      1) High-concept YA novels - especially something as brave as Jay Asher's Thirteen Reasons Why.
      2) YA and adult novels that make me laugh out loud (either light comedy or something really dark and twisted, something that's 'I can't believe I'm allowing myself to laugh at this, I should be arrested' funny)
      3) Science for the trade market, pop sociology, books regarding cultural trends, counterculture histories, books which weave food and/or travel in as a theme, books about escape, about things lost and found, music histories for the trade market, compelling biographies of undersung women in history
      4) Books about the renaissance (fiction or non, and especially YA novels set in the renaissance)
      5) Teen paranormals that subvert and reinvent the genre and aren’t just vampire knockoffs

GLA: Following up on that last question, you seek plenty of narrative nonfiction in a whole host of subjects? Which of these categories, in your opinion, is really under-mined, so to speak? Which category is wide open and hasn't been fully explored yet?

MK: CSLA has long represented works of African-American history, but I think this category remains under-mined. Less crucially, I'd also love to see a book on the internet's effect on radio from a cultural standpoint, having become a recent NPR pod-cast fanatic…!

GLA: Since you seek narrative nonfiction, do you want a book proposal, a full completed manuscript, or both when pitching you?

MK: A really bang-up proposal with a sample chapter or two is often enough for me when it comes to narrative nonfiction -- at least in terms of taking someone on. Though if you’re not submitting many chapters, your proposal should be in the same voice as your book would be – it should leap off the page in the same way and should not be dull just because it’s a proposal!

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

MK: Indeed, I'll be attending the Wyoming Writers, Inc. conference this year in June 2009, and also the Surrey International Writers’ Conference in October 2009.

GLA: Best piece(s) of advice we haven't covered?

MK: Try to educate yourself in terms of the current state of the publishing industry, and be ready and excited to help market and promote your own book as much as possible. To this point, having an already-established Web presence helps immensely – in finding an agent and ultimately a publisher.

Want more on this topic?

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

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

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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 2011 Guide to Literary Agents today!

Check Out Interviews With Two Agents: ICM's Tina Wexler, and Curtis Brown's Ginger Clark

Chuck — Tue, 24 Mar 2009 13:20:41 GMT

I came across Gretchen McNeil's Seanchai blog recently, and saw it had posted two recent interviews with top-notch agents.

Click here to read an interview with Tina Wexler of ICM.

Click here to read an interview with Ginger Clark of Curtis Brown.

Ginger Clark Tina Wexler

A little more info:

GINGER CLARK represents science fiction, fantasy, paranormal romance, paranormal chick lit, literary horror, and young adult and middle grade fiction.

TINA WEXLER specializes in middle grade and YA fiction, with particular interest in adventure stories with boy appeal, contemporary coming of age stories, tall tales, and mysteries. On the adult side, she is looking for narrative nonfiction (religion, memoir, pop culture) and up-market women's fiction.

(By the way, both Tina and Ginger will be at Writer's Digest's own conference in New York on May 27, 2009, if you're thinking about pitching either of them.)

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.

Google Alerts and 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 2011 Guide to Literary Agents today!

Agent Advice: Joanna Stampfel-Volpe of Nancy Coffey Literary & Media Representation

Chuck — Sat, 21 Mar 2009 18:32:41 GMT

She is seeking: Joanna is looking for genre fiction, children's works, and some nonfiction areas. She accepts hard copy or e-mail queries - e-mail address: LiteraryNancy2@gmail.com. Send snail mail queries to 240 West 35th Street, Suite 500, New York, NY 10001. Joanna's interests: "chap books to upper YA (non-fiction, contemporary, humor, historical and fantasy *fantasy/sci-fi needs to really stand out, unique), romance (historical, paranormal, contemporary), fantasy (women's, urban, steampunk, unique), up-market fiction (dark, literary, horror, dark comedies, speculative fic), narrative non-fiction (pop culture, environmental, foodie)." She is NOT interested in "cozies, cookbooks, academic nonfiction, epic fantasy for adults, hi-science fiction, poetry, collections/short stories, screenplays."

GLA: How did you become an agent?

JSV: I started at a small publisher on Long Island, Blue Marlin Publications. I was basically a part-time publisher’s assistant and loved it—I got to do everything! From attending BEA to editing to publicity. It was a great way to start in publishing. At the time, I was taking a publishing course with Peter Rubie of FinePrint Literary Management. Five months later, I was working for both FinePrint and Nancy Coffey, then eventually I got to sign a few clients as a junior agent, made some sales and I started in January of this year as a full-time agent with Nancy Coffey Literary & Media Representation. I’ve had some great mentors along the way.

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

JSV: The most recent book I sold was in December: Bloomsbury Children’s, Ghost Watcher trilogy.

GLA: What are you looking for right now and not getting? When you read the slush pile, what are you praying that you find?

JSV: I am looking for good historical fiction with female protagonists, strong YA told in verse, and humorous middle grade. I am always praying to find a dark read for boys/young guys that’s Stand By Me meets a modern Catcher in the Rye … I’ve come close with a few, but so far, no perfect fit!

GLA: In my agent interviews, I haven’t really gotten much advice from agents on writing children’s nonfiction. Can you give us some 101 tips?

JSV: You can write about almost anything when it comes to children’s nonfiction, even if it’s been done before. But you need to come at the subject from a different angle. If there is already a book on tomatoes and how they grow, then try writing about tomatoes from a cultural angle. There are a ton of books on slavery, but not many on slaves in Haiti during the Haitian Revolution (is there even one? There’s an idea—someone take it and query me!). Another thing to always consider is your audience. Kids already have textbooks at school, so you shouldn’t write your book like one. Come at the subject in a way that kids can relate to and find interesting. Humor is always a useful tool in nonfiction for kids.

