Guide to Literary Agents - Definitions

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

Chuck — Wed, 13 Jan 2010 15:19:54 GMT

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

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

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

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

WHERE DID STEAMPUNK COME FROM?

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

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

DO AGENTS SEEK STEAMPUNK?

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

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

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

GLOSSARY OF COMMON STEAMPUNK TERMS

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

Want more on this subject?

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

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

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

New Adult: What Is It?

Chuck — Thu, 07 Jan 2010 15:15:35 GMT

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

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

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

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

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

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

THE CONCEPT

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

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

THE PROTAGONISTS

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

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

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

THE READERS

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

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

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

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

THE BIG PICTURE

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

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

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

Want more on this topic?

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

See examples of Successful Queries that agents liked.

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

How to Write a Synopsis for a Novel.

Facebook, Twitter and Literary Agents.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

What is Mainstream Fiction? Upmarket Fiction?

Chuck — Thu, 17 Dec 2009 20:38:03 GMT

Q: The more industry blogs I read, the more confused I get about which category my novel falls into. It seems to sit on middle ground between literary and commercial, which some agents have said they are looking for. One agent advised me to call it "literary commercial." I have also seen this described as "commercial literary" and "mainstream." I think my ms. may fall into the category referred to as "book club fiction," but my understanding is that it's bad form for authors to use that label on their own manuscripts. I guess my ms. could also be called women's fiction, in that it has a strong female protagonist, but it's not primarily about relationships.
- Margaret

A: I know how important it is to try and label your work right so I appreciate this question.
When literary meets commercial, the word mostly commonly used is "mainstream," and I think that is an acceptable term for you, Margaret. The word "upmarket" pretty much means the same thing, but that word, in particular, usually is used in conjunction with women's fiction. Normally, I would tell people to just say mainstream, but since your book is indeed about women, it could be called either. Both are acceptable. When you're looking at agent guidelines and they say they want women's or upmarket, call it upmarket. Otherwise, mainstream is a good category to use.

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.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Does 'Commercial' Mean All Genres?

Chuck — Sat, 24 Oct 2009 00:33:38 GMT

Q. If an agent lists "commercial" as what he handles, can I assume that would cover all fiction genres?

A. “Commercial” means “genre fiction,” so your assumption is a good one, but I would look through some guides and sites (and look at sales on Publishers Marketplace) to see if this agent handles ALL the genres – because there are eight of them: mystery, suspense, thriller, romance, sci-fi, fantasy, horror, and western. Hardly any agents handle, and sell, all these genres. And keep in mind that if an agent says they handle commercial, that does not include some fiction categories, such as literary, Christian or children's.

Check out Leigh Michaels's
On Writing Romance

Want more on this topic?

Online course: Essentials of Romance Writing.

Online course: Essentials of Mystery Writing.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Middle Grade vs. Young Adult: What's the Difference?

Chuck — Tue, 29 Sep 2009 02:18:57 GMT

The MigWriters site has an amazing post breaking down the difference between the two children's categories of middle grade and young adult. To define the two, they pull a lot of good info from a variety of different sources - editors, agents (such as Lucienne Diver of The Knight Agency) and writers alike.

It's just a big, fat post tackling tough questions about these categories. If you're a kids reader, this is a post you want to read. Questions they address include the following:

How long is a MG vs YA book?
Who reads MG and YA books?
How old is the protagonist?
What are MG and YA books about?

Simple yet immensely informative.

Want more on this topic?

Agent Jennifer Laughran of Andrea Brown Literary talks juvenile books.

A new agent at Full Circle Literary is looking for kids books.

Examine great high-concept hooks and ideas for kids books.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Literary Definitions: Vol. 8

Chuck — Wed, 08 Apr 2009 14:14:42 GMT

It's been a good while since I passed
out some definitions, so here is
another batch. (Click on Definitions
at the bottom of this post to see
the past seven installments.)

Family Saga: A story that chronicles the lives of a family or a number of related or interconnected families over a period of time.

Hook: Aspect of the work that sets it apart from others and draws in the reader/viewer.

Mass Market Paperbacks: Softcover books, usually 4x7, on a popular subject directed at a general audience and sold in groceries, drugstores and bookstores.

Subagent: An agent handling certain subsidiary rights, usually working in conjunction with the agent who handled the book rights.

