Guide to Literary Agents - Excerpts

How to Start Your Mystery Novel

Chuck — Sat, 07 Aug 2010 16:31:37 GMT

No pressure, but the opening of your book is the gatekeeper in determining whether your novel will sell. If your opening is weak, it won’t matter if chapter two is a masterpiece. Editors and agents will stop reading before they get to it.

This column excerpted from Hallie Ephron's
Writing and Selling Your Mystery Novel.

Hopefully you’ve already scoped out a dramatic scene to open your novel. You know who’s in the scene and what’s going to happen to propel the novel forward. Your opening scene can be long or short. It can be action packed or moody, rich in description, or skeletal and spare. It may contain a vivid sense of setting or a strong shot of character. Regardless of what’s in that scene, the reader should have some idea what the story is going to be about after reading it, or at least have a good sense of the theme and be eager to turn the page.

Think about:

How does the opening sentence set up the scene?
What’s the out-of-whack event, and how does it pull the reader forward?
In what tense is this told, and from which character’s point of view?
What do we know about the setting?
What’s the weather and time of day?
What do we learn about Russ Van Alstyne?
Why does this event matter to this protagonist?
What does this opening scene suggest that the book is going to be about?
Does this opening develop plot or characters?

THE DRAMATIC OPENING

A good way to start the opening scene is by jumping right into the action. Here are some opening lines that catapult the reader into the story:

"When the first bullet hit my chest, I thought of my daughter."
        - No Second Chance, Harland Coben)

"Gordon Michaels stood in the fountain with all his clothes on."
        - Banker, Dick Francis

"The house in Silverlake was dark, its windows as empty as a dead man’s eyes."
        - The Concrete Blonde, Michael Connelly

"I was fifteen years old when I first met Sherlock Holmes, fifteen years old with my nose in a book as I walked the Sussex Downs, and nearly stepped on him."
        - The Beekeeper’s Apprentice, Laurie R. King

"They were thirty-five nautical miles off the coast of Rhode Island."
        - The Mayday, Bill Eidson

Your opening line is important, but don’t obsess about it. Just write an opening line that puts the reader into the scene, get past it, and keep going. You can make it “perfect” later.

HOW TO WRITE IT

The first scene of your book presents some unique problems. Your primary job is to get your story moving while at the same time introduce your reader to the characters and setting. Keep your eye on the story you’re setting up—something intriguing has to happen. Lay in just enough character and setting description to orient the reader. You have the rest of the book to fill in the blanks. Write the opening scene using the elements you sketched out. You can make revisions later as you learn more about topics such as setting the scene, introducing characters, writing dialogue and internal dialogue, and creating action.

Want more info on writing a great mystery novel? Check out the book.

Want more on this subject?

6 Keys to Revising Your Fiction.

The Different Stages of Querying.

4 Ways to Beat Writers Block and Write From Anywhere.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

5 Rules for Writing YA

Chuck — Mon, 26 Jul 2010 23:32:22 GMT

1. The life of the story depends on the writer's ability to convince the reader that the protagonist is one of them. Teens despise fakes. You must know kids well enough to channel their voices, thoughts and emotions.

Guest column by Regina Brooks, literary
agent at Serendipity Literary. This text
excerpted from Regina's 2009 book,
Writing Great Books For Young Adults.

2. Don't condescend to your readers. Young people won't abide stories that suggest their turmoil or idealism will pass when they "grow up." Brent Hartinger, author of Geography Club, says, "I'm a big believer that kids are smarter than we think they are ... I think kids can handle complexity and nuances, and the advantage to writing that way is that the book appeals to both teenagers and adults. Don't deal with young people by trying to push them in one direction or another. Deal with them where they're at now.

3. Read, read, read today's YA fiction. A word of caution: Don't emulate your favorite authors, but learn from them,. You'll want to create work that is truly your own. The benefits to reading what's already on the market are phenomenal. It will familiarize you with what's selling, how kids today talk, what they wear, what issues concern them, and so on.

4. Silence your worries over commercial considerations. This allows you to concentrate on your primary objective, which is to tell your story. Keep your artistic integrity—your ideals—ahead of how commercially successful you want your book to be. If you focus on writing the best possible book, commercial success will follow later. The significant rise in the success of YA novels has opened the way for a multiplicity of categories, and just to give you an idea, I've listed some alphabetically: adventure, chick lit, comical, fantasy, fantasy epics, futuristic, gay-themed, historical, multicultural, mystery, religious, romantic, science fiction, sports and urban. If your story doesn't fit into any of these categories, you may have to invent one. Consider it an opportunity.

5. In your new world of YA fiction, erect no concrete barriers, wire fences or one-way signs. Instead, forge new paths. The YA field welcomes innovators. What will your contribution be? Think fresh. Remember that young people are trendsetters—they're always looking to differentiate themselves from others. It's how teens forge their own identities. Don't be afraid to push the boar out as well. Coming up with a fresh idea will set you apart from the pack and might be the thing that sparks an editor's interest in your work.

Want more on children's writing?

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

New children's agent seeking submissions.

How to write picture books for kids.

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

Interview with kids agent Joe Monti of Barry Goldblatt Literary.

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

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

5 Screenwriting Tips All Writers Can Learn From

Chuck — Tue, 20 Jul 2010 02:04:28 GMT

No. 2: Start late. In individual scenes, don't waste valuable time on unnecessary entrances and hellos. See if a scene can be started in the middle. A writer who is willing to self-edit will often find that a scene is strengthened by cutting the first two, and often last two, lines of dialogue.

These tips excerpted from Neil Landau and Matt
Frederick's 101 Things I Learned in Film School,
(May 2010) one of five books in the
"101 Things" series.

No. 12: A flawed protagonist is more compelling than a perfect protagonist. Inexperienced writers may fail to imbue a protagonist with undesirable traits because they want him or her to appear likable and their cause noble. But a completely capable hero leads an audience to relax its attention: If he can handle anything, why worry? Audiences are usually fascinated by contradictions and shortcomings in a film's characters. The idiosyncrasies and failings we all have are even more compelling in a character that is otherwise heroic.

No. 25: Create memorable entrances. Your protagonist's character, style and behavior must be distinctive from the moment we first lay eyes on him or her. Does she trip on a carpet shag? Did she forget to remove a hair curler? Is he carrying a note-quite-concealed weapon? Is he a debonair smoothie amid a hubbub of confusion and crudity? Is she a lone, effervescent figure in a gray London gloom?

No. 29: Props reveal character. In Se7en, Morgan Freeman's character has a metronome besides his bed. Its ticking rhythm comforted him and helped him drift to sleep. But more significantly, the prop conveyed his desire, as an overworked city police detective, to control one noise in a cacophonous city.

No. 75: Make visual motifs specific. Motifs are visually evocative elements placed strategically throughout a film to amplify theme. They can also act as a structural or pacing device. Themes are broad and universal to human experience, but motifs should be specific to the story and directly relevant to the experiences of the characters.

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!

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 2011 Guide to Literary Agents today!

6 Tips on How to Build a Platform and Sell Books

Chuck — Tue, 29 Jun 2010 23:00:34 GMT

For nonfiction writers, the most significant development of the past decade has been the insistence by the publishers that authors have national platforms. For fiction writers, authors’ platforms matter less. However, it never hurts for a fiction writer to be charismatic, articulate, a vigorous promoter, and media savvy. Children’s book writers and illustrators also benefit from being willing to travel, visit bookstores, network with educators, and promote.