GLA: It seems like a lot of juvenile nonfiction is series stuff. “The 50 States.” “Historical Figures.” Should writers try to add to an already-existing series or should they come up with an original one-shot idea?

JSV: Adding to a series is a great way to get started as a writer of nonfiction, especially for unagented writers (depending on the publishing house, of course). But it can’t hurt to research the market and try to come up with an idea of your own. Every publishing house is on the lookout for good nonfiction for kids. Another great way to build your resume is to write articles for kid’s magazines like Highlights, Ranger Rick, Muse, Ask, Boys Quest, Boys Life, Jack and Jill, Discovery Girl, Pockets, Spider, etc, or even writing pieces up for educational workbooks. If you have a lot of experience writing nonfiction for kids, an agent or editor will know that you know how to reach that audience.

GLA: You give a speech on the “dreaded synopsis.” In your mind, what do you think the three most common mistakes a writer makes when composing a synopsis?

JSV: 1) Including too many characters. 2) Including too many subplots. 3) Making them too long! I usually ask writers to submit a two-page synopsis, but I’d prefer even one page.

GLA: I point writers to Query Shark to let them see query examples and critiques. Do you know recommend any books or websites for seeing and evaluating synopses?

JSV: I actually don’t know of many—which is why I chose it as my workshop topic for a number of upcoming conferences. Lisa Gardner has a very detailed layout though, I’m pretty sure it’s on her website.

GLA: Let’s say you sit down to read an adult fiction partial – the first 50 pages. Where are writers going wrong? What do you hate to see in a ms early in the story?

JSV: Too much backstory. A lot of writers feel the need to tell us all about their protagonist right up front, so we know them like they do. I’d rather be shown who the hero/heroine is throughout the piece. Voice tells me more about a character than any description paragraph.

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

JSV: Yes I will!
      NETWO’s Writers Roundup (Camp Shiloh, TX) 4/24-4/25/09
      CTRWA’s Connecticut Fiction Fest (Meriden, CT) 5/2/09
      LIRW Luncheon (Jericho, NY) 6/12/09
      In Your Write Mind, Writing Popular Fiction (Seton Hill University, PA) 6/25-6/28/09
      Midwest Writers Workshop (Ball State University, IN) 7/23-7/25/09
      South Carolina Writer’s Workshop Conference (Myrtle Beach, SC) 10/23-10/25/09
      Oh … and of course, the Writer's Digst 2009 BEA Pitch Slam!

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

JSV: Don’t try to find out what the next “hot thing” is. Just write what comes to you. Trends or no trends, agents and editors are just looking for solid writing.

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 2011 Guide to Literary Agents today!

A Children's Agent Talks Marketing Your Work

Chuck — Wed, 18 Mar 2009 18:17:58 GMT

As a nonfiction writer myself, I know how important it is to brand yourself, and network yourself, and market yourself, and all those other things we as writers don't like to think about.

That's why I enjoyed this interview here with agent Sarah Davies of Greenhouse Literary. Sarah, who spends time agenting in both the US and UK, was recently interviewed by a blog called Market My Words, a blog about marketing run by a children's writer. Since Sarah and Greenhouse spend a lot of time looking for children's books, this was a logical pairing. The interview is long, and that's a good thing, because Sarah gets into some detail about what publishers will do versus what they expect.

Check out the interview now!

Agent Advice: Kelly Sonnack of The Andrea Brown Literary Agency

Chuck — Sat, 07 Mar 2009 20:00:05 GMT

"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 Kelly Sonnack of the Andrea Brown Literary Agency. Kelly recently joined the ABLA after leaving the Sandra Dijkstra Literary Agency.

She is seeking: all types of children's literature (picture books, middle grade, young adult, and graphic novels). In picture books and middle grade fiction, Kelly looks for a good sense of humor, stories that stretch a young reader's imagination, and an authentic voice. In young adult, she appreciates literary voices and character-driven stories with heart. In non-fiction for children, she enjoys projects that inspire and stimulate the minds of our younger generations. At this time, Kelly is not accepting unsolicited submissions in adult fiction or adult nonfiction."

Kelly Sonnack

GLA: How did you become an agent?

KS: My career in publishing actually started in academic publishing. Before I knew it, I was the editor of Soil, Plant, and Insect Science textbooks and while I worked with fantastic and brilliant authors, trade literature has always been my passion (with children’s literature my real dream). I found out about an entry-level job at the Dijkstra Agency and while it was entry-level (and meant a huge pay cut), I could see that there were a lot of opportunities I could take advantage of. I started agenting my own books within my first year there and haven’t looked back!

GLA: You recently moved to Andrea Brown Literary. What are you looking forward to about this new venture? (Did you move to the Bay area?)

KS: I’m looking forward to working with such a dynamic team of super-smart and savvy colleagues who really know the children’s market. Each member of the team has a really great and unique perspective on children’s literature so there’s a lot for us to learn from one another. (And no, I’m still in San Diego.)

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

KS: I just sold a graphic novel by James Burks, titled Gabby and Gator to Yen Press, the graphic novel division of Hachette. They’re starting to work on juvenile graphic novels, and this was one of their first acquisitions for this initiative. It’s a brilliant piece of work.
As for other notable news, during my first day at ABLA, I found out that my author Steve Watkins won the Golden Kite award for his novel Down Sand Mountain (Candlewick, 2008). His was one of my first projects and I’m thrilled that he’s receiving this honor. It’s a book that has a really special place in my heart.

GLA: You take all kinds of children’s works – young adult, middle grade, picture books, etc. What are you looking for right now and not getting? What do you pray for when tackling the slush pile?

KS: I’d love to see more well-written and clever middle grade fiction. There’s a need for it right now and I see a lot of potential in this market. I’d also love to see more memoir for kids – especially cultural memoir about growing up in different countries, identity, and living across cultures. We are a colorful world, and I’m not sure that’s reflected adequately in children’s lit quite yet.