Remainders: Leftover copies of an out-of-print or slow-selling book purchased from the publisher at a reduced rate. Depending on the contract, a reduced royalty or no royalty is paid to the author on remaindered books.

TOC: Table of contents. A listing at the beginning fo a book indicating chapter titles and their corresponding page numbers. It can also include brief chapter descriptions.

The Godfather could be considered
a family saga.

What is Upmarket Fiction? Defining the Classification.

Chuck — Thu, 19 Mar 2009 20:41:36 GMT

I've spent a good amount of time recently getting agents (and a few editors) to sign on to a ginormous Agent Pitch Slam, which is part of our writers' conference in NYC in May. Each agent submits their "wants" bio that explains what they are looking for and what they want to hear pitches about.

One word that kept coming up was the word "upmarket." The term isn't brand new, but it seems to be gaining in popularity, so I just wanted to address what it means (or more accurately, what I think it means).

Simply put, it's fiction that blends the line between commercial and literary. To further examine this, let's break down those two terms. Commercial fiction, essentially, refers to novels that fall into a typical genre (thriller, let's say). Commercial fiction can sell very well because it usually has a tight premise/logline ("Someone is trying to kill the president!") and people like reading a category like thrillers because it's exciting. Literary fiction refers to novels that don't fit into any standard genre classification - romance, mystery, sci-fi, for example. Literary fiction requires the highest command of the language. Not pretentious, over-the-top purple prose - just simply excellent writing. Literary fiction has a harder time selling because it's not easily defined, and sometimes the premise is not easily explained (or just isn't that exciting).

So that brings us to "upmarket." EVERYONE is looking for this genre. "But why, Chuck?" Well, think about it. It's literary fiction, so it's pretty damn good writing, but it has commercial potential. It has the ability to infiltrate lots of book clubs and start discussions and take off as a product. It's a win-win for everyone. I've heard a lot of agents say that they are looking for "literary fiction with a commercial appeal," or something like that. Well, one word that does the job of those six is "upmarket," and that's why you hear it so much. If you're writing narrative nonfiction or upmarket fiction, chances are, there are a ton of agents out there willing to consider your work.

Some examples of upmarket fiction (just my opinion): Water for Elephants; Jodi Picoult's books; The Lovely Bones; Michael Chabon's books.

AGENTS WEIGH IN:

From Kristin Nelson's Pub Rants blog: "In terms of upmarket commercial women’s fiction, it’s all about the writing. Really, editors are looking for literary writers who can tackle the more commercial themes in a way that’s fresh and well constructed."

From the Folio Lit Web site: "We are aggressively seeking upmarket adult fiction that’s appropriate for book club discussion." Key words - book club discussion.

And as far as whether the term has a hyphen or not (upmarket vs. up-market), who cares. I prefer nonfiction but does writing it non-fiction really matter? Nope.

Defining Create Nonfiction, Narrative Nonfiction and Biography

Chuck — Tue, 24 Feb 2009 00:30:38 GMT

Q. At first I thought I was writing "narrative nonfiction." As I proceed through the book, I have begun to wonder whether I might be writing "creative nonfiction," or even an "autobiography." Could you please further elucidate the distinctions?
- Mark

A. Well let's see...
      Narrative nonfiction IS creative nonfiction. They are one in the same - the terms used interchangably, though the former is more common right now.  Both are used to define nonfiction that reads like a novel. Examples: Into the Wild, The Right Stuff, In Cold Blood, Seabiscuit. Films like Apollo 13, The Perfect Storm, etc.
      When you're talking about a Biograohy or an Autobiograohy, you're talking about a work that really focuses on one individual. I tend to feel like autobiographies and biographies are usually for celebrities. Brad Pitt gets a biography...
      How do you know if your work is a memoir, biography, or narrative nonfiction?
      Biographies tend to be sweeping - focusing on the whole life. Memoirs tend to focus on an aspect or time period of a life, though not always. For example, Marley & Me was about his time with the dog - THAT was the aspect. A Long Way Gone was a memoir written about a man's experience as a child soldier in Africa - THAT was the aspect.
      Biographies tend to be about one person. Narrative nonfiction can focus on several or many.  When the book is mostly about you, it's an autobiography. When the book is about bigger things than yourself, than it's narrative nonfiction. Know, however, that the term "narrative nonfiction" is typically used to describe books that are NOT about the author.
      And sometimes the genres can overlap. For example, a book I just got done writing about called Bonnie & Clyde: The Lives Behind the Legend by Paul Schneider is called a biography by the publishing company, but it feels more like narrative nonfiction to me.

