Guide to Literary Agents - Agent Advice (Agent Interviews)

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 2010 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 2010 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?

KF: 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?

KF: 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?

KF: 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?

KF: 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?

KF: 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?

KF: 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?

KF: 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?

KF: 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?

KF: 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?

KF: 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?

KF: 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?

KF: 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?

KF: 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 2010 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 2010 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 2010 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 2010 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 2010 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.
Specificially, 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 2010 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 2010 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 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 2010 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.

Interested in attending Digital Book World in New York in Jan. 2010? 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 2010 Guide to Literary Agents today!

Agent Advice: Michelle Humphrey of Sterling Lord Literistic

Chuck — Tue, 13 Oct 2009 21:56:38 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 Michelle Humphrey of Sterling Lord Literistic. Michelle has been with Sterling Lord since 2007. 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, but I'm always open to e-mail queries, and am generally happy to answer (brief) questions about publishing from new authors: I can be reached at michelle@sll.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 2010 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 2010 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 2010 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 2010 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 2010 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 2010 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 2010 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 2010 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.

If you like what you're reading, sign up for e-mail notifications by putting your e-mail in the box on the upper left corner of this page.

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: 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 2010 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 2010 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 2010 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 2010 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 2010 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 2010 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 2010 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 2010 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 2010 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 2010 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 2010 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 2010 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 2010 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 2010 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 2010 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.

See examples of Successful Queries that agents liked.

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

How to Write a Synopsis for a Novel.

Facebook, Twitter and Literary Agents.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

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 2010 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 2010 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 2010 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 2010 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 2010 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 2010 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 2010 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 2010 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 2010 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 2010 Guide to Literary Agents today!

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

Interested in romance? Check out our online course: "Essentials of Romance Writing."

Agent Advice: Ted Weinstein of Ted Weinstein Literary

Chuck — Sat, 27 Sep 2008 07:21:01 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 Ted Weinstein, founder of Ted Weinstein Literary Management, based in San Francisco.

He is seeking: "narrative nonfiction, popular science, biography and history, current affairs and politics, contemporary culture, business, sports, food and cooking, health and medicine, entertainment, and quirky reference books. Please note he does not represent fiction, screenplays, short stories, poetry, or books for children or young adults."

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

TW: I represent nonfiction in many different categories and I sell new books frequently, so it's best for authors to visit my agency's website for the latest information on our deals, our clients, and their recently published books.

GLA: It seems like if someone wanted to write about cooking or politics or history, it's all been done before. That said, what stands out for you in a proposal? What are you looking for immediately to draw you into a project?

TW: There are several factors that can help a book's ultimate prospects: great writing, great platform, or great information, and ideally all three. For narrative works, the writing should be gorgeous, not just functional. For practical works, the information should be insightful, comprehensive and preferably new. And for any work of nonfiction, the author's platform is enormously important.

GLA: Online at your website, people can listen to your speech called "Book Proposal Bootcamp." To summarize, what do you detail in the speech?

TW: The "Book Proposal Bootcamp" workshop, which I teach frequently at writers' conferences and elsewhere, gives an overview of the whole process from book idea to book tour, but with a central focus on the actual proposal, which is essentially a business plan for a book. I explain all the elements of a proposal - overview, about the author, target audience, comparable titles, marketing and promotion plans, detailed table of contents, sample chapters - and try to give as much guidance (and true stories) as a 90-minute session allows.

GLA: You look for writers of nonfiction biography. Are you looking for interesting people who want to write their own autobiography, or are you looking for good writers who can write biographies of famous people? If it's the latter, how do writers secure the rights to write Mick Jagger's life story, for example?

TW: Memoir/autobiography is a thriving genre (I highly recommend the 826 Valencia Writing Centers' The Autobiographer's Handbook, which I represented), but the appeal of any particular work will come from the literary quality of the writing and the author's ability to make the story compelling to someone who hasn't previously heard of him or her. We all see too many memoirs where our reaction is either "This just isn't great writing," or "Why would a stranger care about this writer's personal story?"
For biographies, of course, the writing quality is key, as well as the fame (or infamy) of the subject and the freshness of the material or insights the author presents. Often an "authorized" biography is more interesting (we all want to read a story where the subject gets to have his or her say, too), but there is no single way to persuade a subject to cooperate. And nothing prevents an author from writing about a public personality, as long as they don't write anything libelous, of course.

GLA: Can you give me an example or two of where a journalist was working on a topic and made it into a book that you agented? How did the timeline work? Did you contact them or vice versa?

TW: Recent examples include Nena Baker, who was a reporter for the Portland Oregonian and the Arizona Republic, and whose current affairs and science book The Body Toxic just came out from Farrar, Straus & Giroux. She and I met at a writers' conference where she first pitched me a different project, but the impact of environmental chemicals had long fascinated her and seemed an important and timely topic to me. So she and I worked on a proposal, sold it, and although the whole project took several years, she had a wonderful working relationship with her editor, Denise Oswald, at FSG.
Another client, Eric Janszen, an economics analyst and writer (and former tech executive), wrote the cover story of Harper's Magazine in February 2008, "The Next Bubble," about our current economic situation. Based on that article, I contacted him and helped him develop a book proposal, and the quality of his insights and the timeliness of the topic led to a frenzied, two-day tour to meet with eight different publishers who were interested. Adrian Zackheim at Portfolio/Penguin aggressively pre-empted the book on the eve of what was going to be a big auction, and Eric is close to finishing the manuscript now, with publication of The Post Catastrophe Economy scheduled for next spring.

GLA: What are the most common things you see writers doing wrong when composing a nonfiction book proposal?

TW: Professionalism always wins. A book proposal, as I said earlier, is simply a business plan for a book. Authors who don't learn all they need to know about writing a great proposal (you know, I heard there's a good "book proposal bootcamp" audio recording available somewhere on the Web...) and then carefully take advantage of what they have learned are much less likely to succeed.

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

TW: I attend a wide range of conferences, which varies each year, and it isn't essential to meet me face-to-face to pitch me a book. Perhaps a third of my clients are referrals, another third I discovered and contacted myself, and another third I took on from blind submissions via my Web site. I read every submission I receive, and I'm always looking for that query or proposal where I can say, as in that Tom Cruise/Renee Zellweger movie, "You had me from hello."

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

TW: Write every day, get in a serious writing group for high-quality feedback, treat writing like the craft and privilege it is.

Blank Spots on the Map

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 2010 Guide to Literary Agents today!

Mollie Glick Moves to Foundry Media

Chuck — Fri, 12 Sep 2008 16:50:53 GMT

Literary agent Mollie Glick recently moved from the Jean V. Naggar Literary Agency to Foundry Literary + Media. I decided to touch base with Mollie to see how the move was going.

Five questions for Mollie Glick

1. Why the move to Foundry? Why now?

"Peter McGuigan (one of the two founding partners) first approached me about Foundry a year and a half ago, as he was formulating his business proposal, and I was blown away by how detailed and ambitious his plans were. Over the past year, I kept my eye on Foundry, and watched Peter start meeting the goals he'd articulated to me one by one. I think Foundry is poised to be the next big agency. All the pieces are there. They've got great agents, great backup support, and most important of all, really great authors. I'm thrilled to be joining such a smart, talented team. I was also impressed by how upfront Foundry was about their policies - both for their agents and their authors."

2. Are you still looking for the same subjects?

Yes, definitely. One of the major things I stressed in my first meeting with Foundry was that I'm very attached to my authors and my list, and my favorite thing about agenting is getting to take on any kind of book that I fall in love with. Mostly, I represent literary fiction, commercial fiction, and narrative nonfiction, but I also represent the occasional YA or practical nonfiction project that catches my fancy!

3. You've been an agent for around five years now. What big things are you noticing in publishing that you can pass along?

It's been really fun to watch the growth of the YA market, and big narrative nonfiction continues to sell well. And it saddens me that it's become nearly impossible to sell chick lit. But I don't care how hard it is to sell a first novel - I still love fiction and always will. If it's a project that I can't stop thinking about, I'm going to take it on.

4. What are you looking for right now and not getting?

I would love to see more fiction along the lines of The Time Traveler's Wife, The Sparrow and What I Loved. I love memoirs. And I'm always excited to see a great narrative nonfiction proposal - especially something with a cultural history or popular science bent.

5. Where will you be in the future where writers can meet and pitch you?

The best way to pitch to me is via e-mail at mglick@foundrymedia.com. A well thought out, well-written e-mail query is always appreciated! And I respond very quickly to e-mail queries if I'm interested in requesting sample material.

Want more on this subject?

See all agent interviews here.

Word Count Guidelines for Novels and Children's Books.

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

20 Tips on Writing a Query Letter

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

What are the BEST writers' conferences in the country?

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Michael Bourret Interview at CWIM

Chuck — Fri, 29 Aug 2008 17:29:13 GMT

Another editor here - the wonderful Alice Pope, editor of Children's Writer's & Illustrator's Market - has recently interviewed literary agent Michael Bourret of Dystel & Goderich Literary Management. The whole interview is over on Alice's CWIM blog.

As you may have guessed, most of the interview questions deal with children's writing, especially his search for the next great middle grade work and YA memoir.

Michael Bourret

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 2010 Guide to Literary Agents today!