GLA: You accept YA and MG. Specifically, do you specialize in any subgenres? Multicultural? Edgy stuff?

KS: I really don’t confine myself to one area; I enjoy having a variety. I will admit a particular soft spot for picture books but there’s only so many of those I can take on at a time. I really love literary, coming-of-age YA, as well as quirky and smart MG. I’m also particularly loving graphic novels for kids these days. We’re living in a time that is ripe for them, and it’s exciting to help shape that.

GLA: With picture books, I suspect you get a lot of submissions and most of them get rejected. Where are writers going wrong in picture book submissions?

KS: Rhyming! So many writers think picture books need to rhyme. There are some editors who won’t even look at books in rhyme, and a lot more who are extremely wary of them, so it limits an agent on where it can go and the likelihood of it selling. It’s also particularly hard to execute perfectly. Aside from rhyming, I see way too many picture books about a family pet or bedtime.

GLA: When you’re reviewing a juvenile fiction partial, what do you hate to see in Chapter 1?

KS: I hate to see a whiny character who’s in the middle of a fight with one of their parents, slamming doors, rolling eyes, and displaying all sorts of other stereotypical behavior. I hate seeing character “stats” (“Hi, I’m Brian, I’m 10 years and 35 days old with brown hair and green eyes”). I also tend to have a hard time bonding with characters who talk to the reader (“Let me tell you about the summer when I...”).

GLA: When you get a graphic novel submission, what do you like to see in the submission itself? Just the query? 10 pages?

KS: At the AB Agency, we only accept e-mail submissions, so I would want to see the query letter e-mailed to me (listing any credentials), and then the first 10 pages copied into the body of the e-mail. If there is accompanying sample art, that can be pasted into the message as well.

GLA: Do writers have to finish a graphic novel before querying you? Or can they just have a good synopsis?

KS: The text needs to be completed but the art shouldn’t be since there are sure to be future changes suggested by myself or an editor.

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

KS: Yes! I’ll be at the Charlotte Huck Children’s Festival in Redlands next week, and then I’ll also be at the Western Washington SCBWI meeting in May, Comic-Con (I’m speaking at the Project Impact event before the Con starts) in July, SCBWI National in August, the Southern California Writers meeting in Irvine in Sept, and the La Jolla Writers Conference in November. Phew!

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

KS: Know who your competition is and read and study the books your intended readers will also be reading. During difficult economic times, support your fellow writers and buy books!

Want more on children's writing?

Examine Great High-Concept Hooks for Children's Books.

New children's agent seeking submissions.

How to write picture books for kids.

Buy the kids writers' bible: the Children's Writer's & Illustrator's Market.

Interview with kids agent Joe Monti of Barry Goldblatt Literary.

Read a successful young adult query: "Wake" by Lisa McMann.

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!

New York Observer Interviews Agent Chris Parris-Lamb

Chuck — Wed, 04 Mar 2009 15:29:14 GMT

It isn't everyday that a major media publication sits down to talk with an up-and-coming agent like this, so make sure you read this nice interview with literary agent Chris Parris-Lamb of The Gernert Company. The interview was by The New York Observer.

Good stuff.

Agent Advice: Alanna Ramirez of Trident Media Group

Chuck — Tue, 24 Feb 2009 00:59:46 GMT

She is seeking: literary fiction, narrative nonfiction, memoir, pop culture and lifestyle books.

Alanna Ramirez.

GLA: How did you become an agent?

AR: I became an agent by working my way up through various positions at Trident Media Group. I started here as Ellen Levine’s assistant and had the privilege to work with many of her illustrious clients – Christopher Andersen, Russell Banks, Michael Ondaatje, Louis Sachar, Marilynne Robinson, and Sheila Weller, among others. Soon after, I became First Serial Associate and sold first serial rights for all of the authors on Ellen Levine’s list while continuing to work as her assistant. I sold short stories and book excerpts to American History Magazine, A Public Space, BOMB, Esquire, Harper’s, Ladies’ Home Journal, and Virginia Quarterly Review, among others. In 2007 I was promoted to Audio Rights Agent and also worked as an Associate in Chairman, Robert Gottlieb’s office, working with his elite client list – Catherine Coulter, Dale Brown, T. Jefferson Parker, and Karen Robards, just to name a few. In January 2009, I was promoted to Literary Agent. Previous to my experience at Trident, I worked in editorial at Penguin/Berkley Publishing Group, and also spent a year in the publicity department at HarperCollins. My experiences in the publishing side of the business have complimented my run at Trident.

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

AR: Most recently I sold a nonfiction book called Saving Cinnamon: The Amazing True Story of a Missing Military Puppy and the Desperate Mission to Bring her Home by Christine Sullivan, which will be published by St. Martin’s Press in Fall 2009.

GLA: What draws you to narrative nonfiction? What are you looking for in a narrative nonfiction submission?

AR: I majored in history and journalism in college, and I think that when you combine these two subjects you come up with narrative nonfiction. I enjoy history because I’ve always thought of historical events as stories – little insights into the culture, politics, psychology of a certain period of time. And I am drawn to narrative nonfiction because the writer will dig deep into history (or a current topic) with an investigative eye. I’m interested in seeing narrative nonfiction that explores important American figures, historical events (American or European), current cultural trends or events.

GLA: A lot of writers have memoirs, but few make it through the gauntlet to publication. What sets the best ones apart?

AR: I think the best memoirs are the ones that read like fiction. The circumstances are so extraordinary (The Glass Castle by Jeannette Walls) or so unbelievable (Running With Scissors by Augusten Burroughs), or so inspiring (Eat, Pray, Love by Elizabeth Gilbert) that the reader gets completely lost in the narrative. For me, a truly successful memoir should take me on a journey that I would not ever experience in my own life, and keep me up reading long into the night.