Literary Definitions: Vol. 7

Chuck — Tue, 17 Jun 2008 14:14:42 GMT

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

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

Buzz - Interest and positive word-of-mouth talk about something. For example: "The new Hulk film is supposed to be surprisingly good. It's got some buzz." The best way to sell a novel is to generate good word-of-mouth buzz from readers.

Character arc - The emotional journey a character takes from the beginning to the end of the story, changing along the way.

Coverage - Written remarks about a screenplay usually composed by a reader or analyst. The reader will look at a script and then write 1) a story summary, 2) their thoughts on the script (a critique), and 3) their thoughts on abandoning or moving forward on the project.

Didactic - A word that means talky or preachy. Usually describes sections of a manuscript.

On acceptance - Pays when the submission is turned in and deemed worthy. Writer's Digest pays on acceptance. When a writer turns in the commissioned piece, we review it to make sure it's what we requested and expected. If it is, we pay the writer then and there. Preferred to "on publication."

On publication - Pays when the submission is published, but not before. If a magazine pays "on publication," you only get money when the article is printed. But what if it's never printed? A-ha. It's not common that an article is simply unused or thrown out, but it's happened plenty of times.

Synopsis - A front-to-back summary of your story that usually runs 1-2 pages. It's a way of telling the basics of everything that happens without spending hours reading the whole ms.

Three-act structure - The most basic and common framework for telling a story. This tried-and-true blueprint utilizes three acts, each of which has its own specific purpose. For example, in Act I, we are introduced to the protagonist and shown their world. By the end of Act I, the protagonist gets in some serious trouble and their world is being turned upside down.

"If you're expecting me to do
any publicity for this film, you
can forget about it!"

Literary Definitions: Vol. 6

Chuck — Mon, 05 May 2008 17:49:04 GMT

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

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

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

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

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

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

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

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

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

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

What Does That Mean? Literary Definitions: Vol. 5

Chuck — Tue, 08 Apr 2008 20:27:45 GMT

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

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

Film option - (n.) Not to be confused with "option clause" below. An option is when a production company (or other individual/organization) pays you a moderate amount of money in exchange for a time period to exclusively develop a film project deriving from your work.
       For example: A film company asks to option your book for $5,000. A typical deal would involve letting them have 12 months to move the project forward and try to get the wheels moving so a film adaptation of your book is brought to life. During those 12 months, the film company will hire a scriptwriter to pen a screenplay adaptation and then use the screenplay as a tool to get prominent actors and producers interested. If they have enough momentym and people onboard, the film company will buy the film rights altogether. If the film company fails in its goal to get a good script and actors, and the 12 months run out, you get the rights back. At that point, other production companies may choose to option it. Options are much more common that a full purchase of film rights.

Logline - (n.) A one-line summary of your story. For example: "A treasure hunter searches for a fabled artifact in the Himalayas."

Narrative nonfiction - (n.) Nonfiction that uses the devices of fiction. You're telling a true story, but using things such as character development, dialogue and cliffhangers. Think about it like the movie Apollo 13. The whole story is true, but it's told in a dramatic fashion, like a fictional story would be.
       Oft-cited examples of narrative nonfiction include The Perfect Storm, Seabiscuit, In Cold Blood and The Right Stuff.

Option clause - (n.) A clause often found in author-publisher book contracts that grants the publisher the right to publish the author's next work. The option clause is sometimes called the "right of first refusal" because it allows the publisher first crack at the author's next book, which the publisher may or may not decide to take on.
       For example, you write Book 1 for a publisher and then compose Book 2. The publishing house that signed you for Book 1 gets an exclusive look at Book 2 for a set period of time (say, a few months) and then will either come back and say "No thanks. You're free to take it elsewhere" - or they will say "We want this one, too. How does $15,000 sound?" If the amount offered for Book 2 is too low, you can still say no and still go elsewhere.

Synopsis - (n.) A summary of your story from start to finish that explains everything in the book. The main characters are introduced and the ending is revealed.

Tearsheet - (n.) A sample of writing in its published form, cut from the newspaper or magazine in which it appeared. If the tearsheet does not include the title and date of the publication, the writer should include that information. Similar to "clips."