This column excerpted from
Author 101: Bestselling Secrets From Top Agents

Agents gravitate to writers with visibility and “reach” because publishers are convinced they will generate more book sales. With that in mind, here are some basic ways to build a platform:

GIVE TALKS AROUND THE COUNTRY

Start locally by approaching civic, community, and religious organizations. Develop a series of talks for your church or the rotary club and then move up to larger groups and venues. Ask everyone you know to help find bookings. Speak often and work your way up. Make your initial mistakes locally and build a devoted fanbase close to home.
Hone your craft by taking speaking, voice, or acting lessons. Or you could hire a professional media coach. Then practice, practice, practice.
Ask your audiences and your friends to critique your performances and to give you their suggestions. Ruthlessly critique yourself.

GAIN MEDIA PRESENCE

Inform members of the media about your appearance(s) and invite them to attend as your guest.
Maintain a file of press clippings about you and your presentations that you can use to get more media coverage.
Write a regularly published column, newsletter or blog. Again, start small and then try to build your exposure.

MAKE USE OF THE INTERNET

Starting and leading an online community can position you as an expert. Expand your following, and stay informed of problems, issues and developments in your field.

FIND PARTNERS

Compile a names list. Create a list of individuals who would be interested in buying your book. At your appearances or on your website, offer free giveaways to people who pass on their contact information or sign up for a newsletter.

PLATFORM ALTERNATIVE #1: JOIN FORCES

When some agents receive submissions that they like from writers who don’t have platforms, they try to pair them with people who do. Pairing seems to work best when authors are matched before the actual writing begins. They can plan the book together, divide responsibilities, and decide how they will work.

PLATFORM ALTERNATIVE #2: PLUG INTO AN ESTABLISHED BOOK SERIES

Good examples are the Dummies, Chicken Soup, Everything and Streetwise series of books. With a series like this, the brand and reputation are what sells, and are more important than the writer's 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 If Multiple Agents Want Your Work?

Chuck — Sat, 08 May 2010 02:55:29 GMT

OK. So you’ve sent out your e-mails, had a few responses, and now it’s down to two or more agents who’ve made you offers. You’ve politely but firmly told them that you have to speak with everyone before making a decision. Now what? E-mail them, say there are several agents interested, and that you’d like to set up a phone meeting. I know, I know, it’s scary. But you will (one hopes) be calling up your agent for years to come—it’s worth it to know what that will be like. And even if you’re a hot mess (or, more likely, an overcaffeinated one) on the phone, they’ll still want your book.

This column by agent Jessica Sinsheimer of
Sarah Jane Freymann Literary is an excerpt
from GET AN AGENT, a 128-page magazine
all about finding an agent. The publication
is in bookstores now, and has info on
queries, synopses, Chapter 1 tips,
proposals, copyright, and much more.

Don’t be nervous; they’ll do most of the talking—they are, after all, auditioning for you. Don’t be afraid to spend a moment on pleasantries—if anything, it’ll calm you down and make you sound more professional and less scared. Try something like: "Hi, how are you, did you have a good holiday? Great, so I was calling to get a better sense of each interested agent …" Prepare a list of questions for each. Here’s a jumping-off point:

What editorial comments do you have? What would you like me to change/expand/cut out?

What do you like about my work? (If they don’t answer this themselves, it’s unusual, but keep asking until you have a good sense as to why.)
What have you sold recently? In this genre? (We’ll assume you’ve done some research before querying this agent, but it’s all right to ask.)
Do you have an idea of the editors you’d send this to?
How soon could you send this out (after the edits are completed)?
What kind of feedback do you give your writers? How much communication would there be? Would I hear about everything as it happens, or would you call and tell me when the deal is done?

Be wary of agents who say, “Your work is perfect! I wouldn’t dare change a comma!” (Some agents minimize the work involved to tempt you.) Or, “This is going to be the biggest bestseller, like, ever!” (No one knows in this market.) Or, “I can promise you’ll have a gold-plated private jet for your international book tour!” (Unrealistic—plus, wouldn’t it be too heavy to fly?) Or, “I’m the only one who can sell this." (Unprofessional on many levels.) They should care about making the work the best it can be—just for the sake of it reaching its full potential. Also, see if they seem like a nice person. You’ll be entrusting them with your work, after all, and will want to feel comfortable seeking their advice in all that’s about to happen.

(See the rest of the article and
so much more inside GET AN AGENT.)

Want more on this subject?

Read the GLA interview with Jessica Sinsheimer here.

How royalties and advances (money) work.

Don't put all your eggs in one basket with just one book.

You have a contract but no literary agent - what to do.

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 an Author Platform?

Chuck — Sun, 27 Dec 2009 06:48:34 GMT

I've talked about platform before on the blog but it's always a nice refresher to get a different perspective and a reminder of 1) what it is, and 2) why it's important. To do that, I'm turning to a book I'm reading right now: Christina Katz's Get Known Before the Book Deal. Enjoy an excerpt below.

What is Platform?

The world platform simply describes all the ways you are visible and appealing to your future, potential or actual readership. Platform development is important not only for authors; it's also crucial for aspiring and soon-to-be authors. Your platform includes your Web presence, any public speaking you do, the classes you teach, the media contacts you've established, the articles you've published, and any other means you currently have for making your name and your future books known to a viable readership.

Your platform communicates your expertise to others concisely, quickly, and decisively with clarity, confidence and ease. How visible are you? How much influence do you have? How many people know and trust you? If others recognize your expertise on a given topic or a specific audience or both, then that is the measure of your platform success.

Three Key Questions

Here are three simple questions I always ask workshop partiocipants about platform. The answers will help clarify where you want to be that all-important one year from now.

      1. Who are you known as in the world as a writer now?
      2. How do others see you now?
      3. Who would you like to be known as in one year?

It's important not to exaggerate these descriptions. If you're not sure, ask some people who know! Be realistic, and set a reasonable goal for the one-year time frame. Don't try to go from completely unknown to bestseller. That's very unlikely, especially if you don't have a book deal yet. But perhaps from completely unknown to well known in your city, region or state is reasonable.

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!

Page 1: How to Start Your Romance Novel

Chuck — Tue, 01 Dec 2009 15:16:46 GMT

Here on the blog, I don't spend too much time talking about craft, simply because it's a huge subject I can't really do justice to; however, I do like to talk about how best to start your story right and have a compelling Page 1 and Chapter 1, and that's where this guest column comes in, from romance writer Leigh Michaels.

STARTING TO WRITE YOUR STORY

Figuring out where to start telling your story is one of the bigger challenges you face. You have limited time and space—a few pages, at most—to seize your readers' interest. If you start too slowly and include too much of the characters' history, readers may get tired of waiting for the interesting stuff to start. If you start too fast, with too much action, they may get confused. Either miscalculation can make a reader put the book down and never pick it up again.

This column excerpted from
On Writing Romance by
Leigh Michaels.

Page One: Where to Start

You should be able to convincingly answer the question, Why does page one pick up the story at the moment it does? The best beginnings show—within the first few pages or even paragraphs—the main characters under pressure and facing a challenge, a change in circumstances, or a threat that will significantly alter the rest of her life.

There are no hard and fast rules for exactly how to begin your book, but certain starting setups have proven successful over time. When you're deciding where and when to begin, keep the following options in mind:

1. Start with one of your two main characters. Readers expect the first character they meet in the story to be either the hero or the heroine (and most often it is the heroine), and they're immediately prepared to care about this person. In this opening paragraph from her historical novella, The Rake's Bride, Nicola Cornick introduces her hero and gives us a pretty good idea why we'll be rooting for this war veteran to find love: as a reward for the hell he's been through:

     The April sunlight was as blinding as a flash of gunpowder and the rattle of the bed curtains sounded like distant artillery fire. For a moment, Jack, Marquis of Merlin, wondered if he had gone to hell and ended back in the Peninsula War.