GLA: You also seek pop culture books and lifestyle books. Can you throw out some examples of these genres so writers can get a feel for what constitutes a “pop culture” work, etc?

AR: I think of “pop culture” as anything that’s an up-to-the minute trend. For example, playing off of our current economic situation I sold a book called Bitches on a Budget to NAL. It’s a smart, witty (sometimes snarky) guide for women to who want to survive a recession in style. I’m also interested in blog culture, fashion, style, film, and entertainment.

GLA: What are you looking for right now and not getting?

AR: As you know, I’m looking to take on nonfiction authors – memoir and narrative nonfiction. But I’m also looking for literary fiction that has the ability to cross over into the mainstream market. Think – The Kite Runner (Khaled Hosseini); Water for Elephants (Sara Gruen); The Dive From Clausen's Pier (Ann Packer); or While I Was Gone (Sue Miller). I’m also interested in novels about quirky families that span generations … some of my favorites include Middlesex (Jeffrey Eugenides); The World According to Garp (John Irving); I Know This Much is True (Wally Lamb); The Corrections (Jonathan Franzen).

GLA: Most common problem(s) you see in a query for literary fiction?

AR: The most common problem that I see with queries for literary fiction as that the author has a hard time telling me what their book is about. The best way to pitch me is with 5 or 6 well-crafted sentences that give me the gist of the plot. Please don’t forget to tell me if you’ve won awards or have been published in literary magazines, or anything else notable about yourself and your writing.

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

AR: I’m not scheduled for any conferences yet this year.

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

AR: If you have a really great story to tell, and it doesn’t quite fit into what I’ve described, please pitch me anyway. It would be great to see a literary crime novel, for example. However, I’m not considering science fiction, fantasy, or romance.

Want more on this subject?

If you're interested in Trident Media, check out this post on new Trident agent Stephanie Maclean.

Read an interview with agent Jessica Regel (Jean V. Naggar Lit)

Read an interview with agent Meredith Kaffel (Charlotte Sheedy Lit)

Read an interview with agent Lucienne Diver (The Knight Agency)

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!

CWIM Blog: Interview With Agent Elana Roth

Chuck — Thu, 29 Jan 2009 23:07:10 GMT

Elana Roth is a literary agent at the Caren Johnson Literary Agency. My awesome co-worker, Alice Pope, recently interviewed Elana over on the Children's Writer's & Illustrator's Market blog. Needless to say, Elana is indeed interested in juvenile work.

In the interview, Elana details a lot of great info about herself and her style, including, but not limited to:

A dirty little secret about meeting her at conferences.
What she's always looking for but rarely gets in a submission.
Advice for new writers regarding queries.

Check out the full interview now!

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.

Google Alerts and 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 2011 Guide to Literary Agents today!

Agent Advice: Courtney Miller-Callihan

Chuck — Thu, 29 Jan 2009 05:16:03 GMT

"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 Courtney Miller-Callihan, of Sanford J. Greenberger Associates. Courtney began her career in publishing at Random House, where she spent a number of years in subsidiary rights sales and in contracts before joining Sanford J. Greenburger Associates in 2005. Courtney holds a B.A. in Literature from the University of California, Santa Cruz and a M.A. in English from The Johns Hopkins University.

She is seeking: She looks for nonfiction projects on unusual topics, science, personal finance, business, pop culture, lifestyle books, and craft books. In addition, Courtney is seeking new voices in literary fiction, historical fiction, and women’s fiction. Solid credentials are a must. She also represents a limited number of children’s book authors and illustrators. She prefers to receive submissions via e-mail at cmiller [at] sjga [dot] com.

Courtney Miller-Callihan

GLA: How did you become an agent?

CMC: I've always loved books - everyone in this business does, which is the best thing about it. I think my interest in publishing stemmed from a stubborn desire to actually use my two degrees in English. I started at Random House, in the contracts department, in 2002, and then spent a couple of years in subsidiary rights before joining SJGA in 2005. I started taking on my own clients shortly thereafter.

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

CMC: The Twelve Days of Christmas in Georgia, illustrated by Elizabeth O. Dulemba (Sterling, fall 2010). Sterling is doing a great series of picture books about holiday traditions in different states.

GLA: You seek "unusual" nonfiction topics. Kind of like "miscellaneous"? Could you give me some examples of books out there in the market you wish you'd repped?

CMC: "Miscellaneous" is good, or "weird." I want to see proposals for books on subjects I've never really thought about or even heard of, as well as really creative takes on subjects that have already received a lot of attention. I love narrative nonfiction and investigative journalism, and anything that teaches me something new.

GLA: You seek solid credentials. Is that just for nonfiction? Or do you want some kind of a platform even when getting a fiction query?

CMC: If the query is for literary fiction, I like to see a strong record of publication - short stories in literary magazines. For more mainstream fiction, the platform doesn't matter if the writing is terrific.

GLA: Do you find that you have any weird quirks as an agent? Perhaps everyone likes a query presented in such-and-such a way, but you prefer something else?

CMC: I respond poorly to clip art, whether it's the "writerly" scroll of parchment on the letterhead or simply an attempt to add illustrations to a proposal. Better to leave it out.

GLA: Regarding the juvenile work you will accept - can you elaborate a bit? Mid grade? Picture books?

CMC: I'm feeling more drawn to middle grade and YA at present, but I've always got my eye open for really wonderful illustrators. I don't like talking animal books or picture books done in rhyming couplets.

GLA: Literary fiction, historical fiction and women's fiction are unique in that none of them fall under "pop" or "genre" fiction. What do you like to see when you sit down to read a partial?

CMC: Introduce me to a character I want to get to know. Get me invested in the story, fast. And, everyone always says this but it's true, I live for the times I get so absorbed that I almost miss my subway stop.