"I always find the fish!!"
The Perfect Storm (by Sebastian Junger)
is an example of narrative nonfiction.

Cool Term: 'Knockbuster'

Chuck — Mon, 31 Mar 2008 19:11:46 GMT

Heard this term over the weekend on SlashFilm, a movie news site.

A "knockbuster" is a cheap rip-off product that capitalizes on a highly anticipated product coming out soon. These are easier to spot in the film world, as you can see direct-to-DVD movies hitting stores just before a huge movie hits the theaters. Example: Why go see Indiana Jones IV in the theater when you can rent the fantastic Allan Quartermain and the Temple of Skulls? - the latter of which is on DVD and available now. (Hooray!) Other terrible examples include Snakes on a Train and AVH: Alien vs. Hunter.

In the book world, the latest mystery having to do with Da Vinci or the Knights Templar would be a good example of a "knockbuster."

What is a Platform?

Chuck — Wed, 26 Mar 2008 16:59:58 GMT

This is a complicated subject, and a lot of people could write many pages and barely scratch the surface on this. That said, here's my short version of how to define "platform."

Platform, in essence, concerns all the avenues you have to sell your work to readers who will buy it.
      Let's look at an example: You want to write a book on astronomy and eclipses. Can anybody write this book? Sure, if they become knowledgeable enough. Can anyone sell this book? No way. First of all, examine who will buy this book. Probably other people interested in astronomy and eclipses. A person with a good platform to write this work will have different avenues in place to connect with these specific people who will pay money for the book.
      Some ways to do this would be to write for science magazines and get your byline out there, to run an astronomy-oriented Web site that gets good traffic, or to have a newsletter and blog dealing with similar topics. The writer of this particular book must have these avenues in place when the book comes out, because the publisher will likely spend $0 on promotion and marketing, so the book must be easy to sell, and that's how platform comes into play.
      Other factors of platform to mention real quick include credentials and media opportunity. If you're the foremost expert on eclipses, for example, then you're likely quoted all over in the media regarding the phenomena, so you have a natural platform built in. Or - let's say you were a stripper who wanted to write a funny memoir about the experience (like Diablo Cody did). That has a lot of media potential in terms of people being interested in interviewing you, etc. Those two things can constitute platform as well.
      At the CNU conference last weekend, a writer was talking about his nonfiction book on World War II. He explained that he had become very well versed on military matters through research and was a capable writer for such a project. I told him there was little chance of selling it because of the problem I mentioned above. You don't have to just write nonfiction; you have to sell nonfiction, too. And the most effective way of doing that is to be well known and respected by the types/groups of people who will buy the specific book in question. That's a platform.

Want more on this topic?

Footnotes: 6 articles on building a platform.
Buy Christina Katz's book on platform, Get Known Before the Book Deal.
Platform and the debut of your book.
Confused about formatting? Check out Formatting & Submitting Your Manuscript.
Read about What Agents Hate: Chapter 1 Pet Peeves.
Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

What Does That Mean? Literary Definitions: Vol. 4

Chuck — Mon, 24 Mar 2008 01:25:10 GMT

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

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

All rights - (n.) Just like it sounds. When a publication or publishing house purchases all rights from you, they own it all. You can't sell it again, or use the characters again, etc.

BEA: stands for BookExpo of America - (n.) The premier American book conference. Publishers and independent booksellers converge every year to discuss the new season's books and to network. This year's expo is at the end of May in Los Angeles.

E-book reader (or e-reader) - (n.) An electronic device that allows a user to view both electronic versions of books or manuscripts. A very wonderful device for editors and agents since they can now carry hundreds of pages of manuscripts in a little eight-ounce device.

i.e. - an abbreviation for id est, Latin for "that is to say" or "namely." The phrase is used to clarify a point, as in this example: "Enclose a #10 (i.e., business-sized) self-addressed, stamped envelope with your submission."

Kill fee - (n.) A fee paid to a writer who has worked on an assignment that, for some reason, is not published.
For example, you're contracted to write an article for a magazine and you turn it in. The article itself is satisfactory. But then the editor calls you and says they are changing the focus of the upcoming issue and they can't use your article as part of the package anymore. They have no more need for it, so they pay you a kill fee (approximately 25% of the original promised price) and all rights to the article revert back to you. Your best bet is to try and sell it elsewhere. Kill fees are rare.