2. Start with action. A good option is to show the main character at the
point when that character's life is disrupted by some kind of danger or
threat. The danger doesn't have to be life-threatening, and it's better if
it isn't complex and doesn't require lengthy explanation. Starting with
action is particularly effective when the situation is easily understood or
the peril is something the readers can relate to—as in this example from
Liz Fielding's sweet traditional, The Billionaire Takes a Bride:

     This was a mistake ... Every cell in Ginny's body was slamming on the brakes, digging in its heels, trying to claw its way back behind the safety of the rain-soaked hedge that divided her roof top terrace from the raked perfection of Richard Mallory's Japanese garden ...
     Her boots left deep impressions in the damp gravel. So much for stealth.
     She was not cut out for burglary.

3. Start with an attention-getting statement. When the readers are presented with something they don't expect, as in Maureen Child's single title Some Kind of Wonderful, they will read on to find out what the heck's happening:

     Baby Jesus moved.
     Carol Baker blinked and shook her head. "Okay, Carol. When you start
seeing statues move, it's either a miracle or you've got problems." She
stared hard at the brightly-lit, life-sized Nativity scene that filled one
corner of the town square ...
     "Okay, Baby Jesus is definitely moving."

Within a few paragraphs, we find out that "Baby Jesus" is actually an
abandoned infant, and the heroine finds her life taking a dramatic turn.

Want more on this subject?

Buy Leigh's book: On Writing Romance.

Check out an interview with romance expert and Dorchester editor Leah Hultenschmidt.

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!

Formatting & Submitting Your Manuscript (My New Book!) is Out!

Chuck — Fri, 13 Nov 2009 22:38:41 GMT

This is so cool. Very soon after holding a copy of the new 2010 Guide to Literary Agents in my hand thsi summer, I got some more good news: my other new book, Formatting & Submitting Your Manuscript, 3rd Ed. is out and available now. Awesomeness.

When asked if I would helm the third edition of Formatting & Submitting Your Manuscript, 3rd Ed., I said yes immediately. After all, I kept the second edition right next to my desk at work and consulted it all the time – it would be an honor to update it. My only worry was: How can I make this good book better?

My solution: New query examples and new article examples – and lots of ‘em, baby. (See a review of Formatting & Submitting on The Writing Bug website.)

There’s a reason that this book warranted a third edition. It has more than 100 examples of queries and articles and everything else writing-related. It doesn’t just tell you how to format something, it shows you – with sample queries and submissions that are well constructed, while also showing what to do and what not to do when contacting publishing professionals.

Making submissions look pristine is not an easy task, no matter what you’re writing. Are you confused as to how to format a magazine query or sidebar? I'll show you how to do it. What about formatting a screenplay or a film treatment? I've got examples of those, too. Or what about stage plays, picture books, graphic novels, fiction, book proposals and everything else? Yep – it’s all in here. On top of the examples, this book has hundreds of pages of general submissions tips and info – the dos and don’ts when sending your work to editors and agents.

It all adds up to giving writers the best shot of getting their work read and published – whether you want to call it getting ahead of the curve, to the head of the class, or just to the front of line.

Maybe you’re ready to submit but want to make your work perfect, or maybe you’re just starting out and don’t know whether that idea is a novel or a screenplay. Either way, this is a book that can truly assist you in your writing journey. What's so cool about this book is that no matter what you’re composing, Formatting & Submitting Your Manuscript, 3rd Ed. can help you do it right. After all, it helped me; why not you, too?

Want more on this subject?

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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!

The Essential Parts of a Novel Synopsis

Chuck — Sun, 18 Oct 2009 23:20:50 GMT

1. The Opening Hook

You must start strong with the novel synopsis. Agents and editors want to be engaged when they're up at night, plowing through submissions. If they don't like the opening, they won't get through the rest of it. Here is an example of an intriguing synopsis opening, from Monster by John Tigges:

"MAL and JONNA EVANS, in an effort to save their marriage, which has been been jeopardized by Jonna's extramarital affair, go backpacking near Garibaldi Provincial Park, British Columbia. On their first night, while preparing their evening meal, a Sasquatch barges into their camp and grabs Jonna."

These tips excerpted from Give 'Em What They Want, a book
by Blythe Camenson and Marshall J. Cook. The book is a great
resource for information on query writing, synopsis writing, and
outline writing. It's all about "the right way to pitch you novel
to editors and agents." Buy it here.

2. Character Sketches

You need to provide a sense of your main characters' motivations, especially those that will bring the characters into conflict with one another. "The characters' physical descriptions are not vital, but their motivations are," Marilyn Campbell says. Here is a part of the synopsis for Broken Connections, which earned the author a television movie option with this quick sketch of her heroine's backstory:

"Twenty-six-year-old JULIE HAMPTON, author of several gardening books, has returned to her native Boston from California after separating from her philandering husband, JOEL GREGG. Julie had fled to California seven years earlier to attend UC Berkeley and to put as much distance as she could between herself and her mother."

3. Plot Highlights

"Detail the beginning and ending scenes and one or two in the middle that give an indication of the kind of emotional intensity or type of action to be expected," Campbell says. So what constitutes a major scene worth noting? Consider: 1) Do I need this scene to make the primary plot hang together? 2) Do I need this scene for the ending to make sense? Your synopsis should reveal how much and what kind of trouble your poor protagonist is going to encounter.

4. Core Confict

If your conflict isn't implicit in your first few sentences (a "hook"), spell it out. Your core conflict may, of course, overlap categories and could even touch on multiple types of conflict. Consider this:

"Tortured by grief and loss (person vs. self) and fleeing a wrong conviction for a crime he didn't commit (person vs. society), DR. RICHARD KIMBALL struggles to survive (person vs. nature) while fleeing the relentless lawman who pursues him (person vs. person).

5. The Conclusion

Don't close with a cliffhanger. Revealing the ending to your novel won't spoil the story for the editor or agent. It will show that you've successfully finished your novel. "Make sure every loose thread is tied up and never leave an editor guessing about anything," Campbell says. If your novel is one of a series, your ending can point to the sequel.

Want more on this topic?

How to Write a Novel Synopsis.

Buy the book Give 'Em What They Want.

Read the Starman synopsis - a great example of a summary.

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 Agents Hate: Part II (Author 101 Series)

Chuck — Fri, 11 Sep 2009 17:32:27 GMT

See Part I of this series here.

When writers try to get an agent, they are asked to run a difficult course, and run it under a microscope. Although the level of scrutiny that writers receive is huge, it is definitely surmountable. Read the following items that agents dislike and alter your approaches accordingly. Agents hate the following items:

5. Not telling agents a project's history.

Some authors don't reveal that the book has already gone to twenty publishers. In these cases, an agent may spend time reading, editing, or developing the project and then unknowingly submit it to editors who have already passed on it.
Don't be afraid to tell an agent that your book has been rejected. Agents frequently take on projects that have been shopped. They may work on them editorially, fixing them up. Writers should also inform their agents about all changes or revisions they've made since the book was rejected.

These tips excerpted from
Author 101: Bestselling
Secrets from Top Agents,
by Rick Frishman and Robyn
Freedman Spizman.

6. Writers who don't contact their agents when problems arise.

Frequently, when problems crop up, writers become frustratred and dissatisfied. However, had they contacted their agent, the agent might have explained the situation and helped them find ways to resolve it. Agents can provide creative second opinions. They usually have extensive experience in publishing, and frequently they are accomplished editors. They can also be a writer's best advisor.

7. Writers who say, "There is no competition for this book."

Rarely does a book have no competition. It's okay to say, "There is no product in the market precisely like this," and then point out how your book differs from its competition. List the closest or most analogous books and state how yours differs and is better. When writers claim that their books are without competitors, it tells agents that the writers didn't do the hard, basic research to identify and distinguish the closest books. It also makes them think that the writers won't do the necessary research to write a solid book.