GLA: What are you looking for now and not getting? For example, a 18th century story set on the high seas...

CMC: I'd love to see more historical fiction with a non-Western setting. As with my taste in nonfiction, I relish the opportunity to learn something. I'd love to see more compelling, character-driven women's fiction. And I'm on the lookout for a book on homesteading - DIY, frugality, eco-conscious.

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

CMC: Nothing on the schedule at the moment (but I'd love to hear from writers' conferences looking for more agent participants/speakers!)

GLA: Best piece of advice concerning something we haven't discussed?

CMC: I can't emphasize enough the importance of making a good first impression. Agents are inundated with queries, and for me, the ones that follow my guidelines (a proposal and CV for nonfiction, a synopsis and the first three chapters for fiction), spell my name right, and maybe reference my existing clients' projects, really do stand out from the pack.

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 2011 Guide to Literary Agents today!

Agent Katharine Sands On Book Proposals

Chuck — Mon, 26 Jan 2009 21:47:49 GMT

So I finished a book proposal in December and passed it on to my agent. Just a few days later, when talking to Katharine Sands (superagent extraordinaire), she mentioned that she would look it over for me as a favor to try and ID any weaknesses, etc.

She came back with one major note, and I wanted to share it with you because it was so good.

The book is a humor (gift) book. Her critique was this: She wanted to know, "What is the benefit to the reader? What have they gained by reading your book? What are they now that they weren't before?"

Great tip. I'm used to saying "This is what the book is." She's saying not to forget including "This is what the book will provide for readers." Considering this was a gift/humor proposal, that didn't occur to me too much. Luckily, the revision will only take a few sentences here and there.

Katharine Sands of the
Sarah Jane Freymann Literary Agency

See an older GLA interview with Katharine Sands here.

Agent Advice: Sammie Justesen of Northern Lights Literary Services

Chuck — Fri, 23 Jan 2009 21:00:10 GMT

"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 Sammie Justesen, of Northern Lights Literary Services, LLC. She represents genre fiction and all areas of nonfiction.

Sammie Justesen

GLA. How did you become an agent?

SJ. I began my career as a nurse and moved into publishing as a clinical editor for a medical publishing firm. From there I began editing non-medical books, including fiction.

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

SJ. I’m working on a two-book deal with Wiley for Frank Rumbauskas Jr. These will be follow-up books to his business bestseller, Never Cold Call Again.
        I’m preparing to sign a contract with Sterling Publishing for Thank You For Firing Me, by Candice Reed and Kitty Martini: a practical and inspirational guide to rebuilding one's career after being fired.

GLA. You look for a lot of nonfiction. What are you seeking right now and not getting? What do you wish would turn up in the slush pile?

SJ. I’m open to any topic that will interest to readers and has a wide market. I’ve accepted books on everything from Hip-Hop music to sustainable agriculture. I’d love to see more queries from authors who’ve done their homework and prepared a great proposal.

GLA. Fill in this sentence. "If a book proposal doesn't _________ , I can't do anything with it and say no to the author."

SJ. If a book proposal doesn't address a wide enough market, I can't do anything with it and say no to the author.

GLA: Your fiction interests seem to be mostly genre - romance, women's, mystery, suspense and historical. What draws you to genre categories?

SJ: I lean toward representing the kind of books I enjoy reading, because I have a better understanding of those genres. Also, I find genre titles are easier to sell.

GLA: Do you find that people mis-categorize submissions to you? Do you get "romance" that's really not romance at all, for example?

SJ: Usually the queries I receive are correct with categories, but authors sometimes try to combine categories in a way that won’t sell to publishers. For example: a steamy romance novel combined with a violent spy story. Where would it go in a bookstore? Who would read it? Bookstores need to know exactly where books will be shelved.

GLA: Suspense is a genre we've never really talked about on the blog. Can you throw out a few things that you believe are integral to a good suspense genre book?

SJ: These suggestions come to mind:
        1. Learn the formula by reading and studying this genre. (Of course, you won’t let your readers know you’re following a formula). Analyze your favorite book to see how the writer adds suspense, to the book in general and individual scenes.
        2. Your central problem or issue must be serious enough to engage readers’ attention. What’s at stake? Don’t go overboard (like saving the earth from giant insects), but make sure your protagonist faces a life-changing threat. Make it personal for the hero.
        3. You’ll need a sympathetic protagonist, complete with flaws, quirks, and a reason for us to care what happens to her.
        4. Have a great ending in mind before you start the book.
        5. Your bad guys should be interesting, entertaining, and smart. Don’t use cardboard villians. The hero should be fully tested by his adversaries.

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

SJ: We plan to attend the Writers of the Pacific Northwest Conference in Seattle (July, 2009), the Jackson Hole Writers Conference (June, 2009), and the South Carolina Writers Workshop in Myrtle Beach (October, 2009).

GLA: Best piece(s) of advice regarding something we haven't discussed?

SJ: Publishers are struggling to cope with the volatile economy. In 2009, writers and agents must go “lean and mean.” We need to work harder at creating books that are well written and attract a wide audience. Before you send queries, focus on creating a platform and marketing plan.

Sammie Justesen is a literary agent with Northern Lights Literary Services, LLC. She is interested in the following genre fiction categories: romance, women's mystery, suspense and historical. She is open to practically any nonfiction subject that comes with an awesome book proposal.

Agent Advice: Ellen Pepus of Signature Literary (formerly the Ellen Pepus Literary Agency)

Chuck — Fri, 02 Jan 2009 18:48:23 GMT

She is seeking: "narrative nonfiction, including history, true crime, science, adventure, and memoir, as well as self-help, health and diet, food and cooking, travel, entertainment, popular culture, how-to and humor. She also represents a wide range of fiction, including literary, historical, mystery, women's fiction and romance, erotica, thrillers, fantasy and general commercial fiction. She does not handle science fiction, young adult, children's, short stories, poetry or screenplays."