Agent Advice: Jeffery McGraw of The August Agency

Chuck — Tue, 26 Aug 2008 14:55:06 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 Jeffery McGraw of The August Agency, LLC. Jeffery handles some fiction but specializes in nonfiction.

Jeffery McGraw

GLA: How did you become an agent?

JM: To cut a very long story short … I started out as a book buyer in Boston, moved to New York to work in soap operas for a while, and later fell - completely by accident - into book publishing at HarperCollins, working my way up the editorial ladder under the brilliant guidance and mentorship of Marjorie Braman (now Holt’s new editor-in-chief: go Marjorie!), left to explore other areas of publishing including a stint as publicity manager for Abrams, happily returned to Harper to become editor for its entertainment imprint, and later got laid off when said imprint wisely got restructured. In the months that followed, I couldn’t find a publishing job available that fit me and that I also fit in return. (You try applying for a women’s fiction editorial spot when you have tons of experience working with women’s fiction but nevertheless happen to be a guy. Damn that extra leg!)
        At that point I grew restless, but also entrepreneurial.
        Originally, I suggested to my good friend, Cricket, who had just a few years prior started her own budding literary agency, that we work together. That’s when we folded her operations into a brand new company, The August Agency, LLC. After years as an editor, becoming an agent was a natural transition for me. Finally, I could work on books for which I had enormous passion – not just titles someone else instructed me to handle. With such a liberal arts mind set, I was able to cast a very wide net and take on a diverse array of authors and projects that matched my interests.

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

JM: One of the most personally intriguing projects I’ve sold in the past year is author and political scientist Dr. Jack Godwin’s latest effort, Clintonomics: How Bill Clinton Reengineered the Reagan Revolution, due out next year from Amacom. I have been a political junkie for as long as I can remember, plus I love books that enlighten you in ways you never would be able to imagine. Jack Godwin satisfies on both levels with Clintonomics. Just when you think you know everything you could every know about someone – in this case the forty-second president of our great and storied nation – Jack makes you think again, revealing facets of a fascinating figure you never realized existed.

GLA: You have a self-declared "enormous passion for well written melodramas." Can you expound on this? Also, concerning these "melodrama" submissions you receive, where do you see writers going wrong in their writing?

JM: My maternal grandmother, Betty, instilled in me my love for melodrama, starting when she introduced me to the film version of Gone With the Wind when I was 12. Over the years, I would view that film more than 100 times and read the novel that inspired it, which, in all its glorious descriptive wonder, is an even richer experience (Mitchell puts the “scribe” in describe) – at least six times.
        Many people mistake the meaning of the word "melodrama," wrongly attributing it to overacting or extreme sentimentality. In fact, it is what the Greek defined as a combination of music (melos) and conflict (drama). That alone defines opera, a drama set to music. Watch any great Ross Hunter production – Back Street starring Susan Hayward, or Imitation of Life starring Lana Turner, for example – and you’ll find the driving force behind these soap operatic motion paintings can be found in their sweeping musical scores. Nothing appeals to our emotions more easily than music; it serves as a drug to seduce us into feeling a certain way. Loud, pulsating drum beats might signify danger, making us feel scared. A soft and sweet piano melody may soften our hearts, while screaming violins might make those same hearts soar. Combine this spellbinding phenomenon with genuine conflict and you have a magical combination. Not many literary magicians can pull this off on the written page by employing their gifts for language in the same unique fashion as the greats used music in their films, but some have, and to masterful effect: Margaret Mitchell, Fannie Hurst, Michael Cunningham, Olive Higgins Prouty, and Lloyd C. Douglas, to name a few. At their best, these authors have underscored the emotional undercurrent that drives the actions of their characters.
        As an agent, I have yet to come across an unpublished work of fiction that appeals to my emotional core in the same way Mitchell’s Gone With the Wind, Cunningham’s The Hours, and Hurst’s Back Street have. If I only find one novel in my entire career that moves me as much as these and other great authors and their stories have, then the life-long search will have proved its worth. I am sure the late Harper editor Robert Jones felt that way when he first read Ann Patchett’s Bel Canto (though, for what it’s worth, I still think Pedro Almodovar should have snatched up the film rights before Bernardo Bertolucci got his hands on them).

GLA: Your nonfiction areas are vast and varied. What are you looking for right now and not getting?

JM: I’d love to rep more psychology titles (hey, it’s therapy I can afford) … works of narrative nonfiction that take me down roads I’ve never been but am willing to travel and bring all my friends with me … economics books that appeal to the underdog in all of us (think Barbara Ehrenreich’s Nickel and Dimed or our own author Sarah Maxwell’s The Price is Wrong) … history books that are less about the past than they are about the present and future … memoirs that are by turns honest, riveting, tongue-in-cheek, LOL-funny, witty, sardonic, and dry like a good martini should be … intriguing, highly commercial nonfiction by brilliant lawyers (unlike most people, I love the rule of law and adore the attorneys who maneuver and navigate it all, except when they try and make simple things complicated, which is probably how to define what they do best, including, but not limited to, drafting publishing agreements; notwithstanding the foregoing, I realize I digress too much) … unique studies that make you go, “Hey, why didn’t I think of that before?” such as Tom Vanderbilt’s Traffic: Why We Drive the Way We Do (And What It Says About Us) … compelling books by intelligent writers who can turn the seemingly obvious on its head (e.g., a staunch conservative defending the right to gay marriage, or a liberal out to prove racism can serve society in a good way) … and nonfiction that appeals to both the masses and professional fields (business, medical, legal, police oriented, et al).

GLA: Because you rep so much nonfiction, you see a lot of proposals. Where do these proposals commonly fall short?

JM: There are two areas in which I find most nonfiction proposals to be delinquent. The most apparent is the concept itself. Typically, it’s been done before in some fashion or another and doesn’t stand out enough from the crowd. In the competition section, where you list those titles that are either like-minded or comparable in some way, your obligation is two-fold: First, you must prove there is a market for a book like yours, and; second, you must prove your book fills an obvious void within that market.
        The second and more common shortfall I find in proposals is that the author has little or no platform.

GLA: At a recent event, I met a writer who was also a scholar. She was writing a nonfiction book (and knew her subject inside out), but she seemed to have very little concept of platform. When you meet with someone like that - some who has superior knowledge but no marketing ideas - what are some basic helpful things you would tell them to do?

JM: Build your base. I’ve given workshops at writers’ conferences about establishing an author platform, and it all boils down to one basic concept: Develop a significant following before you go out with your nonfiction book. If you build it, they (publishers) will come. Think about that word platform. What does it mean? If you are standing on a physical platform, it gives you greater visibility. And that’s what it’s all about: visibility. How visible are you to the world? That’s what determines your level of platform. Someone with real platform is the “go to” person in their area of expertise. If a reporter from the New York Times is doing a story on what you know about most, they will want to go to you for an interview first. But if you don’t make yourself known to the world as the expert in your field, then how will the NYT know to reach out to you? RuPaul used to say, “If you don’t love yourself, how the hell else is anybody else gonna love you?” I’m not saying be egotistical. I’m just saying, know your strengths, and learn to toot your own horn. Get out there. Make as many connections as you possibly can. We live in a celebrity-driven world. Love it or hate it, either way we all have to live with it. So, celebrate what you have to offer, and if it’s genuine and enough people respond to it, then you will become a celebrity in your own right. Get out there and prove to the world that you are the be-all and end-all when it comes to what you know about most. Publishers don’t expect you to be as big as Oprah, or Martha, or the Donald, but they do expect you to be the next Oprah, or Martha, or the next Donald in your own field.

GLA: Will you be at any writers' conferences in the future where writers can meet and pitch you?

JM: Aside from the regular media trade exhibitions such as Frankfurt (international publishing), MIPCOM (international television), and the like, I will be at the Surrey International Writers' Conference this October 24-26. I’ve attended a good number of conferences, and this one is the absolute best I’ve ever experienced. I’ve come away with a wonderful client from this very conference and even sold his book. It’s the most smoothly run operation, unlike some other conferences I’ve attended. I truly wish I could say I am attending more this year, but frankly I’m not on the conference circuit as much as I would love to be. I enjoy conferences where I can get to know and have some true blue face time with writers and editors as well as fellow agents in the industry. So, if there are any conference directors out there looking for presenters, I would love to hear from you!

GLA: Best piece of advice concerning something we haven't discussed?