8. Writers who call their agent too much.

Agents are busy; if you call them constantly, you'll drive them crazy. So limit your calls, create an agenda for the calls you make, and while it's nice to schmooze and talk now and then, keep in mind that they are running busy operations.
Many agents who are sole proprietors don't have staffs, so they do most office tasks themselves. Find out when it will be convenient for them to speak with you, and schedule a phone conference at a time that will work for you both.

Want more on this subject?

See part I of this excerpt series here.

What Agents Hate: Chapter 1 Pet Peeves.

What Agents Hate: Even More Chapter 1 Pet Peeves.

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

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

What Agents Hate (Author 101 Series)

Chuck — Sat, 05 Sep 2009 19:41:21 GMT

1. Inquiries that show writers have not done their homework.

This complaint usually fell into two categories: 1) submissions that are not the type of books an agency accepts, and 2) submissions that are not specifically addressed.
      Do your homework. Save everyone time and effort by checking the guidebooks and agents' websites to learn what types of books they represent.
      Submissions that are not specifically addressed are generally sent to "Dear Agent," the agency, or "To Whom it May Concern." These submissions look like form letters. Address all correspondence to a particular individual and make sure thay you spell that person's and the agency's name correctly.

2. Authors who insist that they receive unrealistically high advances.

Agents are experts at evaluating what books are worth, and since they receive a percentage of the proceeds, they try to squeeze out top dollar. Coming with demands of a "minimum advance figure" is a clear signal that you will be difficult to work with.

These tips excerpted from
Author 101: Bestselling
Secrets from Top Agents,
by Rick Frishman and Robyn
Freedman Spizman.

3. Authors who try to be all things to all people.

Agents and editors prefer tightly focused books. They told us that a writer's audience actually expands the tighter the focus of the book is. An author cannot be all things to all people. For instance, a writer may think that the market for her children's book is ages four to 14, but four-year-olds want different books than 14-year-olds do. A diet book aimed at young adults, for example, could sell better that a book that tries to appeal to all ages of dieters.

4. Control freaks

Agents do not like to work with clients who are not willing to change proposals, manuscripts or strategies that can improve a book or its ability to sell. The best authors are those who are willing to listen and are open to their agents' advice. Although agents aren't the end all and be all, they are knowledgable professionals, and selling books is their business. They have experience and can bring a certain perspective to a project that authors may not have.

Want more on this subject?

Want more on"What Agents Hate"? See a list of their pet peeves here, with Part I and Part II blog posts.

See 10 Things NOT to Do in a Query.

Check out the book Author 101: Bestselling Secrets from Top Agents.

See an example of a Mind-Boggling Horrible Query Letter.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Make the Most Out of a Writers' Conference

Chuck — Thu, 03 Sep 2009 22:55:53 GMT

Literary agent Chip MacGregor (MacGregor Literary) has posted an article from the 2010 Guide to Literary Agents on his blog. The article is all about how to Make the Most Out of a Writers' Conference.

Here's Part I
Here's Part II

I hope you find the article helpful. If you're headed out to a conference soon and are confused are what to expect and/or how to maximize your experience, check out the article, and if you're feeling saucy, check out the entire 2010 GLA.

The crowd from one such conference,
Muse & the Marketplace 2009

Here's an excerpt:

WHO WILL YOU MEET?

Perhaps the most valuable aspect of a conference is writers' ability to meet the power players and decision makers in the publishing world. In addition, they can make contacts and form partnerships with their fellow writers. Here are three different types of people you will meet.

Peers and writers
This is where the schmoozing comes in. Besides classes and presentations, there are usually dinners as well as meet-and-greet opportunities, not to mention simply banding together at night and hitting the hotel lobby or nearby bar to relax and talk. Perhaps you didn't even know the regional writers' group in charge existed, and may be able get involved with the organization.

Agents
Perhaps the biggest draw, agents attend conferences for a specific reason: to find potential clients. They are bombarded with pitches and request writing samples from those attendees who dazzle them with a good idea or pitch. Short of an excellent referral, conferences are the best way to snag an agent, so take advantage of meeting one. (I found my literary agent at a conference. Trust me: They work.)

Want more on this subject?

Check out this guest column by Han Vance on Networking at Writers Conferences.

Read more about the dos and don'ts of pitching agents at conferences.

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!

2010 GLA Excerpt: How to Write a Book Proposal

Chuck — Wed, 26 Aug 2009 16:53:24 GMT

The 2010 Guide to Literary Agents has arrived in bookstores and is available now. Needless to say, I am excited to see it in print. I mean—just look at the book. It looks like a delicious s'more. That is—a delicious s'more filled with tons of agent info and conference info and articles. I suppose that's just the marshmallow filling.

Besides finding the book in stores, you can also order it cheaper from F+W online. To help show you some of the great content inside its pages, I'm going to excerpt some articles to give writers a little taste of what articles are included to help scribes on their journey. The following excerpt below is from literary agent Cricket Freeman of The August Agency. Her article is all about How to Write a Successful Book Proposal.

REACHING THE TOP 10 PERCENT

Today’s publishing marketplace is a far cry from that romanticized in movies. Agents simply cannot sell an unknown writer’s idea for a nonfiction book. For an agent to sell a book to a major publisher, it requires the following:

    1. A fresh idea to spark interest
    2. A catchy title and concept to grab attention
    3. A distinctive author’s voice to hold that attention
    4. The expertise to back up the concept
    5. The skill to execute it
    6. The capacity to promote it
    7. The ability to present it with enough passion so editors can see the first six elements and grasp the vision.

Many people have the first element. Some have the second, third, fourth, fifth, and maybe the sixth. But a very rare few have the last. Bring all seven to the table and you’ll jump to the top 10 percent of submissions.

UNDERSTANDING EDITORS

Imagine an editor is considering two submissions by first-time writers. Both books are equally well written, suited for his house, and he’d be proud publishing either. But he only has budget for one. Reviewing one he sees a tight synopsis, a descriptive table of contents, and a short author bio. Promising. Reviewing the other he sees those things, but also a colorful author with blurbs from known writers, who knows her competition, is connected to her target market, provides several versatile outlines, plus plans for self-promotion. Valuable. A professional writer on a firm career path.

Which author would you rather be?

Or, look at it this way: Suppose you wanted to open a bakery, would you waltz into a bank, plop a box of your wonderful donuts on the banker’s desk, assuming he’ll hand over a hundred grand? Nah, you know Mr. Banker wants more than a yummy crueller; he wants facts and figures to reassure his board. Well, publishers are no different. Editors look at the big picture—past a good read. They look at things like audience, relevance, sales climate, marketing possibilities, sales history of similar books, current trends, the author’s professionalism, and, of course, potential profits.

Give more info than expected and you deliver a welcomed baker’s dozen. If you’ve fleshed out an idea and written a great book, now is the time to take command. Steer the next stage of its production, shape each section, and create a terrific submission package.

Want more on this subject?

Agent Ted Weinstein previously talked all about proposal writing.

If you're interested in The August Agency, I interviewed Cricket's co-agent, Jeffery McGraw.

Buy the 2011 Guide to Literary Agents today!.

Agents Tell How To Start a Story Right

Chuck — Fri, 21 Aug 2009 15:00:47 GMT

Les Edgerton, an author and pretty cool guy, talked to a lot of literary agents when writing his book Hooked, which is all about grabbing readers on page one and never letting them go. Les has shared some of the agent advice below for us!

Hooked

"Strong beginnings start in the middle of the story. You can fill in backstory later. I like to see the protagonist in action at the start so that I get a feel for who the character is right off the bat. We often get submissions with cover letters that begin: 'I know you asked for the first 50 pages, but the story really gets going on page 57, so I included more.' If the story really gets going at 57, you probably need to cut the first 56."