Novella - (n.) A relatively short work of prose fiction comparable in length to a long short story or novelette, approximately 30,000-50,000 words.

Prepublication tour - (n.) A tour arranged by the publisher for the author before the release of the author's book. Unlike a normal author tour that centers around booksigning opportunities, these tours are a chance for the author to meet booksellers and the media. They often center around trade shows like BEA.

To Query - (v.) The act of asking very nicely in the sweetest most professional way possible if you can pretty please submit your manuscript for the publishing house to review.

Simultaneous submission - (n.) A submission where the writer submits his work to multiple editors or agents at the same time. Submitting to more than one agent is common (and encouraged). Some agents will only review queries or manuscripts exclusively; however, they should be upfront about this quirk in their online writers' guidelines, and they should have a limited amount of time to be the only ones reviewing your work (one month, for example).

Stand by Me, by Stephen King, was
originally a novella, as were his stories that
inspired the films Apt Pupil and
The Shawshank Redemption.

What Does That Mean? Literary Definitions: Vol. 3

Chuck — Wed, 12 Mar 2008 14:38:31 GMT

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

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

Advance - (n.) A payment against future royalties that you are paid in advance of publication. This can be a lot or a little. Of course, if you don't sell many books and earn out your advance, you'll never see another dime for the book.>

Agent - (n.) An intermediary that acts on the author's behalf while negotiating with a publisher. Since agents initially approach editors with manuscripts to pitch, they also serve as an important filter for publishing houses that do not accept unsolicited work.

Biweekly/Bimonthly - Referring to something that takes place once every two weeks/months. This is often confused with semi-weekly/semi-monthly, which means the something in question comes out twice every week/month.

Book Doctor - (n.) A freelance editor hired by a writer, agent or book editor who is skilled in analyzing any problems that exist in a book manuscript or proposal, and offering solutions to those problems. Book doctors often give advice on how to improve the work. They charge money for their services and knowledgeable pros are not cheap.

Byline - (n.) an author's name that appears with his or her work on the book or article. Bylines are craved by writers everywhere

On Spec - Writing a complete assignment before money is assured through a contract. When you compose an original screenplay not commissioned by anyone, it is known as a "spec screenplay." If you query a magazine or newspaper with an article idea, they may ask you to write it on spec, meaning they want to see the finished product in its entirety before making a decision to purchase and publish it.

Packager - (n.) A company that produces series of books for publishers. They generally use ghostwriters to write the books and then they pitch the whole series to a publisher who actually publishes the book. Nancy Drew is an example of something produced by a packager (Stratemeyer Syndicate) and then published by a publisher (Grosset & Dunlap).

Royalty - (n.) A percentage of the profits given to the author by the publisher in exchange for the permission to print the authors copyrighted work. These are normally based on the price the publisher gets for the book not the actual retail price. Like an advance, royalty percents can vary in size.

Evidently, this means "knowledge" in Japanese.

See Volumes One and Two here.

What Does That Mean? Literary Definitions: Vol. 2

Chuck — Fri, 07 Mar 2008 14:43:49 GMT

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

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

Acquisitions editor - (n.) an editor with the ability to submit book ideas for publication to the publisher. I (Chuck) am not an acquisitions editor, as I edit and update three directories each year. Coworkers, however, are acquisitions editors, and can take pitches for books in the Writer's Digest Books imprint. The Buried Editor is an acquisitions editor, and take pitches at conferences for children's books.
Similar, but not the same, is a submissions editor, which is a more common term in magazines. A submissions editor on staff will review all queries that come in.

Board book - (n.) a small format picture book for children under the age of three. The book is printed on thick cardboard like paper that is impervious to ripping and baby drool.

Clips - (n.) In journalistic terms, a sample of a writer's published work, usually from a newspaper or magazine. Editors often mention that clips or clippings should be mailed or e-mailed when an author queries them with an idea.

Comp copies - (n.) free copies of a book that an author receives from the publisher. The number varies from deal to deal. Comp copies are also sent out to authorities on the book's subject so they can provide positive testimonials or blurbs for advertising copy.
Comp copies sent to the author are also known as Contributor Copies or Author Copies.

Denouement - (n.) French for an untying. The denouement of a novel or story follows the climax; it represents the unraveling pf the complexities of a plot, and the clarifying of the story's details and misunderstandings.