JM: Have no expectations in this business (or life, for that matter) and you will not be disappointed. Write for your life! Not someone else’s. If you want to be an ordinary writer, write an ordinary book; if you want to be an extraordinary writer, prepare to go the extra mile. To be a true writer, you have to do two things more than anything else: read and write. Read as much as you can. Write as much as you can. Nothing in this world is perfect, so don’t try to write perfectly. Just write, and accept it, and then polish it until it’s as good as you can get it. And, like no wine before its time, don’t jump the gun and submit your work to agents and publishers too early. Do your homework: Workshop your writing projects through writers groups and conferences, and when you’ve done as much as you can do on your own to make it as great as you can get it, research agents and editors before submitting to them. If they don’t handle what you’ve written, don’t send your work to them. If they have specific guidelines for submitting, follow those guidelines to the letter, no matter what you think may be exceptional in your case. In many cases when people submit to our agency, writers fail to include the first chapter or 1,000 words as required in our submission guidelines. How are we to know what we’re looking at if we don’t see something substantive in the form that we’ve asked to see it? You could have a great idea that’s poorly delivered, or present a lackluster premise to us that’s ultimately marvelous in its execution. If we don’t see a true sample of it, we’ll never know.
        At the end of the day, don’t take rejection personally. You will get rejected. That is a given. Publishing is not personal; it’s a business. Think of it that way. “Not right for us” usually means “Your project is not going to contribute enough to our salaries to make ends meet.” The end. That old saying, “It’s me, it’s not you” is so true. I teach a workshop called He's Just Not That Into Your Book. Finding the right agent or editor can be like searching for one's soul mate. It can take many frogs to find your prince. If an agent or editor turns you down, know that it’s primarily about his/her business needs, not you personally. Don’t be offended. Take it in stride and move on. And try to learn from your rejections. Consider how you could improve your work before submitting it elsewhere. Also, ask yourself if you're submitting to the right places. Above all else, don’t be afraid to put yourself and your work out there. Writers often can be so timid. I see it all the time. It’s like they’re so afraid no one in this world will love them or what they’ve written. Well, let's assume that's true (even though it's not). From this standpoint, what do you have to lose? If you have no expectations, then you won't be disappointed. And, if fate is kind, you just might be pleasantly surprised! You'll never know unless you try. Just jump. The net will follow.

Agents' Chapter 1 Pet Peeves!

Chuck — Tue, 05 Aug 2008 18:38:06 GMT

Note: This is part II of
the discussion on Chapter 1
no-no's. See part II here!

The forthcoming issue of Writer's Digest magazine (Sept/Oct 08) has a piece in it that I wrote on literary agents' chapter 1 pet peeves. For it, I basically just contacted a whole bunch of agents - new and experienced, fiction and nonfiction, Christian and not, juvenile and adult - and asked them all what they hate to see in chapter 1.

They gave a lot of great feedback - real good practical stuff touching on cliches and pet peeves and overused beginnings. The article will be online in several weeks, so you can see a lot of great advice soon.

Although we saved plenty of juicy parts for the WD article, in the meantime, enjoy all this great feedback that didn't make the final cut for space purposes!

Agents Chapter 1 Pet Peeves:

"Anything cliché such as ‘It was a dark and stormy night’ will turn me off. I hate when a narrator or author addresses the reader (e.g., 'Gentle reader')."
        - Jennie Dunham, Dunham Literary

"Sometimes a reasonably good writer will create an interesting character and describe him in a compelling way, but then he’ll turn out to be some unimportant bit player. Other annoying, unoriginal things I see too often: some young person going home to a small town for a funeral, someone getting a phone call about a death, a description of a psycho lurking in the shadows, or a terrorist planting a bomb."
        - Ellen Pepus, Signature Literary Agency (formerly Ellen Pepus Literary)

"I’m really turned off by a protagonist named Isabelle who goes by 'Izzy.' No. Really. I am."
        - Stephany Evans, FinePrint Literary Management

"I dislike opening scenes that you think are real (I rep adult genre fiction), then the protagonist wakes up. It makes me feel cheated. And so many writers use this hackneyed device. I dislike lengthy paragraphs of world building and scene setting up front. I usually crave action close to the beginning of the book (and so do readers)."
        - Laurie McLean, Larsen/Pomada Literary Agents

"I do in fact hate it when someone wakes up from a dream in Chapter 1, and I dislike an overly long prologue. The worst thing that you can do is let that crucial chapter be boring - that’s the chapter that has to grab my interest!"
        - Michelle Brower, Folio Literary Management (formerly Wendy Sherman Associates)

"I don't like an opening line that's 'My name is...,' introducing the narrator to the reader so blatantly. I might be prompted to groan before reading on a bit further to see if the narration gets any less stale. There are far better ways in Chapter 1 to establish an instant connection between narrator and reader. I’m also usually not a fan of prologues, preferring to find myself in the midst of a moving plot on page 1 rather than being kept outside of it, or eased into it."
        - Michelle Andelman, Lynn C. Franklin Associates (formerly Andrea Brown Literary Agency)

"I hate seeing a 'run-down list:' Names, hair color, eye color, height, even weight sometimes. Other things that bother me is over-describing the scenery or area where the story starts. Usually a manuscript can lose the first 3-5 chapters and start there. Besides the run-down list preaching to me about a subject, I don't like having a character immediately tell me how much he/she hates the world for whatever reason. In other words, tell me your issues on politics, the environment, etc. through your character. That is a real turn off to me."
        - Miriam Hees (editor), Blooming Tree Press

"Perhaps my biggest pet peeve with an opening chapter is when an author features too much exposition - when they go beyond what is necessary for simply 'setting the scene.' I want to feel as if I'm in the hands of a master storyteller, and starting a story with long, flowery, overly-descriptive sentences (kind of like this one) makes the writer seem amateurish and the story contrived. Of course, an equally jarring beginning can be nearly as off-putting, and I hesitate to read on if I'm feeling disoriented by the fifth page. I enjoy when writers can find a good balance between exposition and mystery. Too much accounting always ruins the mystery of a novel, and the unknown is what propels us to read further. It is what keeps me up at night saying 'just one more chapter, then I'll go to sleep.' If everything is explained away in the first chapter; I'm probably putting the book down and going to sleep."
       - Peter Miller, Peter Miller Literary

"1. Squinting into the sunlight with a hangover in a crime novel. Good grief -- been done a million times. 2. A sci-fi novel that spends the first two pages describing the strange landscape. 3. A trite statement ("Get with the program" or "Houston, we have a problem" or "You go girl" or "Earth to Michael" or "Are we all on the same page?"), said by a weenie sales guy, usually in the opening paragraph. 4. A rape scene in a Christian novel, especially in the first chapter. 5. 'Years later, Monica would look back and laugh...' 6. "The [adjective] [adjective] sun rose in the [adjective] [adjective] sky, shedding its [adjective] light across the [adjective] [adjective] [adjective] land."
       - Chip MacGregor, MacGregor Literary

"Here are things I can't stand: Cliché openings in Fantasy can include an opening scene set in a battle (and my peeve is that I don't know any of the characters yet so why should I care about this battle) or with a pastoral scene where the protagonist is gathering herbs (I didn't realize how common this is). Opening chapters where a main protagonist is in the middle of a bodily function (jerking off, vomiting, peeing, or what have you) is usually a firm NO right from the get-go. Gross. Long prologues that often don't have anything to do with the story. So common in Fantasy again. Opening scenes that our all dialogue without any context. I could probably go on..."
       - Kristin Nelson, Nelson Literary

"I recently read a ms when the second line was something like, 'Let me tell you this, Dear Reader...' What do you think of that?"
        - Sheree Bykofsky, Sheree Bykofsky Literary

"I know this may sound obvious, but too much 'telling' vs. 'showing' in the first chapter is a definite warning sign for me – the first chapter should present a compelling scene, not a road map for the rest of the book. The goal is to make the reader curious about your characters, fill their heads with questions that must be answered, not fill them in on exactly where, when, who and how. Don’t ever describe eye color either..."
        - Emily Sylvan Kim, Prospect Agency

"Characters that are moving around doing little things, but essentially nothing. Washing dishes & thinking, staring out the window & thinking, tying shoes, thinking ... Authors often do this to transmit information, but the result is action in a literal sense but no real energy in a narrative sense. The best rule of thumb is always to start the story where the story starts."
        - Dan Lazar, Writers House

"I hate reading purple prose, taking the time to set up-- to describe something so beautifully and that has nothing to do with the actual story. I also hate when an author starts something and then says '(the main character) would find out later.' I hate gratuitous sex and violence anywhere in the manuscript. If it is not crucial to the story then I don't want to see it in there, in any chapters."
        - Cherry Weiner, Cherry Weiner Literary

Agent Advice: Lilly Ghahremani of Full Circle Literary

Chuck — Fri, 25 Jul 2008 14:20:13 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 Lilly Ghahremani of Full Circle Literary in San Diego. Lilly is an attorney now "using her powers for good" as a literary agent with Full Circle Literary (co-founded with Stefanie Von Borstel).

Seeking: "A wide range of nonfiction, driven by a compelling narrative voice (even if it's a how-to). She is interested in YA, and is open to reviewing chick lit or literary fiction. As a rule please know that Full Circle does not represent genre fiction (thriller, mystery, romance, suspense, horror, western, historical), poetry, or screenplays. She also takes on some graphic novels. A sampling of her recent sales include Raina Lee's karaoke book Hit Me with Your Best Shot (Chronicle Books), Joseph Sommerville's Rainmaking Presentations (Palgrave), and Cal Patch's Patternmaking (RH/Potter Craft). Lilly particularly enjoys books about pop culture, crafts, the rest of the world (with a soft spot for the Middle East), music and the performing arts, and topics that connect with a female readership."

GLA: How did you become an agent?

LG: I joined a law firm/literary agent straight out of law school, so I quickly learned the art of finessing a publishing deal, protecting authors' rights, and understanding what the market responded to. I met Stefanie, then a fellow agent at the company, and upon realizing our shared vision for a young, energetic agency, we joined forces to launch Full Circle in 2004.