GLA: How did you become an agent?

EP: My background is in English, writing and law, and I'd always wanted to work in publishing. My introduction to agenting was at The Graybill and English Literary Agency where I was assistant to several agents (including Jeff Kleinman and Elaine English) and sold foreign rights. When that agency disbanded in 2006, I decided to start my own agency, based in Washington DC.

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

EP: The Belly Dancer, DeAnna Cameron, Berkley 2009. Really fun historical fiction by a first-time novelist.

GLA: You say you're looking for women's fiction that transcends chick lit. Can
you expand on what you mean by this?

EP: I love themes and subjects that appeal to women - books about people, relationships, women's lives. I like the funny, lighthearted aspect of chick lit, but I'm more looking for books with more depth, that are original and unpredictable and take a few risks. I would love to find authors who can break out of the formula and still tell a great story.

GLA: You also look for "animal stories," but this seems like a subject where you may get a lot of bad submissions. True? What mistakes are people making?

EP: It's funny; animal books are sort of perennial sellers, so I thought I'd put it out there as something I was looking for - but I do get a lot of misguided submissions in this area, particularly people's "cute pet" stories. I'd like to see books that include animals as a theme or subject, but not necessarily ones about someone's weird dog or cat. Instead, I'd love to see good narrative nonfiction in the science or nature areas or even a memoir/human interest story with an unusual twist and great writing.

GLA: What are the most common problems you see in a query letter from an unknown author?

EP: The most common problems in query letters - first, mistakes in grammar, spelling, word usage, or sentence structure. Anything like that is going to put me right off. Second, not saying what the book is about right away. I am only able to spend a minute at most reading your query letter - tell me exactly what I should know immediately because I may not read all the way to the end. Third, being boring or unoriginal - writers don't seem to realize how many query letters we read in a day or a week, we've seen everything and are looking, more than anything, for our attention to be caught, to be taken by surprise. Be surprising!

GLA: What are you noticing about how the recession is affecting the publishing
world and authors' abilities to sell work?

EP: It's definitely tightened up quite a bit. I think there will still be sales but maybe fewer for a while, and publishers may be less likely to take a chance on an unknown fiction author unless the work has a very strong commercial hook, or, in nonfiction, if the author has a great platform.

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

EP: In 2009, I'll be at the Las Vegas Writers Conference in April and Washington Independent Writers Conference in June. I'll also be taking pitches at the Writer's Digest Books Writers' Conference just before BEA in May in Manhattan.

GLA: When writers pitch you in person, what do they need to do to make their
short amount of time work?

EP: I think pitching is difficult because it's impossible to judge a piece of writing based on a pitch. Having said that, I want to hear about what the book is about, what makes it interesting, why people will want to read it, what one thing will get a publisher excited about seeing it. I also usually like to have a conversation with the writer, to find out their background, why they wrote this particular book, what else they've written, etc.

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

EP: My best advice to writers is to keep practicing, to take workshops and classes, to really learn your craft. Read a lot. Notice things like story structure, character development, how scenes are put together in the books you love. These things can all be learned. I see way too many people who think they can just bang out an unoriginal, poorly crafted novel and get an agent to take it seriously.
Writing is a discipline and it requires dedication, talent, craft and - unfortunately - luck, but the luck part has a lot more to do with the first three than people think. And if you don't succeed with your first novel, write another one. Consider that first one practice. Keep going, but don't get bogged down thinking you've written a misunderstood masterpiece if every agent in the world turns you down. Assume there's something in that piece that isn't working and move on ... but keep writing.

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.

Google Alerts and 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 2011 Guide to Literary Agents today!

Agent Advice: Mary Sue Seymour of The Seymour Agency

Chuck — Wed, 26 Nov 2008 17:45:12 GMT

"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 Mary Sue Seymour, of The Seymour Agency.

She is seeking: Mary is looking for new clients who write any type of romance including historical, contemporary category, contemporary mainstream, suspense, paranormal, regency or inspirational. She wants nonfiction about real life heroes, prescriptive books, cookbooks, and basically any type of nonfiction by credentialed authors. She is looking for Christian books of any type. She does not handle magazine articles, e-published or self-published books, general novels, children's books, poetry, short stories, New Age and books contradictory to fundamental Christian beliefs. E-mail her at marysue@twcny.rr.com. See her Web site before submitting material.

Mary Sue Seymour (left) pictured with
client Vannetta Chapman.

GLA: How did you become an agent?

MSS: When I was teaching elementary school, I wrote and had three different agents. One of them wasn't very good, so I talked to a girlfriend who was a business teacher. She convinced me to start my own literary agency as a hobby back in 1992. The first book i sent out sold a four-book deal to Bantam. God had given me a gift. I could look at a book that was flawed and write a prescription to fix it, like I had to fix the book that sold the four-book deal.

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

MSS: Today, I sold Shelly Galloway's two-book untitled deal to Johanna Raisenan at Harlequin Canada for their Harlequin America line, which I know is weird because its primary offices are in Canada. Yesterday, I sold Shelley Shepherd Gray's three-book deal to Avon Inspire.

GLA: You ask for the first 50 pages of text with a fiction submission. I’m guessing you usually don’t get through all 50 before you stop. What types of things will turn you off in those crucial first chapters?

MSS: The first line and first paragraph should demonstrate great writing ability and the knowledge that the author knows how to write a hook. If it's a romance, it would be nice if the hero/heroine meet on the first page or close to it.

GLA: If you were speaking to someone who was sitting down to write a romance book but had never done so before (they wrote either literary fiction or plain nonfiction), what would you tell them about the necessities of how to write?