        - Mike Farris, Farris Literary Agency

"Action. Danger. Conflict. Crisis. Consider this from Jeff Somers's The Electric Church: 'You fucked up, Mr. Cates.' Do we know who Mr. Cates is? No. Do we know what he looks like or where he is? No, but we will. What we know now is that he's in trouble. Of course I want to read on."

        - Janet Reid, FinePrint Literary Management

"Never open with scenery! Novels are about people and the human condition. That is why we read them. Yet writer after writer starts off with descriptions of cities, towns, streets, forests, mountains, oceans, etc. Of course I know why. They've learned how to describe landscapes in language that seems literary, and hope we'll be impressed. We are not. We are looking for life.
        "Also, never open with the villain if you're doing mysteries, thrillers, suspense, horror, science fiction, or fantasy genres. Nothing is more important to us than the voice of the protagonist. That is what drives a novel. So give us the protagonist up front. And, yes, I know many best-selling authors open with the villain doing his ghastly deed. Once you're a bestseller, you can do pretty much whatever you want until readers stop buying your books. The other thing is: These authors are usually writing a series, so the reader is already acquainted with the protagonist. You [a new writer] don't have any of this going for you."

       - Jodie Rhodes, Jodie Rhodes Literary Agency

"A story must begin with an immediate hook. Go to some of the classics to see how to begin, namely, A Tale of Two Cities, by Charles Dickens; Offshore, by Penelope Fitzgerald; Pride & Prejudice, by Jane Austen; Madame Bovary, by Gustave Flaubert. That first sentence and paragraph immediately draws one into the story and makes it impossible for the reader not to read on."

       - Julie Castiglia, Castiglia Literary Agency

Want more on this subject?

See my article on WritersDigest.com all about chapter 1 cliches and What Agents Hate.
If you're interested in agent Janet Reid, I interviewed her on the blog.
Confused about formatting? Check out Formatting & Submitting Your Manuscript.
Read about What Agents Hate: Chapter 1 Pet Peeves.
Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

2010 GLA Excerpt: How NOT To Get an Agent

Chuck — Mon, 17 Aug 2009 03:25:41 GMT

The 2010 Guide to Literary Agents arrives in-house within one week and, needless to say, I am excited to see it in print. I mean - just look at the book. It looks like a delicious s'more. That is - a delicious s'more filled with tons of agent info and conference info and articles. I suppose that's just the marshmallow filling.

The book will be in stores in mid to late August. Keep in mind that you can pre-order now through F+W Media. In the meantime, I'm going to excerpt some articles to give writers a little taste of what articles are included to help scribes on their journey. The following excerpt below is from Jean Daigneau, who is a former regional SCBWI advisor. Her article is full of things NOT to do if you want to snag an agent.

HOW NOT TO GET AN AGENT:

Mistake No. 1: Gimmicks, Gimmicks and More Gimmicks

Cute sells. Think Beanie Babies and dyed baby chicks. (Okay, you probably weren't even born when people could buy baby chicks in a rainbow of colors, but they were cute.) So enhancing your manuscript with clip art will certainly add an interesting element. Or consider using colored stationery or perhaps an unusual font. Something like Bradley Hand ITC is definitely eye-catching. Remember, it's all about making it to the top of the slush pile, or at least getting an agent's attention.

Besides, agents are people driven by the same human emotions as the rest of us - mostly greed. What agent in his or her right mind would turn down chocolate? Or football tickets? Or cash? Okay, I'm just kidding about the cash, but don't think it can't work.

Anything that makes your submission stand out is worth trying. Steven Chudney, principal of the Steven Chudney Agency, will attest to that fact. "Twice I've received 8 by 10 glossies from prospective clients," he said. "That certainly told me a lot about their writing and them." See? From the hundreds of submittals he's received, which ones does he remember? The two authors who sent glossies. I told you gimmicks work.

Mistake No. 2: No Time to be Humble

One thing most successful people have is confidence. What better way to show it than by letting an agent know that your spouse, best friend, grandchildren, or fellow inmates all love your story? Any agent will be thrilled to know that you're the next Dr. Seuss, especially when you tell her that, while your manuscript may seem very similar to How the Grinch Stole Christmas, it's actually much better. So remember, you can't say enough about what a great writer you are. That agent will be so impressed with you she'll probably mention your approach during a conference presentation - as one of the most unforgettable she's encountered.

Mistake No. 3: Watts a Few Typos Among Friends?

Prior to submitting to an agent, you've no doubt read your manuscript until you could almost recite it verbatim. Why worry then about those last few thousand words you just revised? That's what spelling and grammar check tools are for. Sew watts the wurst that mite hap pen if ewe have knot red yore man yew script won Moor thyme? If an agent can't overlook a few mistakes, he's probably not very flexible or easy to get along with. Who wants to work with someone like that?

Besides, isn't that an agent's job – to take an unpolished manuscript and turn it into a best seller? Your job is to write. You may as well leave the editing to the experts.

Want more on this subject?

Read other article excerpts from the 2010 GLA.
If you're writing a novel and looking for help, check out our new book called Novel Shortcuts by Laura Whitcomb.

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!

2010 GLA Excerpt: Blogs, Facebook and Social Media

Chuck — Mon, 10 Aug 2009 13:34:11 GMT

The 2010 Guide to Literary Agents arrives in-house within one week and, needless to say, I am excited to see it in print. I mean - just look at the book. It looks like a delicious s'more. That is - a delicious s'more filled with tons of agent info and conference info and articles. I suppose that's just the marshmallow filling.

The book will be in store in mid to late August. Keep in mind that you can pre-order it now on Amazon. In the meantime, I'm going to excerpt some articles to give writers a little taste of what articles are included to help scribes on their journey. The following excerpt below is from Ron Hogan, who runs the ultra-popular Galleycat blog on Media Bistro. His article is all about blogs, Facebook and social media for writers.

THE INS & OUTS OF SOCIAL NETWORKING

"If you aren't blogging now, and you don't plan on starting any time soon, there may come a time when an agent or a publicist says to you, 'You have to get the word out about your book on the Internet—hey, you should start a blog!'
        This is the worst possible reason to start a blog.
        Remember that scene in A Christmas Story when Ralphie becomes totally absorbed in the coded message from his favorite radio show only to walk away in disgust when he finds out it's a 'crummy commercial'? That's how online readers feel, and they can usually sniff out the marketing a lot sooner. If you want to establish an online presence that will help readers to discover you when you become a published author, now is the perfect time to start."

AN OUTLET FOR YOUR INTERESTS

"You should blog for the same reason you want to write in the first place: There's something you want to say to the world, and you can't imagine not saying it. You should be writing from a position of passionate authority—that is, you should be writing about a subject into which you've fully immersed yourself and ready to share your enthusiasm with others. Once you get past the basic format—a series of posts, similar to short articles or journal entries, arranged in reverse chronological order so readers will see the most recent material first—it doesn't matter what you're writing about: A 13-year-old girl blogging about videogames can be just as passionate as a 25-year-old man sharing his favorite recipes, or a 40-year-old woman writing about the books she's reading.
        I started my Web site, Beatrice.com, back in 1995 because I was working in an independent bookstore and realized the opportunity in interviewing writers during their book tours. I posted those Q&As irregularly for years until work commitments forced me to spend less time on my personal site; that's when I started posting short commentaries about the literary world every weekday.
        You don't necessarily have to share a lot of your personal life in a blog, but you should be revealing a lot of your personality... and for those of you who are about to ask, 'How's this supposed to help me sell books?' the answer is, it's not (assuming you even have a book to sell yet). If it's about "selling" anything to other people, you are the merchandise. Your blog, along with the other social networking platforms I'll mention shortly, is a way to establish that you are an interesting person who has something to say. Once people are convinced of that, it's a lot easier to for them to believe your book (if you have one) is worth reading."