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

LG: This week I'm selling renown hypnotherapist Debra Berndt's Let Love In (calling all single girls!) to Wiley. Other recent sales in the past couple of weeks include Baby Sing and Sign by Penny Warner to Three Rivers

GLA: Online, your fiction "wants" say "multicultural, literary or by referral only." What does this mean exactly? Does this mean any adult fiction not multicultural or literary can only be submitted through a referral?

LG: Yes. We have really done quite well within nonfiction and children's, so that's our main focus for new clients. As avid fiction readers ourselves, we are open to representing fiction and certainly do on occasion, but we prefer that it fall within our pronounced interests. There are so many fantastic agents out there aggressively representing fiction, so we've tried to outline what 's likely to get strong consideration with us.

GLA: You just attended the Writers League of Texas Agents & Editors conference. Besides writers being too nervous, what is the most common mistake(s) you see writers making during an in-person pitch?

LG: That's a great question, Chuck, thanks for asking! I think the mistake of the pitch is to read. You have 5, or possibly 15 minutes with an agent. This is their chance to see you as a person. Many of us (at the very least I can say this is true for myself) feel it's important to connect not just with the work, but with the author. Your work will speak for itself once we have a chance to sit down and read it - take this time to make eye contact with us, show us why you'd be easy and wonderful to work with, show us your passion for your project. And to qualm the nervousness, remember that, no matter how agents behave, without writers we have no job!

GLA: What are you looking for right now and not getting? For example - an adventure novel set in Iran. A nonfiction book proposal about massage therapy...

LG: I am very interested in doing more books that will preserve our environment and that introduce readers to "green" issues in a non-cliche way. I'm also interested in hip crafting books. I would love to do some children's, YA, or middle-grade books about the middle east. Multicultural books are appearing about a variety of ethnicities, but I'm not seeing them about Middle Easterners as much as I'd hoped. I'm also interested in pop culture, always and forever!

GLA: Do you consider yourself to have any weird quirks as an agent? In other words, have you ever been on an agent panel and heard all the other agents agree on something while you yourself thought differently?

LG: I seem to differ with my colleagues on the likeability of an author. I came to publishing from law because I don't want to work for a client just because they're a client or they pay me. I wanted to work for clients because I believe in them and their work and because we have an energetic partnership. I feel that one of the benefits of running my own company is the opportunity to handpick who I work with, and I make use of that privilege regularly. In other words, I'm not a Diva Management Firm. I take the author and book as a full package!

GLA: You look for multicultural fiction, and books set in the Middle East are of special interest. Concering these submissions you see, what are the most common places where writers go wrong? What makes you stop reading a multicultural fiction submission?

LG: The biggest mistake I've seen is people who want to write about the Middle East because they think it's a hot topic, but then not educating themselves enough about it. For example, one woman submitted a project to me that just briefly mentioned a heavy dresser that the character's parents had brought over during the Revolution. Well that caught my eye, because people who left Iran during the Revolution did so under duress, traveling over mountains by car or animal, or leaving all their worldly possessions and hopping on one of the last flights out of Tehran. This is a fact that cursory research would have uncovered.
Another common mistake is folks who present genre fiction to me. Even if a genre novel takes place in the Middle East, my interest in those doesn't surpass my need to stay within what we can sell well for you!

GLA: I know your co-agent, Stefanie, reps kids books, but do you as well?

LG: Yes, I do. And readers may not know this, but Stefanie and I work together on all the projects at Full Circle - many agencies have one agent designated to a project, but we pool our resources to give authors the strongest footing going forward. Even if I acquire a project for us, they will benefit from Stefanie's superior years in the children's book industry.

GLA: What are you looking for in a graphic novel? What are the elements of a perfect GN query?

LG: In a graphic novel (I have yet to take one on!), I'm looking for stylized, professional artwork, but more than that - a fresh, compelling story. My mind was opened to graphic novels after reading Marjane Satrapi's incredible Persepolis. I myself hadn't realized how emotional and powerful a graphic novel could be as a medium to tell a tale until the moment I opened that book.

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

LG: I don't have any on deck at the moment, but we try to keep an updated list on our website.

GLA: Any blogs you want to plug?

LG: Yes! Two in particular. First, ours - fullcirclelit.blogspot.com. Secondly, our author Jon Yang. He's the author of the Rough Guide to Blogging, and his insights are hilarious. To be honest, I first found him as a blogger online, and that's how we parlayed the first book deal. His YA novels, beginning with Exclusively Chloe, are forthcoming from Penguin.

GLA: Other bit of advice on something we haven't discussed?

LG: Yes! Did you know Kirkland Vodka is actually Grey Goose, produced for generic packaging? You can thank me later.

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 2010 Guide to Literary Agents today!

Talking Script/Screenplay Managers

Chuck — Wed, 23 Jul 2008 14:32:15 GMT

Q. I was wondering on how you can help me get the right agent. I've written a screenplay, which is copyedited and registered. My query letter and my synopsis seem to be very good.
       - Natalie

GLA: A-ha. You're looking for a script agent, not a literary agent. More specifically, you want a script manager. Agents in California are wheeler-dealers who generally do not take on or consider new clients. If you're trying to break in cold, query a manager. Managers work like literary agents out there. When the time comes, your manager will connect with an agent to make a deal. It stinks a bit, because you have to pay 15% to one and 10% to the other. A lot of reps out west who are open to queries from new screenwriters are managers, but may not call themselves that (they may use the word "agent").
       The new 2009 Guide to Literary Agents book doesn't list any script managers. Why, you ask? Because in less than six months, the first ever edition of Screenwriter's & Playwright's Market will be in bookstores. If you don't want to wait that long, just get a subscription to WritersMarket.com, which has the entire database.

Fortunately enough, I just interviewed script and literary manager Marc Manus, of Manus Entertainment Literary Management, who was a panelist at our writers' conference in Los Angeles in May. I interviewed him for the new SPM book, but I want to post some of his answers here because I think they'll help.

GLA: Besides a concise pitch, what are you looking for when a writer talks to you in person or contacts you via a query?

MM: Personally, I look for some sense of concept and marketing in a writer's queries - is the person hitting the commercial side of my brain? Or is the person boring me with unnecessary details about how the main character changes because of a tragedy? If the person's loglines seem to encapsulate a really good movie idea, I will usually ask to read a sample. A person's background can help, as well. I will lend weight to someone who claims to have a background in writing (journalism, advertising, etc.) or someone who has gone to film school.
        Assuming the writer makes it past the query stage and I've read a good sample from the person, it's time to meet. When I sit down (or chat via phone) with a writer, I am essentially looking for someone that I am not afraid to put in a room with executives and producers. That person should be articulate and energetic. I've actually passed on representing people who come across as lethargic or argumentative. Life is too short.

GLA: We know the textbook definition between a manager and an agent in Hollywood. That said, do you feel like contacting a manager is the best route for newer writers? Are agents just too busy?

MM: For newer writers, yes. Agents rarely have time to deal with some of their existing clients.

GLA: When a writer contacts you, how many scripts should they have up their sleeve?

MM: I recommend at least two, if not more. And a plethora of good ideas!

GLA: What are the most common problems you see in the first 5-10 pages of the specs you read?

MM: Beginnings that are uninteresting and fail to set the tone of the script. And lackluster introductions of main characters. I can't tell you how many scripts fall short on those two levels...

GLA: Any other advice or tips for newer writers on a topic we haven't covered?

MM: Yes, it's not enough to simply generate a feature or TV idea, write the script and be done with it. You have to think about the business - how it grows, where it's moving. Think about your idea as intellectual property and not just a movie or television show; platforming is important.
        And legacy. Will your idea stand the test of time? It's important to understand what moves human beings and how to effectively communicate that in your story.

Want more on this subject?

See a profile of script agent Garrett Hicks of Will Entertainment.

Is there a difference between literary agents and script managers?

Want a great database of script agents/managers, script contests, conferences and theaters? Buy the 2010 Screenwriter's & Playwright's Market today!

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: Elizabeth Pomada of Larsen-Pomada Literary Agents

Chuck — Sat, 05 Jul 2008 21:57:16 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 Elizabeth Pomada of Larsen-Pomada Literary Agents in San Francisco. Michael Larsen and Laurie McLean round out the agency, which was established in 1972. A member of the Association of Authors Representatives, Elizabeth Pomada cofounded the San Francisco Writers Conference and Writing for Change. She and Michael Larsen are frequently welcomed as presenters at writers’ conferences and literary events across the country.

GLA: Michael Larsen has written three guidebooks for writers, which give his professional advice and views on the publishing industry. You’ve written a travel book, and the two of you collaborated on a series about architecture. You're in the public eye. You were "transparent" before the term was coined to describe revealing an insider's perspective of a business.

EP: I'm afraid that we are just too transparent. If you read our Web site and also our listings in Writer's Digest Books and even Jeff Herman's Guide to Book Publishers, Editors, & Literary Agents, strangers would pretty much know who we are and what we like. I'm pretty out there about wanting to do nothing more than read good books on the beach or in the pool. And now that we've started the San Francisco Writing for Change Conference—dedicated to nonfiction writers who want to change the world, one book at a time—the world knows that Michael really does want to save the world.

GLA: Is the Internet changing the way you operate?