F&G: stands for Fold & Gather - (n.) The picture book version of a galley. They are not bound but show the picture book in all its four-color glory. It's then sent to reviewers and the like. >

MS: stands for Manuscript - (n.) The typed, double-spaced, in-a-standard-font version of an author's work submitted to a publishing house.

PB: stands for Picture Book - (n.) A book for younger children that has sparse text and big, colorful (or occasionally black and white) pictures. Generally they have 32 pages. They are more difficult to write than most people realize, and despite a recent microscopic turn, the market for them has been sluggish at best for a while.

See Volume One Here.

What Does That Mean? Literary Definitions: Vol. 1

Chuck — Wed, 05 Mar 2008 03:56:36 GMT

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

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

To Acquire - (v.) The act of accepting a manuscript for publication. A work is not officially acquired until the contracts have been signed. Until then, it's in the process of being acquired.

ARC: Advanced Reading Copy - (n.) A bound copy of a book given to reviewers, booksellers, and other interested members of the industry for the purpose of creating excitement prior to the release of the book. Although these are not the final copy, they tend to be pretty damn close with cover art and some interior illustration. Although not the same thing as a galley, the words may be used interchangeably.

Galley - (n.) A bound version of just the text of the book (or article, if writing for magazines). There is little to no illustrations and the cover is a solid color with release data printed on the cover. Used for the same purposes as ARCs.

IRC: International Reply Coupon - (n.) International postage so that countries who don't use American currency stamps can mail back your submission and/or notification of rejection.

Sic - Latin for thus or so. Usually [enclosed in brackets] or (parentheses), sic is inserted after a word, phrase or expression in a quoted passage to indicate that the word or phrase has been quoted exactly as it was written, even though it may seem strange or incorrect (e.g., there was a spelling error in the quote).

Slush - (n.) Unsolicited manuscripts submitted to a publishing house. They tend to accumulate into mountainous piles.

Stet - Latin for let it stand. Editors and proofreaders place the word stet in the margin of a manuscript to indicate that a marked change or deletion should be ignored, and the copy typeset in its original form.

Vet - (v.) A term used by editors when referring to the procedure of submitting a book manuscript to an outside expert for review before publication. A manuscript is usually vetted at the publisher's expense.

Literary Agents vs. Managers

Chuck — Mon, 04 Feb 2008 18:25:19 GMT

Last week, I posted submission info on Will Entertainment. Before I knew it, Verla Kay's Web site, among others, picked up the news and spread it like wildfire. Garrett Hicks (of WE) must have gotten plenty of queries, because the next day he wrote and asked that I clarify how he is a "manager," not an "agent."

So this brings up the question: What is the difference? First of all, you should know that both are legimitate. I'm tempted to explain the details here, but an upcoming interview on the blog with literary/script manager Margery Walshaw of Evatopia will do the question more justice. It's on the way...

In the meantime, check out an explanation of the difference between agents and managers on the Writers Store Web site.

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 2011 Guide to Literary Agents 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.

The Elusive Auction

Chuck — Mon, 07 Jan 2008 14:19:55 GMT

Q: Under what circumstances are manuscripts (or series) auctioned? I have seen this mentioned in several book deals and am just curious about it.
- Tara

To help define both an auction and
a pre-empt, I'll just pull a paragraph
from the 2008 GLA:

A: "Your book may be bought in a pre-empt. That's when a publishing house tries to beat other potential buyers to your work and offers a solid price in the hopes of securing your book early and avoiding a bidding war. An actual bidding war - or auction - happens when a work is so stunningly marvelous that every house in town wants it bad enough to compete against each other, offering different perks such as a large advance and guaranteed ad dollars. Traditionally, the best deal (read: most money and enthusiasm) wins and signs the reader. After the auction was finished for Elizabeth Kostova's The Historian, her advance was a cool $2 million. (Note: First-time novelists will likely get an advance of $50,000 to $75,000, but hey, anything can happen!)"

FAQ Regarding Agents...

Chuck — Tue, 04 Dec 2007 19:56:29 GMT

Q: If you're a first-time writer, what should you do when an agent requests a publishing history and author bio?