MSS: The word count would range from 50K to about 100K. There is a formula to write a good romance. The hero must be a man the reader would like to date and the heroine should be the type of girl that is bigger than life that the reader would like to be like. They should meet, overcome obstacles and in the end get together. There are dozens of different kind of romances - the author could join the Romance Writers of America for support and and get into critique groups. All my published authors have critique groups.

GLA: If someone pitches a romance series to you rather than just one book, does that raise a red flag in your mind?

MSS: No, it's better. Most romance publishers would rather buy a series. Americans are collectors and like series. Publishers would rather pay to publicize one author for three books than pay to publicize three separate authors.

GLA: Concerning Christian fiction, what are you looking for and not getting?

MSS: I would like to see more historical romance that has Christian elements.

GLA: You’ve said before that you are big into the general information books, such as the “Everything” series and the “Idiot’s Guide to” series. What qualifies someone to contact you with an idea for a book in the series? Can you give us an example of when someone pitched one of these books cold to you and it came to fruition?

MSS: Editors from Adams Media e-mail me lists of titles they are seeking authors for. I forward the lists on to my clients who e-mail the editor via me a bio. If the editor likes the bio, she requests a table of contents and then they take it from there.

GLA: In addition to the literary agency, you also have a film agency. Can you tell us more about that? What are you looking for? Are you a script manager?

MSS: Ellen, my film agent, recently retired due to health issues and a poor market. I am looking for a new film agent.

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

MSS: In January, I will be at Space Coast Writers Guild Annual Conference in Cocoa Beach. The beginning of February will be in San Diego, and then at the end of February Naples, Fla, with the Southwest Florida Romance Writers. In March, I'll be in Charlotte for the Carolina Romance Writers Conference.

GLA: Best piece(s) of advice concerning something we haven’t discussed?

MSS: Writing is a process. People don't usually write books unless they have talent. You dont' take piano lessons if you have no talent. Join an organization for support; for example, if you write mysteries, join the MWA. Enter contests if you can afford the fees - especially ones judged by editors.

Want more on this subject?

See a profile of Christian agent Rachelle Gardner of Wordserve.

Read an interview with Christian agent Chip MacGregor.

Buy the memoir guide, Writing Life Stories.

Read an interview with Christian agent Joyce Hart of Hartline 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 2011 Guide to Literary Agents today!

Words of Wisdom from Agent Nat Sobel

Chuck — Tue, 25 Nov 2008 15:16:48 GMT

Nat Sobel, an agent at Sobol Weber Associates, was recently featured in a long interview in Poets & Writers magazine. You can read the entire article here. Below are some of the nuggets of wisdom and observation he passed on:

By and large, writers get responses much quicker today because of e-mail.
It's much more difficult to get published if you're a fiction writer. There certainly is a very strong feeling in the publishing world that fiction is chancier - absolutely chancier - than nonfiction. Today, you have to have all sorts of other reasons to publish a first novel - other than that it happens to be very good.
We keep hearing this phrase: What's the platform? (The first time I heard that word), I thought, What's a platform?! Well, what it is is this: What does the author bring to the table? Talent is not enough.
I think what is evolving today for agents is that they need to be the first line editors for their authors.
My great love, and where we've found most of our fiction writers, has been the literary journals. I don't know how many other agents read the journals. I know it's a lot more than it used to be, but I certainly read them more extensively than anyone else.

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 2011 Guide to Literary Agents today!

Agent Advice: Abigail Koons of The Park Literary Group

Chuck — Mon, 13 Oct 2008 18:30:26 GMT

"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 Abigail Koons, of Park Literary Group, LLC.

GLA: How did you become an agent?

AK: After working for EF Education, a large Swedish company specializing in educational travel, I decided to make the switch to publishing. I attended the NYU Summer Publishing Institute and started working as the foreign rights assistant with agent Nicholas Ellison the week after I finished the program. That job eventually morphed into an agent’s assistant position and here I am, six years later, an agent and the director of foreign rights at The Park Literary Group.

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

AK: Actually, the most recent sale for me was just this week. After many years of trying to find a publisher for Nicholas Sparks (author of The Notebook and most recently, The Lucky One) in Korea, I concluded a four-book deal with Magic House Publishing.

GLA: Your bio says you seek "travel narrative nonfiction." Can you help define this category for writers? What are some examples of this category?

AK: Travel and adventure narrative nonfiction is the type of book that takes you away to another place. It is often a memoir, but can be a journalistic story of a particular event or even a collection of essays. The key here is that it tells an interesting and engaging story. It is also very important these days that the story is fresh and new—you’d be surprised at how many people have had the exact same experience with the rickshaw in Bangkok that you had. Some recent successful examples of this genre are Jon Krakauer’s Into Thin Air, Elizabeth Gilbert’s Eat, Pray, Love, and most things by Paul Theroux and Bill Bryson.

GLA: When you get a query for a commercial fiction novel such as a thriller, do you want the author to have a series in mind? Should they mention this? Or just pitch it as one book?

AK: The author doesn’t have to have a series in mind to pique my interest because frankly, not all thrillers are meant to be series. If the do intend for the novel to be the first in a series, it helps to know, but it’s not necessary. The most important thing is to pitch the strengths of your project—don’t just say what you think the agent wants to hear.

GLA: What are you looking for right now and not getting?

AK: To be honest, I’m not seeing great thrillers! I’d love to find a political or military thriller set today that addresses the very real issues that we’re facing. An intelligent and exciting novel set among the Iraq War or covert missions in Pakistan (we’re talking fiction, here). I’d also like to see more funny novels that aren’t completely over-the-top. I love outlandish characters but I still want them to be believable. I am seeing too many memoirs, however, and I’m taking on very, very few.