EP: The Internet is certainly changing the way we do business. The phone doesn't always ring off the hook all day—and we sometimes worry about that. But then we open e-mail and see about 150 messages on our main address, Larsenpoma@aol.com; about 20 on our personal address; one on our "Painted Ladies" address; and 15 on the conference address, so we know people are reaching out. Also, we use e-mail to send manuscripts, so UPS and postage costs are down (amazing) and things are faster and easier to send, although it's still difficult to get answers. I still don't like to read queries online and end up printing out and reading and then answering, which takes up more time than it did before, but Michael does like to edit proposals online.

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

EP: Writers may contact us by writing a three-paragraph e-mail letter: the hook, the book, and the cook. Hook us to the idea; tell a bit about the book and a bit about the author.

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

EP: We regularly receive queries from all over the world and don't mind, but they still have to be well written.

GLA: Are you currently seeking any specific kinds of manuscripts? Would you consider a graphic novel?

EP: We don't plan to accept or sell graphic novels. That's another world, and we don't wish to delve into it now. Our associate, Laurie McLean, did try for six months and found that it was simply too difficult, since it was another language, another set of editors and methods, and she has stopped. I'm still looking for wonderful historical novels, and Michael is still looking for books that can change the world.

GLA: If a writer sends you a promising query outside your specific areas of interest, will you pass it along to another agent?

EP: Michael and I do share promising queries with each other, if the initial reader isn't up to handling the project. But we do not pass queries on to other agents. We may suggest names to the writers, however.

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

EP: For fiction, credentials really don't matter. But once a writer wants to enter the publishing business, then she should be a member of as many affiliations as possible for networking purposes. For example, Romance Writers of America, if she's doing romance. Mystery Writers of America, if mysteries. International Thriller Writers, if thrillers. For nonfiction, the author's platform is crucial.

GLA: Can you tell us about your latest deal?

EP: The most recent thing I've sold is Katharine Kerr's unexpected fifteenth book—and the promised last book—in the Deverry Series, The Silver Wyrm. Both it and number fourteen were unplanned, as the thirteenth was to be the last.

GLA: At which upcoming writers' conferences will you be found?

EP: We'll be attending the San Francisco Writing for Change conference in August 2008; East of Eden Writers Conference in Salinas, Calif., in September 2008; the San Francisco Writers Conference in February 2009; the Emerald Coast Writers Conference in Ft. Walton Beach, Fla., in March 2009; the Writer’s Digest Books Writers Conference in May 2009; BEA in New York City in May 2009; the Santa Barbara Writers Conference in June 2009; and the Women’s Fiction Festival in Matera, Italy. So far.

GLA: Michael Connelly and Dean Koontz drew a large audience when they spoke and signed books at BookExpo America (BEA) in Los Angeles. Can you pinpoint the qualities in these two bestselling authors that make their books so incredibly popular?

EP: Michael and I both enjoyed hearing Dean Koontz and Michael Connelly. I think the qualities that they both have are, first of all, polishing their craft. Both have written many, many books and they've worked their way up to where they are. They didn't start in the number one slot as some new writers expect to. And both have created characters that people care about, book after book.

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

EP: As always, my advice to writers is to do your homework. Treat writing as a career, not a hobby. If you were going to be a lawyer or a firefighter, who would do your homework on the subject? Publishing should be treated seriously.

Want more on this subject?

See all agent interviews here.

Word Count Guidelines for Novels and Children's Books.

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

20 Tips on Writing a Query Letter

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

What are the BEST writers' conferences in the country?

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice: Julie Hill of Julie Hill & Assoc.

Chuck — Wed, 25 Jun 2008 19:05:02 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 Julie Hill of Julie A. Hill and Assoc., LLC. Julie's specialty is nonfiction.

She is seeking: nonfiction in the following subjects: Reference, Biography, History, Religious, Mind/body/spirit, Health, Travel, Lifestyle, Science. Send all submissions via snail mail. Never send a complete ms unless requested. Send to Julie A. Hill and Assoc. LLC, 1155 Camino Del Mar, #530, Del Mar, CA. 92014.

Return to Naples

GLA: How did you become an agent?

JH: I was writing for periodicals. My friends, who were screenwriters and also going through the finding-an-agent process, suggested I'd be good at it. And here I am.

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

JH: Lately I've been doing a lot of contract negtotiating for other people, but I did most recently sell a title to Barricade Books that releases in October 2008, Return to Naples: My Italian Bar Mitzvah. My most well-known book of late is A Blessing in Disguise by Andrea Joy Cohen, MD, from Penguin, released January of 2008. I always have the Florida travel guides from Frommers and Dummies (by Laura Lea Miller), which get updated yearly. I'd love to do more travel guides. Cafe Life: Venice Pubs in September '08 is the third in the Cafe Life series. Two more are due out next year: Seattle and San Francisco.

GLA: What are you specifically looking for right now and not getting? For example, a great nonfiction book about massage...

JH: Really great writers for travel, travel and travel. Also memoir, self help, and advice. I am also looking for anything that is in regard to Jewish titles, such as books about the Holocaust.

GLA: Your website says you are actively seeking queries from good nonfiction authors with a platform. Can you help define what separates a decent platform from a great platform?

JH: A great platform includes an author with great name recognition through a regular writing or performance gig: a column, a show, with a large audience. Their books traditionally do better than unknown writers, though there are exceptions. Having a big web presence is also in the great platform category. If you get a million hits a month, your platform is one publishers will care about.

GLA: What happens when you get a writer with good visibility and platform, but not in the subject they want to write in? Can that still work?

JH: If they have an outside editor to work with and some viable ideas, yes.

GLA: Do you consider yourself to have any weird quirks as an agent? In other words, have you ever been on an agent panel and heard all the other agents agree on something while you yourself thought differently

JH: YES. Most agents do not handle travel guides and I love them. They seem to shun "work-for-hire" like travel guides and related content.

GLA: Do you find that writers who break into nonfiction books and prove themselves as a reliable writer are in a position to get further book assignments from publishers?

JH: Abso-friggin-lutely, especially if their platform and sales history is impressive.

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

JH: None planned at present - sorry.

GLA: Any other bit(s) of advice concerning something we haven't discussed?

JH: Know how to write a great book proposal!

Want more on this topic?

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

See examples of Successful Queries that agents liked.

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

How to Write a Synopsis for a Novel.

Facebook, Twitter and Literary Agents.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Michael Stearns Interviewed on CWIM Site

Chuck — Fri, 16 May 2008 15:19:01 GMT

Update 8/20/2009: Michael Stearns has left Firebrand and Firebrand has closed. Michael Stearns founded a new agency called Upstart Crow. His interview is still valid, though - check it out.

----------

My great co-worker, Alice Pope, recently posted her interview with super-editor turned Firebrand Literary rep Michael Stearns. See the entire interview on her Children's Writer's & Illustrator's Market blog.

The interview has a lot of good advice from a new agent. Check it out, and way to go, Alice!

Buy the 2010 CWIM!

Want more on children's writing?

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

New children's agent seeking submissions.

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

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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 2010 Guide to Literary Agents today!

Agent Advice: Bernadette Baker of Baker's Mark Literary

Chuck — Thu, 15 May 2008 19:28:21 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 Bernadette Baker of Baker's Mark Literary. Bernadette deals in many subjects, but her passion and specialty is for graphic novels and comics.

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

BB: In 2005, I was finishing up my master’s degree and working as the marketing director for Beyond Words Publishing, now an imprint of Simon & Schuster. I had been accepted to law school in Chicago and had every intention of leaving Portland for Chicago in the fall, but three things happened in early 2005 that directly resulted in the development of Baker’s Mark.
        The first thing that happened was that I met Gabriel Boehmer, the author of City of Readers: A Booklovers Guide to Portland, Oregon. Gabe had simply one of the best proposals I have seen to date, and so I arranged a meeting between him and the publishers of the (then) new publishing house Tall Grass Press. Because of my experience in publishing, Gabe asked me to help him in negotiations and management. This ended up being my first book deal. Simultaneously, I had been approached by an investor who was interested in growing an agency with me. And finally, Janet Hill of Doubleday’s Harlem Moon imprint introduced me to my long-time colleague and mentor Victoria Sanders. These three things really happened in a matter of about 90 days, which was a huge indicator that something was going on, pointing me to launch Baker’s Mark.
        A couple of months after I had established Baker’s Mark, I met my business partner, Gretchen Stelter. She showed an incredible amount of enthusiasm for publishing, is a voracious reader, and very intelligent. It was clear that she and I really had a lot to offer one another in business. She also possessed a number of strengths that I did not have. My background is in Marketing and Sales, while Gretchen’s background is in editing and journalism. Our varied expertise really became an asset to our company. We are just approaching our three-year mark.

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

BB: Our agency sold two books immediately after the New York Comic Con in April. Oddly enough, neither were comics! The first book, however, does have its roots in the comic book world because it is written by veteran comic book creators Paul Guinan and Anina Bennett. World English and first serial rights for Boilerplate: History's Mechanical Marvel, the definitive history of the world's first robot soldier, were sold to David Cashion at Abrams Image.
        The second book that we sold after NYCC is our first fiction sale as an agency, and it is a debut fiction for the author, 18-year-old Dan Elconin. Neverland is a modern and gritty retelling of the story of Peter Pan, where Peter is the antagonist. The retelling captures all of the original elements of the classic with very dark, witty storytelling that will change how everyone thinks of Peter Pan. Look out for this book in hard cover in Fall 2009.