          - Excerpted from the article "The Ins and Outs of Social Networking: Blogs, Facebook and More," by Ron Hogan, in the 2010 Guide to Literary Agents.

Agent Don Maass Explains Your Tools for Character Building

Chuck — Mon, 03 Aug 2009 03:19:45 GMT

Finding a Protagonist's Strength

      Step 1: Is your protagonist an ordinary person? Find in him any kind of strength.

      Step 2: Work out a way for that strength to be demonstrated within your protagonist's first five pages.

      Step 3: Revise your character's introduction to your readers.

Without a quality of strength on display, your readers will not bond with
your protagonist. Why should they? No one wants to spend four minutes, let alone four hundred pages, with a miserable excuse for a human being or even a plain old average Joe. So, what is strength? It can be as simple as caring about someone, self-awareness, a longing for change, or hope. Any small positive quality will signal to your readers that your ordinary protagonist is worth their time.

Literary Agent Don Maass

Finding a Hero's Flaws

      Step 1: Is your protagonist a hero - that is, someone who is already strong? Finding in him something conflicted, fallible, humbling or human.

      Step 2: Work out a way for that flaw to be demonstrated within your protagonist's first five pages.

      Step 3: Revise your character's introduction to your readers. Be sure to soften the flaw with self-awareness or self-depreicating humor.

Heroes who are nothing but good, noble, unswerving, honest, courageous, and kind to their mothers will make your readers want to gag. To make heroes real enough to be likable, it's necessary to make them a little bit flawed. What is a flaw that will not also prove fatal? A personal problem, a bad habit, a hot button, a blind spot, or anything that makes your hero a real human being will work. However, this flaw cannot be overwhelming. That is the reason for adding wise self-awareness or a rueful sense of humor.

The Impact of Greatness

      Step 1: Does your story have a character who is supposed to be great? Choose a character (your protagonist or another) who is, has been, or will be affected by that great character.

      Step 2: Note the impact on your point-of-view character. In what ways is she changed by the great character? How specifically is her self-regard for actual life different? Is destiny involved? Detail the effect.

      Step 3: Write out that impact in a paragraph. It can be backward looking (a flashback frame) or a present moment of exposition.

      Step 4: Add that paragraph to your manuscript.

Greatness is not always about esteem. Those affected by great people may be ambivalent. Whatever the case in your story, see if you can shade the effect of your great character to make it specific and captured nuances. The effect of one character upon another is as particular as the characters themselves.

Excerpted from The Fire in Fiction
(2009, Writer's Digest Books). You can
find the book in the F+W Bookstore here.
Donald Maass runs his own agency
in New York City.

Want more on this subject?

Donald Maass shares advice through Writer Unboxed.

Agent Stacia Decker moves to Donald Maass Literary.

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!

2010 GLA Excerpt: Writing the Query Letter

Chuck — Wed, 29 Jul 2009 14:59:36 GMT

The 2010 Guide to Literary Agents arrives in-house within one week and, needless to say, I am excited to see it in print. I mean - just look at the book. It looks like a delicious s'more. That is - a delicious s'more filled with tons of agent info and conference info and articles. I suppose that's just the marshmallow filling.

The book will be in store in mid to late August. Keep in mind that you can pre-order it now on Amazon. In the meantime, I'm going to excerpt some articles to give writers a little taste of what articles are included to help scribes on their journey. The following excerpt below is from agent Mollie Glick (Foundry Literary + Media), and her thoughts on what makes a good query letter.

ON PROFESSIONALISM:

        "The first thing to think about when you sit down to write a query letter is that, in a lot of ways, it’s similar to writing a cover letter for a job application. You’re addressing your letter to a person who’s never met you before, and who sorts through hundreds of such letters a day. This crucial first contact is your chance to demonstrate that you’re smart, professional, and interesting. The way to convey those traits is through the tone and content of your letter. The tone should be professional, specific and engaging—never general, overly familiar or abrasive. Make sure your letter is well written and grammatically correct. And make sure to include all of your contact information, including your mailing address, phone number and e-mail address.
       "These suggestions may sound obvious, but you’d be surprised how many letters I get that leave out vital contact information, start out with 'Hi Mollie—' instead of 'Dear Ms. Glick:', or include unprofessional phrases such as, 'You’ll probably just throw this letter out like the other agents have.' Occasionally, I get a letter written in a lighter, more humorous tone, and that’s OK—as long as the letter reflects the kind of book the author is querying me about (i.e., a humorous nonfiction book or funny novel) and it still includes all the information I need to know. But if in doubt, stick with a professional tone, and include a one- or two-line quote from the book to give the agent a taste of its voice.
       "Like a cover letter, your query letter should be no longer than a page. It should include your contact information, a salutation, a paragraph describing your book, and a paragraph explaining why you’re the perfect person to write that book. Lets take a closer look at each of these components."

          - Excerpted from the article "Write a Killer Query Letter: How to Hook an Agent," by Mollie Glick, in the 2010 Guide to Literary Agents.

Words of Wisdom from Agent Nat Sobel

Chuck — Tue, 25 Nov 2008 15:16:48 GMT

Nat Sobel, an agent at Sobol Weber Associates, was recently featured in a long interview in Poets & Writers magazine. You can read the entire article here. Below are some of the nuggets of wisdom and observation he passed on:

By and large, writers get responses much quicker today because of e-mail.
It's much more difficult to get published if you're a fiction writer. There certainly is a very strong feeling in the publishing world that fiction is chancier - absolutely chancier - than nonfiction. Today, you have to have all sorts of other reasons to publish a first novel - other than that it happens to be very good.
We keep hearing this phrase: What's the platform? (The first time I heard that word), I thought, What's a platform?! Well, what it is is this: What does the author bring to the table? Talent is not enough.
I think what is evolving today for agents is that they need to be the first line editors for their authors.
My great love, and where we've found most of our fiction writers, has been the literary journals. I don't know how many other agents read the journals. I know it's a lot more than it used to be, but I certainly read them more extensively than anyone else.

Want more on this subject?

Word Count Guidelines for Novels and Children's Books.

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

20 Tips on Writing a Query Letter

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

What are the BEST writers' conferences in the country?

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

How To Write a Novel Synopsis (2009 GLA Excerpt)

Chuck — Wed, 03 Sep 2008 13:21:37 GMT

The 2009 Guide to Literary Agents has been out for about a month and a half. Inside the the newest edition fo the book, readers will find oddles of agent information concerning who's looking for what and how to submit. Also, the book has instructional articles on queries, synopses, proposals and everything else. Here is an excerpt from one such article:

2009 Article Excerpt:

"...You need a well-written synopsis that explains your entire story from beginning to end. If you're unpublished, editors want to ensure your story ends appropriately; and if you are published, the synopsis may be all the editor sees. Once the editor falls in love with your story, she may use the synopsis to sell the story at the buying meeting, to write the back cover blurb, and/or to give the cover artist some idea of what your story is about. So you must make your synopsis shine brightly as your manuscript.
Unfortunately, once you've written a 400-page book, it's tough to know how to condense it down to eight or 10 pages - or worse, one or two. Here are a few tips to help you figure out what to put in - and what to leave out.

Use the correct format. Write the synopsis in third person, present tense, no matter what your manuscript is written in.
Watch your length. To be safe, draft up a "long synopsis" (5-10 pages) as well as a "short synopsis" (1-2 pages). To discover an agent's specific preference, research their submission guidelines using this book, the Internet, or call and ask - then give them the length they ask for. If you're uncertain how many pages to send, err on the sort side.
Make sure you know how your story fits within your targeted market.
Use transitions. Don't tell your story with a series of unconnected declarative statements: "She yelled. He retaliated. They left." It makes for disjointed reading and interrupts the smooth flow of the story.
Keep the authorial voice silent. Don't insert comments in the synopsis that address the agent directly to ensure she "gets it," such as: "The conflict is ..."