GLA: Let's say you're looking through the slush pile at query letters. What are common things/elements you see in a query letter that don't need to be in there?

AK: If your query letter is more than one page long, there are things in there that are superfluous. The most common unnecessary addition is a description of the writer’s family/personal life if the book is not a memoir. Some personal background is good, but I would much prefer to know about the amazing novel you wrote. The personal information can come later. The other most common misstep is listing weak qualifications for writing the book. What I mean by that is when someone says “I have a daughter so I am qualified to write this very general book about how to raise daughters.” In today’s very crowded book market, you must have a strong platform to write nonfiction.

GLA: Will you be at any conferences in the future where writers can meet and
pitch you?

AK: I will be in Austin, TX the weekend of Nov. 14 leading a workshop about query letters.

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

AK: Keep it professional. Although many agents and editors are in publishing for the love of books, it’s still a business. It’s hard not to take rejections personally, especially at the beginning, but responding to a rejection with an angry e-mail, letter or phone call will not serve you well.

"Eager to work with emerging and established talent, Abigail Koons is currently looking to add to her list of diverse and engaging authors. Her passion for travel makes her a natural fit for adventure and travel narrative nonfiction, and she is also seeking projects about popular science, history, politics, current events and art. She is also interested in working with commercial fiction, especially superb thrillers and mysteries." See her agency web page here.

Agent Advice: Scott Eagan of Greyhaus Literary

Chuck — Mon, 06 Oct 2008 23:39:06 GMT

"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 Scott Eagan, founder of Greyhaus Literary Agency near Seattle.

He is seeking: Scott Eagan represents writers of romance and women's fiction. See more online at his website. In his words: "I am ACTIVELY (can I make that any louder?) looking for Hot and Steamy contemporary romances for the Mills and Boon Modern Heat Line."

GLA: How did you become an agent?

SE: I had been teaching English for more than 10 years and had just moved from the K-12 system to the collegiate level. At that time I had also done some work with my own writing (I write poetry on the side). I was looking for a change of career and everything sort of fell into place at the right time. With my background in English, degrees in English Literature, Creative writing and Literacy, this seemed to be the right move.

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

SE: I have been doing a lot of work recently with both SourceBooks and with Harlequin Mills and Boon. In both cases, the work has been primarily in the historical romance market. Right now, my top two writers are Michele Young from Toronto and Bronwyn Scott from the US. Michele has come out with No Regrets and The Lady Flees Her Lord, both stories with unconventional but very real heroines. The men fall in love with them for who they are not what they look like. As for Bronwyn Scott, she has been active with the new Harlequin Historical undone line releasing Pickpocket Countess and Notorious Rake, Innocent Lady. She is also part of the new e-book line they are releasing.

GLA: Your specialties are romance and women's fiction. What attracted you to these areas?

SE: First of all, I have to say, I just love these stories. Both romance and good women’s fiction tend to make you feel pretty good when you finish a great book. Business-wise, I chose these lines simply due to supply and demand. Although a lot of agencies represent these genres, few only focus on the genre. I believe it is important to focus on one area and do it well.

GLA: How does a writer know she's writing women's fiction, as opposed to literary fiction?

SE: I think I have a fairly good definition of women’s fiction. These are not simply stories with female characters but stories that tell us the female journey. Women’s fiction is a way for women to learn and grow and to relate to others what it is to be a woman. When I think of literary fiction, the emphasis is placed more on the telling of a good story instead of making the female journey the centerpiece.

GLA: There is a lot of romance out there. What can set a story apart from the many bad ones?

SE: What I find separates the good from the bad is the depth I which the stories go to be unique and real. There are a lot of stories out there that are just copying a template. Sure the story is a fun read, but I just wouldn’t put it up there with the “good” stories. When I find an author that does that, I just can’t put the book down. I really hear the voice of the author coming right off the page.

GLA: Let's talk queries. Specifically - the pitch paragraph. What must be in there for you to be interested?

SE: The pitch is simple. I want to know not only the basics (the genre, word count and title) but I want to really know what makes this story unique and different from everything else out there. Anymore, it is not so much a matter of being a good writer, you have to have a story that makes us stand up and take notice. Along the same lines, I want an author to show me he or she understands the business and their place in the world.

GLA: When pitching a romance, should a writer have more books lined up or planned out? I know that romance writers usually pen multiple books (and sometimes even have multiple series). From a career standpoint, what must a writer know if they want to write romance? On this note, if a writer came to you and said "I have one book and don't plan to write another," would you take it on if it was good?

SE: As an agent, I am looking for someone to be in it for the long haul. Unless the story is such a breakout novel (which you really don’t find very often), a writer will need to have more books ready to go. Now, does this mean the author should have the books written? Not necessarily. The author may simply have an idea of how they are going to become a “brand.”

GLA: From that career standpoint, a writer needs to have a clear picture of where they want to be in the next 5 years and even in the next 10. This needs to be a realistic picture and not the belief that she will retire immediately from all the proceeds of the book.

SE: As far as the writer with one book. The odds are, I would pass on it. Again, since I am working with the romance and women’s fiction genre, they will not make enough money off that one book to make it worth our time.

GLA: Will you be at any upcoming conferences or events where writers can meet you?

SE: I have very little things on my agenda right now. I’m tentatively heading to the Silicon Valley RWA chapter in May and will be at the RWA national conference in Washington D.C. in 2009. When it comes to conferences, I go to where I am invited.
Another great place to meet me would be via my blog or even taking my online Marketing Your Fiction Novel Class (information on my website).

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

SE: I would simply tell writers to do their research and don’t rush into the publishing. Be ready to make the move both with your manuscripts and mentally. Know exactly who you are sending your works to and why. The more you know, the better off you will be.

Want more on this subject?

See all agent interviews 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!

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

Interested in romance? Check out our online course: "Essentials of Romance Writing."