GLA: You specialize in graphic novels - something the blog has not touched on much. When a writer queries you and submits something, does the writer compose both the text and the illustrations, or just the text?

BB: Every book is different. We do represent single creator books, but not all comic book writers can draw, and not all illustrators can (or want to) write, so submissions for graphics come in many styles and formats. Short of a completed work, we typically request a full script and/or a fully developed synopsis, 15 pages of representative artwork, a full bio for the author/illustrator, and other materials that may be helpful in our decision making process, such as thumbnails.
        Typically (and there are exceptions to this rule), when it is a separate artist and writer, we are looking for projects where a team is already established. We represent the amazing team of Jamie S. Rich and Joëlle Jones. While Jamie also writes prose, and while they both do work for hire, they came to us after their wildly successful 12 Reasons Why I Love Her with more ideas for collaboration. Another great example is Jesse Post and Ted Slampyak, who teamed up specifically for a brilliant book called Small Plans (deal news to come). Post and Slampyak shared a vision for the work and were able to team up in a way that makes a lot of sense for the full realization of the graphic novel.
        Then again, we also did two book deals in a co-agenting arrangement with Victoria Sanders, for writers Susan Kim and Laurence Klavan. Their scripts are brilliant, they both have an amazing platform, and we were able to place these books with no art attached at all.
        All that said, the answer to this question also depends on the types of publishers we will be approaching with the work. But generally speaking, it is a long shot that we would acquire something without art attached.

GLA: What makes a subject matter or plot "worthy" of a graphic novel format?

BB: I think all subjects are worthy of the graphic format, but the success of a comic is all in the execution. The story, or the subject matter, should be served by the marriage of illustration and writing. It is a huge letdown to read a comic and feel no influence from the illustration. On the other end of that, a well executed comic can provide some of the most poignant, satisfying reading I have ever experienced. For each comic, there must be a reason to tell the story in sequential art style, an advantage that you gain only by telling the story in comic format. It is really clear when a creator has conscientiously used the art and writing together to convey the story.
        When I first started really reading graphics, I remember being surprised at the broad range of material that was being published. I first met Scott Allie, an editor at Dark Horse comics, shortly after Gretchen and I decided to represent comics. I remember that he scolded us for referring to graphic novels as a genre—“Comics can be written in any genre, you see”—which was really an eye opener for me. While I immediately fell in love with “classic” memoirs like Maus, Blankets, and Persepolis, there were also things like Capote in Kansas and Deogratias (though that came a little later) which were completely unexpected. Now, more and more, I look for comics that are trying new things with genres of all types.

GLA: You say you're looking for comics "with an indie bent or that will appeal to women." Can you give a few examples?

BB: These are really two different things, so I will talk on both. When I talk about comics that appeal to women, I am really talking about myself. I know it is selfish, right? But I am a woman reader. And I love reading comics. There is something about the format that works so well for me. And I could put this same statement out there when it comes to prose, except there is a lot more material geared toward women readers in the prose world than in the comic book world. When I say that I want to rep more comics that appeal to women, I primarily mean that I want more comics with female lead characters (especially for the YA market), but I also want to rep books that are character and emotion driven. I want to represent comic literature. I want something that I could give my sister, who probably has never even cracked a comic book page, and she could really fall in love with. It is a hard sensibility to describe because I couldn’t really see myself representing Lara Croft books, even though she is a kick-ass female lead. I guess I want things that experiment more with the format as new literature and that quite frankly keep me interested as a woman reader.
        When I talk about an idie style of art, I am talking about an organic feel that generally results from having only a single artist or a couple of artists illustrating a book. I typically don’t really like art that is overly digitized, even though it can be really clean and in some cases quite beautiful. I enjoy comic art that has the clear identity of the creator behind it. For instance, when I look at my client Farel Dalrymple’s art, he has a very distinct style.

GLA: Let's say you're talking to someone who has very little knowledge about starting as a comic writer. What are three invaluable tips you can give them as they start out?

BB: Usually, when asked this question, I tell people to begin reading comics voraciously. I would also definitely recommend Scott McCloud’s books on creating and understanding comics and Douglas Wolk’s new book Reading Comics. And later this year, I will recommend Chris Ryall and Scott Tiption’s forthcoming book from F+W Tow Books, Comic Books 101 (that is right, Chuck, I am plugging you and my clients, all in one sentence).
        Then, read more comics. Learn what you like, what you don’t like. Read books that are similar to the ones you want to write and study them. What is working and what is not? Figure out which art styles appeal to you most; even if you never ever have to work directly with an artist (unlikely), you will be giving the artists direction in your script. You must develop your understanding of sequential storytelling. Some of the Slave Labor books have sample scripts in the back of the book. Take a look at what the scripts look like. I also think comic book conventions are a great way to network with other creators, fans, and publishers, and there are a lot of hidden opportunities there. Comic book conventions take place nationwide, so try and find the one closest to your region to start.

GLA: What upcoming conferences will you be at where writers can pitch you?

BB: Gretchen Stelter and I will both be attending the Writer's Digest Books Writers' Conference and BookExpo America, as well asthe San Diego Comic Book Convention. We also attend the New York Comic Book Convention, Stumptown Comic Book Festival, and Emerald City Comic Con. Our hope is to make it to the shows abroad in the near future.

        The comics that most interest Bernadette Baker right now are historical stories, biographies, fables, mythology, memoir, and urban fantasy. But she is also a great fiction lover, and would really like to see more psychological thrillers in the comic format; I don’t think that area has been explored enough. And more, more, more books with females as the main character.
    See her agency website here. Submission information is available online.

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

Chuck — Tue, 06 May 2008 18:55:02 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 Paul S. Levine of the Paul S. Levine Literary Agency. Paul has 27 years experience as a lawyer and has helmed his agency since 1996.

Paul S. Levine

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

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

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

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

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

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

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

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

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

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

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

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

GLA: Do you also represent TV writers and screenwriters?

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

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

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

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

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

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

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

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

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

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

PL: I’ll be at the Writer’s Digest Books Writers’ Conference in Los Angeles (May 28, 2008), the Santa Barbara Writers’ Conference (June 21-26, 2008), the Great American Pitchfest (June 20-22, 2008), and the Cuesta College Writers Conference.
        This summer, I’ll also be teaching classes as part of the UCLA extension and writers program. Starting June 7, I’ll be teaching “Fiction and Nonfiction Writers’ Essential Guide to the Legal and Business Aspects of Getting Published.” On Aug. 9, I’ll start “Filmwriters and TV Writers’ Essential Guide to the Legal and Business Aspects of Getting Published.”

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

PL: Keep plugging away.

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

Agent Advice: Michelle Brower of Folio Literary Management

Chuck — Fri, 02 May 2008 20:17:52 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 Michelle Brower of Folio Literary Management (formerly of Wendy Sherman Associates). Michelle has been with Wendy Sherman Associates since 2004, and has also previously worked with Joelle Delbourgo Associates. She enjoys working directly with emerging writers. She has a MA in Literature from New York University.

She is seeking: literary and commercial fiction, YA, memoir, pop culture, humor, graphic novels, popular science and narrative nonfiction. Books that capture elements of the strange and wonderful will always pique her interest, and she also looks for those that offer a unique perspective of the world. Submissions to her by mail and e-mail are equally OK. Please include a SASE for snail mail response, and no attachments in an e-mail.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Agent Advice: Brandi Bowles of Howard Morhaim Literary

Chuck — Sun, 20 Apr 2008 18:19:29 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 Brandi Bowles of the Howard Morhaim Literary Agency in New York. Brandi has been an agent with Howard Morhaim Literary Agency, Inc., in Brooklyn, New York, since 2007. She was previously an assistant editor at Three Rivers Press.

She is seeking: She represents fiction in the areas of science fiction, women's fiction, quirky or experimental literary fiction, and light-hearted southern fiction. Her favorite novels include House of Leaves, The Time Traveler's Wife, Love is a Mix Tape, and World War Z. She is also looking for nonfiction proposals in the areas of music, pop culture, sociology, science, humor, and prescriptive/narrative/how-to. She only accepts e-mail queries and can be reached at bbowles@morhaimliterary.com.

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

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

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

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

GLA: Do you consider screenplays? Graphic novels?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Want more on this subject?

See all agent interviews on the blog.

Interested in the Howard Morhaim agency? I previously interviewed agent Kate McKean.

If you're looking for advice on nonfiction proposal writing, check out Bulletproof Book Proposals.

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: Verna Dreisbach of Dreisbach Literary Management

Chuck — Sat, 12 Apr 2008 19:15:06 GMT

Update: Verna left the Andrea Hurst Literary Agency in 2008 and started her own agency: Dreisbach Literary Management

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"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 associate agent Verna Dreisbach of Dreisbach Literary, a boutique agency in California. Award-winning author Verna Dreisbach's writing has appeared in literary journals, magazines, books and newspapers, and she has served as a ghostwriter for a New York Times bestseller. She develops ideas for The Idiot’s Guides and The Everything Guides and is always seeking topic experts and co-authors to write additional books in these series.

She is seeking: literary and commercial fiction, with a particular fondness for mystery and thriller. Nonfiction areas of interest include: Biography/Memoir, True Crime, Business/Economics, Social History/Culture, Spirituality/Religion, Native American Indian, Parenting, Women's Issues, Health, Travel, Cookbooks, Science.