- "Synopsis Writing: Summing Up Your Novel For an Agent" (page 37)

While Guide to Literary Agents is best known for its large and detailed list of literary agencies, every edition has plenty of informational articles and interviews designed to help writers perfect their craft and contact agents wisely. The 2009 edition is no different, with more than 80 pages of articles addressing numerous writing and publishing topics.

2009 Article Excerpt: Assessing Credibility

Chuck — Tue, 15 Jul 2008 14:14:21 GMT

I have officially wrapped up all editing on the 2009 Guide to Literary Agents. It's over. Finally. Done. (I. Love. Using. Periods.) To celebrate, I thought I'd post excerpts from the forthcoming upfront articles.

2009 Article Excerpt:

The Scoop on Researching Agents

"...Anybody can go to the neighborhood copy center and order business cards that say "literary agent," but that title doesn't mean she can sell your book. She may lack the proper connections with others in the publishing industry, and an agent's reputation with editors is a major strength or weakness.
        Agents who have been in the business awhile have a large number of contacts and carry the most clout with editors. However, veteran agents can be too busy to take on new clients or might not have the time to develop an author. Newer agents, on the other hand, may be hungrier, as well as more open to unpublished writers.
        If it's a new agent without a track record, be aware that you're taking more of a risk signing with her than with a more established agent. But know that even a new agent should not be new to publishing. Many agents were editors before they were agents, or they worked at an agency as an assistant. Experience is crucial for making contacts in the publishing world and learning about rights and contracts..."

         - "Assessing Credibility: The Scoop on Researching Agents" (page 14)

While Guide to Literary Agents is best known for its large and detailed list of literary agencies, every edition has plenty of informational articles and interviews designed to help writers perfect their craft and contact agents wisely. The 2009 edition is no different, with more than 80 pages of articles addressing numerous writing and publishing topics.

2009 Article Excerpt: Nonfiction Book Proposals

Chuck — Tue, 17 Jun 2008 14:24:04 GMT

2009 Article Excerpt:

Agent Mollie Glick of Foundry
Literary + Media talks
about nonfiction book proposals.

"...There are lots of ways to think about book proposals. Some agents, like Jean Naggar, president of The Jean V. Naggar Literary Agency, think of proposals as a blueprint for what the finished book is going to look like. Other agents, like Richard Morris of Janklow & Nesbit think of it as an author's first chance to show off his/her unique narrative voice. In this tough market—a market in which editors are looking for reasons to reject projects rather than reasons to accept them—I think of proposals as an argument for why an editor can’t afford not to take a book on. Any way you look at it, a book proposal is your first chance to prove that you’ve got all of the elements needed to spin your raw idea into a literary goldmine.
        So what exactly are the essential elements that publishers and agents are looking for when they read your proposal? Five Things:
        1. An original idea. What fresh, original and engaging idea will your book present?
        2. But not too original. What published books share the same audience as your book? Why were those books successful, and why will your book appeal to the same readers?
        3. A clear sense of what you want to achieve and how you’re going to get there. What’s the scope of your book? How are you going to set about gathering and presenting your information?
        4. Why is this an important book? How is your book different (and better than) other similar books? Why is now the time to publish a book on your chosen subject?
        5. Why are you the go-to-guy (or gal) to write a book on this subject? You may have heard the word “platform” floating around and wondered what it means. Put simply, there are two kinds of platforms, and ideally you want to demonstrate that you’ve got both. First: What makes you an expert and the clear choice to write the book you’re proposing? Second: What media connections do you have that will help you reach your intended audience with your message?..."

         - "Book Proposals: Five Elements of a Nonfiction Proposal" (page 41)

While Guide to Literary Agents is best known for its large and detailed list of literary agencies, every edition has plenty of informational articles and interviews designed to help writers perfect their craft and contact agents wisely. The 2009 edition is no different, with more than 80 pages of articles addressing numerous writing and publishing topics.

Agent Pet Peeves (2009 GLA Article Excerpt)

Chuck — Wed, 04 Jun 2008 18:45:52 GMT

I don't why I didn't post this earlier (probably because sickness and the LA conference have dominated my attention)...

Anyway, I have officially wrapped up all editing on the 2009 Guide to Literary Agents. It's over. Finally. Done. (I. Love. Using. Periods.) To celebrate, I thought I'd post an excerpt from one of the forthcoming upfront articles.

2009 Article Excerpt:

Agent Katharine Sands of the Sarah
Jane Freymann Literary Agency talks
about agent pet peeves.

"...We see a lot of channeled and cosmic-inspired material. Hey, maybe your spirit guides did select the agency, but all forms of faith are a matter between you and your god, not you and your agent. (Besides, how do I know my spirit guides are simpatico with yours?) Connection with the divine is best left to the heavens and out of your pitch.
"Red flags wave when a writer starts to huff and puff for any reason. Always behave professionally. Remember that how you interact is an important indicator of how you will work with your publisher..."

- "Agents' Pet Peeves: Avoid These Peeves and Get Your Work Read" (page 71)

While Guide to Literary Agents is best known for its large and detailed list of literary agencies, every edition has plenty of informational articles and interviews designed to help writers perfect their craft and contact agents wisely. The 2009 edition is no different, with more than 80 pages of articles addressing numerous writing and publishing topics.

Words of Wisdom: Let Your Writing Sell the Work

Chuck — Thu, 28 Feb 2008 18:25:48 GMT

Q. What's the biggest mistake a writer makes when contacting you (about a novel)?

"Trying to be a salesman never works for me; the material has to speak for itself. A writer who tells me everything he or she is going to do to promote a book doesn't work either. Tell me what you've already done, not what you want to do. Other than Jonathan Franzen, I've never known an author who said 'I do not want to be on Oprah.' "

- Harvey Klinger of Harvey Klinger Inc.

"Any author who thinks he can 'sell' me on his book is mistaken. Sales jazz in a query letter is just noise. After (so many) years in this business, I can spot a good project a mile away, and nobody needs to do anything spectacular to grab my attention. Let the book speak for itself by shaping a concise and appealing one-page query letter.

- James C. Vines of The Vines Agency, Inc., both excerpted from the 2005 edition of GLA.

Words of Wisdom: Moving on to a New Agent

Chuck — Thu, 28 Feb 2008 04:56:55 GMT

Q. I recently parted ways with my agent after a few years of representation. As I move forward, do I tell a prospective agent that I previously worked with another agent? If I am fortunate enough to find another agent, do I send copies of the publishers' rejection letters so there won't be a duplication of effort?

A. "Absolutely, and you should be able to speak to what did and did not work in the relationship with your former agent. Candor is the best policy; it prevents most misunderstandings and can even lead to a more creative and productive agent/client relationship. Most agents will want to see where the work has been submitted. It is possible, depending on the agent's clout and access, that previous submissions won't matter to him or her."
- William Clark, founder of Wm Clark Associates; printed from the 2007 edition of GLA.

Querying Hollywood (2008 GLA Article Excerpt)

Chuck — Mon, 22 Oct 2007 15:18:53 GMT

2008 Article Excerpt:

Screenwriter Candy Davis talks about the
differences between an agent
and a manager in Hollywood.

"...The first thing you need to know is that an "agent," per se, is not necessarily the best target for a newbie writer unless you happen to be in his immediate family. An "agent" is a wheeler-dealer who tends to his own hive of already famous (writers). He creates placements for the proven moneymakers he knows he can count on. As a general rule, he's not interested in new writers, and the words pro bono are not in his dictionary."
"If you're indeed a newbie, try targeting people who bill themselves as managers. A manager is someone who makes herself available to new talent and helps develop and polish a script. She's just as picky as any agent, and yes, she gets a bigger percentage of your take - somewhere around 15 percent. To the writer living outside Tinseltown, she's worth it. Managers nurture new talent with deft coaching, high expectations and a kick in the pants when needed."