A: If you have no publishing history or credits, then just say so. Remember that if you're submitting a novel, the thing that matters most is the quality of the writing. Is it good? If it is good, then it doesn't really matter whether you've published 15 short stories or none. So why do agents ask for it? If an agent sees a bio with credits (and awards), they know they're dealing with a professional. The writing must stand on its own, but a a good bio may help your work get considered faster.
With nonfiction, you must have a platform to get a book published - meaning: Are you an expert in the field who can reach potential book buyers? If you want to write a book on horticulture, for instance, but have no magazine or journal publishing credits in this subject, you may want to get some before trying to sell a book-length project.

Q: In Guide to Literary Agents, some agencies state their preference on receiving simultaneous queries and some do not. What about those who do not specify? Is it acceptable to send them simultaneous queries if they don't specifically ask you not to?

A: Yes. It is "normal," for lack of a better word, for writers to query multiple agents at once. Agents who want an exclusive read will say so. If they do not, assume they accept simultaneous submissions.

Q: I understand that if you're contacted by an agency, you're expected to give them a three-week exclusive. If you send out multiple queries and receive multiple answers, what is the proper thing to do as far as the agencies you did not pick are concerned? Should you inform them that another agent has taken an interest?

A: First of all, if you are contacted by an agency, there is no guarantee they will want an exclusive. That is a possibility, though.
There's no easy answer here. Just be honest. If an agent contacts you and asks for a four-week exclusive read, you'll probably say yes. If a second agent calls and asks for the same, just tell them the truth. Mention that another agent has an exclusive read on it, and ask if they would like an exclusive after that if a deal has not been made.

Q: What is a partial?

A: A partial is a portion of your entire story. When an agent requests "the first 3 chapters" or "the first 60 pages," that is a partial. Agents will usually review queries, partials, and (finally) full manuscripts.

Richard Goodman, on the Elusive Definition of Creative Nonfiction

Chuck — Mon, 11 Jun 2007 17:39:16 GMT

In my experiences speaking at writers’ conferences, no two subjects generate more disagreements from attendees than 1) the value of self-publishing, and 2) how any one human being can exactly define “creative nonfiction.” (From time to time, this results in people standing up in the crowd and saying, “I think you’re dead wrong about that, Chuck. Dead wrong.”)

Because of all this, I couldn’t pass up an opportunity to talk about creative nonfiction with an aficionado on the subject: Richard Goodman, who recently spoke on the topic at the Tennessee Writers’ Alliance Writers’ Conference in Franklin, Tenn.

There are many writers out there composing memoirs, stories based on truth, stories influenced by truth, historical fiction and everything in between. If you're going to write creative nonfiction and query an agent, be sure your story is truly creative nonfiction.

Richard Goodman >

GLA: Richard, what, in your opinion, constitutes “creative nonfiction”?

RG: My opinion is that creative nonfiction is nonfiction that strives to have many of the same qualities of fiction.

GLA: What are some good examples that really fit this definition?

RG: There’s quite a few, actually. Starting back in 1976, with Maxine Hong Kingston’s The Woman Warrior. That’s a fabulously well written book. I think In Cold Blood is another example. It’s no wonder (author Truman) Capote called it a “nonfiction novel.” Actually, I think Seabiscuit is a good example. The story is not about a horse race as much as it is about character. (Author Laura Hillenbrand) draws character beautifully - the three main characters in that book - Charles Howard, the owner of the horse; Tom Smith, the trainer; and Red Pollard, the jockey. Actually, there are four characters, with Seabiscuit. And just looking at the way she writes the horse races - there are three or four of them in the book and they’re all compelling. That’s the combination of incredible research and elegant, careful writing.

GLA: What often gets confused with creative nonfiction but is definitely not?

RG: A lot of ordinary journalism. I think a lot of biography. It’s definitely not creative nonfiction, but that doesn’t mean it’s not (excellent).

GLA: If someone comes up to you and says they’re writing a memoir but taking liberties with it and calling it “creative nonfiction,” what would you say to them?

RG: I would say I don’t agree with that. I don’t think it’s right. I don’t subscribe to that. If you’re going to do that, why not just write fiction? That’s what fiction is. You’re deceiving the reader. If you do something such as make up an entire character, I don’t see how that could be nonfiction.

Richard Goodman is the author of French Dirt (Algonquin); his next book, set for a spring 2008 release, is The Soul of Creative Writing (Transaction). He has written for numerous national publications, including The New York Times, Vanity Fair and Saveur. Learn more about him at richardgoodman.homestead.com.