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

VD: My start in the literary world was quite coincidental. After working in law enforcement for 13 years, I returned to school to finish my economics/mathematics degree. A professor in an advanced writing class suggested that I enter my creative nonfiction in a literary contest, and I won. This began a series of excellent writing opportunities, an internship, and eventually a position as an associate agent with Andrea Hurst. I fell in love with writing, majored in English with an emphasis on language study and am now in the process of applying to the MA program in creative writing and composition. I feel I can best represent writers being a writer myself. If I ever have the time, I would love to finish my degree in economics.

GLA: The Andrea Hurst & Associates Literary Management website indicates you're seeking literary and commercial fiction, including mysteries, suspense, thrillers and women's fiction, as well as nonfiction in the areas of travel, self-help, parenting, business, pets, health, true crime, spirituality and the environment. You also have a particular interest in Native American authors and subjects. Would you consider any other submissions?

VD: I have taken a particular interest in books that have a political, economic and social focus. I want to represent books that cause the readers to stop and think about things in a way that they never have before, books that get to the core of who we are, our place in the world and what we are doing with our lives.

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

VD: Credentials are most important when writing nonfiction, and I look for professional degrees and experience in the field in which the author is writing. Nonfiction authors are more successful when they have already published in their field—whether it is magazines, journals etc.—and are in the process of building a platform prior to attempting to sell their books. Fiction writers do not necessarily need to have won writing contests or have a degree in English, although I do appreciate the efforts of writers who have taken the time to improve their writing. Having said that, writing is still an art form that begins with the talent to write and tell a story well.

GLA: Do you identify and acquire new clients from among contest winners? Whose work is published in periodicals? Through online networking sites for emerging writers?

VD: I am open to finding writers in any new or creative manner. I do review my query letters, but I prefer not to sit and wait for writers to come to me. This might be the police officer coming out in me, the pursuit of new talent. I did just sign a new fiction writer, Lillian Hamrick, whose book The Secret War was a finalist for the Fabri Literary Prize, which was sponsored by Boaz Publishing in Albany, Calif.

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

VD: I ask to be queried via e-mail at verna@andreahurst.com. A good query letter is essential. Research the most effective and professional way to query an agent. In addition to the technical side of writing a fiction query, don’t forget the appeal of the story. I want to read a query letter that compels a need in me to read the book. The agency Web site provides resources for writers.

GLA: If a writer submits a promising query that happens to be outside your specific areas of interest, would you pass it along to one of your colleagues at Andrea Hurst & Associates?

VD: This system is already in place within the agency. We will forward mail to each other if we feel that a particular query would be of interest to the other agent. Also, during a conference, I will provide a writer the business card of either Andrea or Judy if I know that they would be a good match. We work as a team.

GLA: What's your defining personality trait?

VD: I am not one for singular defining words. I believe in a balance. On one hand, I have strength and fortitude, in whatever I set my mind to. I am not deterred by a challenge and don’t hesitate going for what I want, which is probably what made me successful as a police officer. Yet, those characteristics are balanced with a patient and understanding side, which expresses itself in raising my children or training horses. Surprisingly, training horses becomes more of a lesson about oneself, and a true test of patience.

GLA: Will you be attending any conferences or events in the future where writers can meet you?

VD: I enjoy attending writers’ conferences and have several scheduled for this year (2008). Right now, I am scheduled to attend the following conferences:

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

VD: Professionalism is just as important as being a good writer. When agents decide to represent writers’ work, they are also representing the writers. Also, don’t lose focus on the purpose of writing. The purpose needs to be the love of writing, the expression and the art, so that the best writing can come forth. Keep this in mind, and then think about the goal of publishing. When submitting work to an agent, make sure that you are sending a finished product that has been edited and proofread.

Want more on this topic?

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

See examples of Successful Queries that agents liked.

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

How to Write a Synopsis for a Novel.

Facebook, Twitter and Literary Agents.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Literary Agent Straight Talk at NCWC - Featuring Rachelle Gardner, Kristin Nelson and Jessica Regel

Chuck — Sun, 06 Apr 2008 00:24:22 GMT

Three agents were here with me at the Northern Colorado Writers' Conference:

      - Kristen Nelson of Nelson Literary
      - Jessica Regel of Jean V. Naggar Literary
      - Rachelle Gardner of Wordserve Literary

Here's some of what they had to say:

Gardner: In-your-face spiritualism doesn't have to be a part of Christian writing anymore. Today's Christian and inspirational books have subtle faith-based themes such as redemption and soul searching. The stories are still "clean," though, as they lean away from profanity, detailed sex scenes, or gruesome horror stuff.
Regel: The "hook" is crucial for a YA book. Echoing what Michelle Andelman said in March, Jessica confirmed that a book with decent writing (say a B-) can still get published if the hook is awesome enough.
Nelson: When trying to compose the pitch paragraph of a query letter, go to the bookstore beforehand and read the back paragraph on books in your genre. That is essentially what you are aiming to write.
Regel: Bio credits can push you over the hump. Let's say that your pitch is not good or bad but rather just OK. What can push you over the hump and get an agent to request more writing? Bio credits! That is the advantage to starting small and getting short stories and magazine articles published.
Nelson: Don't call your novel Second Chances. Everyone else has the same name. In fact, Google your title to see what comes up.
Regel: She said she is actively looking for both narrative nonfiction and middle grade works. However, concerning middle grade, she brought up some concerns about titles, as well. Her advice is to avoid the standard "Harry Potter and the Sorcerer's Stone" template for a title. For example, stay away from titles like "Timmy Tom and the Friendly Squirrel."
Gardner: Don't explain your whole story in a pitch. Pique the agent's interest and let them request more.
Nelson: She said she is actively looking for fiction that blends literary and commercial elements, such as The 13th Tale and Snow Falling on Cedars.

Check out Kristin Nelson's
Pub Rants blog here.

Want more on this subject?

How to Write a Query Letter.

What Should You Write in the "Bio Paragraph" of a Query Letter.

Why Your Manuscript Can Get Rejected, by Hallie Ephron.

10 Hidden Gifts of Rejection Letters.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice: Margery Walshaw of Evatopia

Chuck — Mon, 24 Mar 2008 05:05:16 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 Margery Walshaw, founder of Evatopia in Southern California. Margery is literary agent and script manager, focusing on both feature film scripts as well as juvenile fiction writing.

Margery Walshaw

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

MW: “Sahara Cassidy and the Extinction Caverns” by Kevin Emerson has been sold to Indalo Productions, who recently produced “Day Zero” starring Elijah Wood. Kevin also has a five book deal with Scholastic coming out.

GLA: You're a script manager - not an agent. Please explain the difference. If one is a newbie to the Hollywood scene, what is the advantage of having a manager?

MW: In the state of California, only agents are licensed to sell scripts. However, sales arise following an introduction made by a manager. Agents typically spend the majority of their time involved in the selling and negotiation process whereas managers will help writers perfect and edit their projects, as well as offer long-term career advice. For this reason, there is a tremendous advantage for a newcomer to work with a manager and have that person help them through the writing process to make their script more marketable.

GLA: Evatopia has multiple people working in the company. Are they all managers like you? How should people direct queries and pitches?

MW: Everyone in our organization has a strong literary background, although not all are managers. The best way to submit a query to Evatopia is via our online submission form found at www.evatopia.com under the link “For Our Consideration.”

GLA: When writers want to query you with a script, you ask them to do so through an online form, including a one-line "logline" and a synopsis. How long should the synopsis be?

MW: Although writers may submit as long of a synopsis as they desire, ideally it should get to the point fairly quickly. In a sense, this is the writer’s first test to see if they can get their point across in a concise manner that is also engaging.

GLA: What genres and categories are you looking for right now concerning film?

MW: Comedy is particularly hard to write and as a result, we find very little that stands out above the crowd. We would love to see more well written and smart comedies. We also enjoy strong character dramas that offer actors roles that are new and challenging.

GLA: Do you also represent TV writers? If so, are you looking to receive new stuff - such as original pilots, or are you looking for spec scripts of existing shows?

MW: At this time, we are only looking for features. We do introduce feature projects to television as well as film production companies.

GLA: Recently, you've branched out in the literary world more with juvenile fiction? Can you tell us why you made this transition?

MW: There are many reasons. First, the novel form has always been my first love in the literary world. At USC, I received my masters in professional writing, which focuses on novels as well as scripts. Because of my interest in novels, I have always maintained contacts and stayed abreast of developments in the publishing world. Finally, my client, Kevin Emerson, who we just optioned “Sahara Cassidy and the Extinction Caverns” on behalf of, has a five book deal with Scholastic coming out this summer for his middle grade vampire series, “Oliver Nocturne.”

GLA: Regarding this new interest in children's writing, what exactly are you looking for? Children's picture books? YA only? Tween, middle grade?

MW: YA, tween or middle grade is where my interest lies.

GLA: When you're reading a partial for a YA novel, let's say ... What things turn you off when reading a manuscript? What kills a writer's chances of getting signed with you?

MW: There’s no need to tell an agent or manager that your project is like no other they’ve ever seen. If it’s good, the writing will stand on its own. If it’s not solid writing, then there’s probably a reason why we’ve never seen something like it published. Another thing that turns me away from a sample is sloppy proofreading.