- "Querying Hollywood: Know Your Target and Pitch That Script" (page 22)

While Guide to Literary Agents is best known for its large and detailed list of literary agencies, every edition has plenty of informational articles and interviews designed to help writers perfect their craft and contact agents wisely. The 2008 edition is no different, with more than 80 pages of articles addressing numerous writing and publishing topics.>

Pitching an Agent (2008 GLA Article Excerpt)

Chuck — Fri, 28 Sep 2007 14:22:07 GMT

2008 Article Excerpt:

Literary agent Dan Lazar talks about how
writers can successfully pitch their
story to an agent.

"...It's also important here to nail down some kind of central conflict. Again, try to avoid generic descriptions. A main character 'finding himself' is too generic. Generic = boring. Every character goes through internal changes in a novel; that goes without saying. Saying 'my novel is exciting' or 'is full of passion and suspense' is also too generic. You're telling me, not showing.
The central conflict is usually some kind of external conflict, goal or mission that your main character(s) have to work through. There's usually an interpersonal relationship at stake as well (that you should mention), which in itself will imply a character changes. In short, show why your future reader will care about your character."

- "A Perfect Pitch: Selling Your Story with a Carefully Composed Query" (page 31)

The Evolution of Agenting (2008 GLA Article Excerpt)

Chuck — Wed, 19 Sep 2007 20:48:59 GMT

2008 Article Excerpt:

With the recent news that Imprint Agency is now FinePrint Literary Management (see last post), I wanted to post something else related to the merger. The principal of Imprint is the great agent Stephany Evans, who, it just so happens, penned an article this year for the upfront section of the 2008 Guide to Literary Agents. See an excerpt from her article below.

-----

Stephany Evans talks about how
the roles of agents and publishers
have changed over time.

" ... It's never been simpler to learn an agent's likes and interests before querying. But just as you have more access to agent information, publishers and agents have more access to information about you—especially if you've already had a book published.
"Introduced in 2001, Nielson's BookScan ... allows editors a chance to 'run the numbers' on books in the 'competing titles' sections of their proposals. If too many (competing titles) show lackluster volume, an editor may conclude that the potential market for your book is not worth pursuing ... If you have published before, be sure to provide your agent with solid sales figures and be prepared to detail how and where the books were sold, whether you sold them out of the trunk of your station wagon, or at pet stores, or via your Web site. And if editors are paying attention to things such as BookScan, rest assured agents are, too. An agent needs to know about a project's vulnerabilities from the get-go."

- "The Evolution of Agenting: An Agent Talks of Change" (page 68)

Avoid Getting Scammed (2008 GLA Article Excerpt)

Chuck — Wed, 15 Aug 2007 19:43:23 GMT

2008 Article Excerpt:

WD book editors talk about how
writers can avoid getting scammed
by dishonest agents.

"First of all, it can't be stressed enough that you should never pay agents any fees just so they consider your work. Only small fees (such as postage and copying) are acceptable - and those miniscule costs are administered after the agent has contacted you and signed you as a client.
A typical scam goes something like this: You send your work to an agency and they reply with what seems like a form letter or e-mail, telling you they love your story. At some point, they ask for money, saying it has to do with distribution, editing, production, submissions, analysis or promotion. By that point, you're so happy with the prospect of finding an agent (you probably already told your family and friends) that you nervously hand over the money. Game over. You've just been scammed. Your work may indeed end up in print, but you're likely getting very little if any money. To be a successful author, publishers must pay you to write; you must never pay them."

- "Sign on the Dotted Line: Research Your Options and Beware of Scams" (page 51)

'How to Write a Book Proposal' (2008 GLA Article Excerpt)

Chuck — Mon, 30 Jul 2007 15:16:58 GMT

2008 Article Excerpt:

Elizabeth Lyon talks about how
writers can craft a winning nonfiction
book proposal.

" ... Instead of writing a complete (nonfiction) manuscript, you'll need to create a compelling book proposal that answers the seven questions agents and editors consider ...
      Why you? Are you an authority on the subject, or could you become one?
      Why now? Two common reasons for a book's rejection: It's already been done, and it's never been done! Is your book a rehash of existing books on the subject?
      Who is your audience? Remember the publishing adage: 'A book written for everyone is a book written for no one.'
      What books already exist on the subject? Finding similar books to yours doesn't quash your chances of getting published. They actually help you refine your idea and define how it's unique.
      How well can you write? A book's style, diction, vocabulary, density of detail, and organization vary according to its subject and intended audience.
      Do you have an established platform? Without a national platform, you can still succeed, but your book will probably find a home with a smaller or specialized press.
      What kind of book organization have you planned? Your book's uniqueness defines your slant, which is your perspective and approach to the subject, and allows you to create a title and subtitle that reflect it. Next, you can plan the table of contents."

- "Professional Proposals: Launching a Winning Nonfiction Proposal" (page 45)

The 2008 edition is outdated now,
so snag the new 2010 edition!

While Guide to Literary Agents is best known for its large and detailed list of literary agencies, every edition has plenty of informational articles and interviews designed to help writers perfect their craft and contact agents wisely. The 2008 edition is no different, with more than 80 pages of articles addressing numerous writing and publishing topics.

Building Your Platform (2008 GLA Article Excerpt)

Chuck — Mon, 16 Jul 2007 15:19:49 GMT

2008 GLA Article Excerpt:

Writer Christina Katz talks about how
writers can build their platform and
connect with readers. The more
readers a write can reach, the more likely
their book will sell (especially if it's nonfiction).

" ... The word 'platform' simply describes all the ways you're visible and appealing to your potential, future or actual readership. To build a platform, an author must create and maintain a Web presence without sacrificing too much regular writing time or paying a fortune in fees. Platform development is not only important to existing authors, it's also crucial for wannabe authors or soon-to-be authors.
      Before you build a Web presence, you must brand yourself ... To start, answer the following questions:
      How are your products or services distinguishable from the competition? (A book is a product, by the way.)
      How are they better than the competition? (Emphasize this.)
      How are they worse than the competition? (De-emphasize and address this.)
      What emotional need(s) do your products or services satisfy? (Do not skip this one.)
      What colors, images and front style might make sense for your identity? (These will aid with your logo design.)"

- "Almost Famous: Start Building a Platform to Garner More Attention and Respect" (page 25)

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!

Editing Your Own Work (2008 GLA Article Excerpt)

Chuck — Mon, 09 Jul 2007 16:25:51 GMT

2008 Article Excerpt:

Writer Candy Davis talks about how
anyone can successfully edit their own
fiction work and get it ready for an
agent's consideration.

" ... Your book's unique proportion of scenes and sequels should produce a characteristic rhythm an agent can easily recognize as the perfect pulse for the work: staccato for quick-paced action genre, more legato for a genre that focuses on internal process. Running too many scenes together allows no space for the character to evaluate his progress.
Each scene should begin and end with a hook, and should capture a complete and meaningful 'story event.' Keep scene length appropriate to your genre, and never longer than necessary to cover the episode. Cut mundane interactions, placeholder dialogue and extraneous background information. A sequel generally follows a major plot point, steps up the stakes and turns the story in a new direction. Allow the character a moment to evaluate past mistakes, realize a previously overlooked or rejected option, and take the first step toward a new and more desperate plan."

- "With an Agent's Eye: Edit Your Work Like a Pro" (page 18)

The 2008 edition is a bit outdated
now, so grab the 2010 edition!

While Guide to Literary Agents is best known for its large and detailed list of literary agencies, every edition has plenty of informational articles and interviews designed to help writers perfect their craft and contact agents wisely. The 2010 edition is no different, with more than 80 pages of articles addressing numerous writing and publishing topics.