GLA: Will you be at any writers' conferences in the future where writers can meet and pitch you?

MW: I'll be at your conference [The Writer's Digest Books Writers' Conference] here in LA on May 28.

GLA: Best advice concerning a topic we haven't covered?

MW: I work with three writers who live in Europe. (I spend a lot of time in the UK working with publishers and broadcasters abroad.) What I like about their writing is that it takes me to another place and is told in a voice unique to what we typically hear in the States every day. I encourage writers to be true to their life’s experiences and tell stories that may be off the beaten track. There’s no point in copying what’s already out there.

To query Margery regarding your juvenile work, use the online form on Evatopia's Web site. For the "genre" tab online, put YA or middle grade. A synopsis is still required.

Want more on this subject?

See a profile of script agent Garrett Hicks of Will Entertainment.

See an interview with script manager Ken Sherman of Ken Sherman Associates.

Is there a difference between literary agents and script managers?

Want a great database of script agents/managers, script contests, conferences and theaters? Buy the 2010 Screenwriter's & Playwright's Market today!

Check out an interview with script manager Marc Manus.

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: Michael Murphy of Max & Co.: A Literary Agency & Social Club

Chuck — Mon, 17 Mar 2008 18:57:56 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 literary agent Michael Murphy, founder of Max & Co.: A Literary Agency & Social Club in Cincinnati, Ohio. Michael has worked in the book publishing industry for 30 years. His first 13 were with Random House-Ballantine, where he was a vice-president. Later, he ran William Morrow & Co. as their publisher until the company’s acquisition by and merger with HarperCollins. He formed Max & Co.: A Literary Agency & Social Club in the fall of 2007.

He is seeking: He is looking primarily for narrative nonfiction, memoir, and eclectic visual books. Additional information can be found on his agency’s Web site.

Michael Murphy

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

MM: My most recent sale was a novel, Concord, Virginia, by Peter Neofotis. I had been the novella competition judge at the recent Words & Music festival in New Orleans. Work is sent with the author's name removed, so it wasn't until after I chose Peter as the winner that I learned anything about him. By day, he works in environmental biology at Columbia University. By night, Peter performs in small clubs throughout Manhattan performing monologues from his ever-evolving tales of the people and events in the fictional Southern town. I met Peter in November, sent out his manuscript in January, and sold it in February to Michael Flamini at St. Martin's.

GLA: The name of your agency is completely, intentionally out of the ordinary. Do you actually host a salon, or is the allusion tongue-in-cheek?

MM: The name is definitely not tongue-in-cheek (I hope). Max & Co. was chosen because, while I was the all and the everything in the company in October 2007, I do not intend this to be true in October 2008. I didn't want the name to be about me. Already, I have retained two people as virtual "scouts" and part-time agents. One is in New York City; her title is East Coast Presence. The other is my Greater Midwest Presence. Both have book publishing experience. I am also partnering with Lisa Queen of Queen Literary to use the benefit of her great experience and reach into foreign markets where mine is limited.
As far as "& Social Club," that refers to a vision I hope to make a reality by 2009. I would love to have an annual retreat—in cabins with screened-in porches, ideally by water—where Max & Co. writers could come to share success stories, new contacts, marketing ideas, and (of course) play cards until 3:00 a.m. while drinking Thai beer and wearing funny hats. In addition, when one writer, say from Seattle, has a new book hit the shelves, my other writers in New York, New Orleans, Los Angeles, etc. would do what they could to help launch the title.

GLA: You headed William Morrow & Co. for years before leaving it and New York City behind and starting your agency in Cincinnati. What's the one thing about being a publisher that you don't miss?

MM: The endless meetings that are so much a part of corporate life. Some days, many days, I would be in meetings from 9:00 a.m. until 6:00 p.m. and return to my desk to find an impossible list of phone messages and e-mail that needed attention.

GLA: Your new Web site indicates you're looking primarily for narrative nonfiction, memoir, and eclectic visual books but would make an exception for the right sort of dark and twisted fiction. Can you elaborate on your preferences?

MM: Actually, I already am representing dark and twisted. I sold Tony O'Neill's novel Down and Out on Murder Mile to HarperCollins. Tony, a former heroin junkie, is truly a poet of the grotesque. I sold another book about cocaine and heroin addiction, Jason Peter's memoir, Hero of the Underground (on sale July 2008). Normally, I loathe books like Hero. He was an All-America football player and first round NFL draft pick prior to being a drug addict. But, in this case, Jason was fearless about exposing his Caligula years, and the intense writing brings the book closer to Bukowski or Hubert Selby, Jr., than any sports bio or recovery tale. The exception I would consider would be a commercial (happy ending) novel, if there were something in the writing to grab me.
You captured my areas of interest. I do not represent genre fiction, psychology, science, nature, or business books. However, I would backhand a nun in broad daylight to be involved with a business book like David Dorsey's The Force. The writing was brilliant. Great writing can always change my mind. I have zero interest in Captain Cook and not much more in orchids. Yet, I devoured Blue Latitudes and The Orchid Thief because Tony Horwitz and Susan Orlean are superb writers. I'd follow them anywhere. My preferences are my preferences, but I am always open to what I call the Suddenly, From Across a Crowded Room Moment.

GLA: Are you interested in graphic novels?

MM: This is a great example of the Suddenly, Across a Crowded Room Moment. Until 2000, I did not think graphic novels were for me. I found Batman: The Dark Knight Returns and Watchmen interesting. But, in no case did I do more than sample a few pages. Chris Ware's Jimmy Corrigan changed everything. His genius is not just his artistry but that he can tell a story as full and compelling as a good novel. So, while I am not the right agent for most of what people consider graphic novels (Judith Hansen and Denis Kitchen do that really well), I would be interested in something at the level of Chris Ware (a very tall order).
As noted, I am focused on eclectic visual books. Toss a few words on the same page as the artistry of someone like Mark Ryden or Eduardo Recife and, yes, I am very interested. Whether that would be considered a graphic novel I will leave to people arguing on panels at the Comic-Con convention.

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

MM: My answer here is my personal preference and should not be taken in as a guide. I love e-mail. I like to receive chapters as e-mail attachments. Most agents do not. I want, but rarely receive, everything (pitch, synopsis, chapter outline, author bio, sample chapters) in one simple email.

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

MM: I look for zero credentials but am pleased when I discover some. Sometimes writers’ profiles can be every bit as important as their talent. MFAs in creative writing or publications in obscure journals carry very little weight with me or with most editors. Publisher interest can be piqued by a writer having something that points to a large, ready, and able fan base willing to drop $24.95 on the author's book. This can be a successful Web site, appearances in national media, or being considered the leading voice or "the face" of a company, product, or line of thinking.

GLA: Do you identify and acquire new clients from among contest winners? Whose work is published in periodicals? Through online networking sites for emerging writers?

MM: A short but only partially accurate answer is "No." I do subscribe to and/or read a number of periodicals or writing Web sites. If I were just a reader, or an agent with a lot of time on my hands, I would pore over The New Yorker, The Paris Review, Tin House, or Zoetrope: All-Story (which was consistently brilliant when Adrienne Brodeur was the editor). However, in my work life, the writers who appear in these places are generally already "agented up." I pay more attention to journals like Topic (a version of Granta), The Walrus (sort of Canada's New Yorker), and The Bellevue Literary Review. But this has not proven to be a sweeping success in acquiring client writers.

GLA: If a writer sends you a promising query outside your specific areas of interest, will you pass it along to another literary agent?

MM: In such cases, where I see promise but I am not the right agent to bring that promise to fruition, I do provide the names of specific agents to the writer. Sometimes, I have then contacted the agents to let them know a writer is coming their way. But, in no circumstances do I want to get sucked into brokering a relationship between a writer and another agent. There simply isn't that kind of time.

GLA: Will your newly designed Web site include a blog?

MM: I'm really not sure. I know I definitely do not want a traditional blog, because I don't need the stress/burden to keep the content fresh. I also see no need to add my opinions to the absurd amount of other opinions from other people about practically everything. Though, you should vote for Barack Obama. Also, I would like to see features that constantly update where my authors are appearing or when their books get new reviews.

GLA: Will you be attending any conferences or events in the future where writers can meet you?

MM: I have attended BEA (BookExpo America) for decades and will be in Los Angeles for the '08 Expo and, like last year in New York, I will be meeting writers at the pre-show Agent Pitch Slam sponsored by Writer's Digest (May 28 at the convention center).
I attend the Words & Music festival in New Orleans every year. I consider this a great conference for writers aspiring to be published. Each attendee gets one-on-one sessions with agents and editors to critique their writing.

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

MM: Choosing an agent should involve as much thoughtfulness and care as choosing a college or a lover. In the case of the latter, probably more care. I have seen young writers too anxious to leap to the first "real" agent to show interest in their writing. If these same people had been contacted in high school by Flatland Community College and told, "We are very impressed with your transcript," they would not have rushed to attend Flatland Community College before applying to colleges more desired.

Want more on this subject?

See all agent interviews here.

Word Count Guidelines for Novels and Children's Books.

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

20 Tips on Writing a Query Letter

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

What are the BEST writers' conferences in the country?

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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