Guide to Literary Agents - Literary Fiction

New Agent Alert: Justine Wenger of Emma Sweeney Agency, LLC

Chuck — Sun, 22 Nov 2009 21:28:14 GMT

Reminder: Newer agents are golden opportunities for new writers because they're likely building their client list; however, always make sure your work is as perfect as it can be before submitting, and only query agencies that are a great fit for your work. Otherwise, you're just wasting time and postage.

In lieu of a forthcoming headshot of
Justine, here is the ES agency slush puppy.

About Justine: She graduated from the University of Wisconsin-Madison with a BA in English Literature and Creative Writing. In addition to working for Emma, Justine is poetry reader for BOMB Magazine, and routinely writes short stories or long poems on the subway.

She is seeking: literary fiction, short story collections, and food-related non-fiction. I'm looking for stories that are well-written with surprising, yet simple craft and driving characters. "I am also a fiction and poetry reader for BOMB Magazine and OPEN CITY, which is a good example for the style of fiction I would like to acquire."

How to submit: "We require queries to be delivered by e-mail to queries (at) emmasweeneyagency (dot) com. Please paste your cover letter and the first ten pages of your manuscript or proposal in the body of your message. For security reasons we cannot open attachments. Please note that queries sent to any e-mail address will not be considered. Because of the volume of email we receive, we cannot respond to every query. We regret that we do not accept submissions by post unless specifically requested." If this query is specifically for Justine, put "Query for Justine" in the subject line.

Want more on this subject?

How many agents should you query?

How to write a query letter: The 3 parts

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

New Agent Alert: Sophia Seidner of Judith Ehrlich Literary Management

Chuck — Thu, 12 Nov 2009 14:42:49 GMT

About Sophia: OK, so Sophia's not technically a "new" agent, but she just moved from Wiley to Judith Ehrlich Literary Management, and seems to be transitioning more from international sales to taking on domestic clients (and this is a good thing for writers). Sophia worked in the literary division of International Management Group, starting as an assistant to the literary agent Julian Bach, working with clients such as Pat Conroy and Jan Morris. After Julian Bach’s retirement, Sophia continued as an assistant agent, and contracts and subsidiary rights manager, working on behalf of clients such as Jack Welch, Ken Blanchard, Marshall Goldsmith, Peter Drucker, Bill O’Reilly, Pearl Jam, Heidi Klum, Tyra Banks, and Elvis Costello. Next Sophia joined John Wiley & Sons, Inc. as an international rights manager for three years. At Wiley, she focused on selling translation rights for Wiley's extensive list of business, technology and culinary titles.

Seeking: strong literary fiction and nonfiction including self-help, narrative nonfiction, memoir, and biography. Areas of special interest include medical and health-related topics, science (popular, political and social), animal welfare, current events, politics, law, history, ethics, parody and humor, sports, art and business self-help.

How to Submit: sseidner@judithehrlichliterary.com. For nonfiction, query and include an explanation of platform. For fiction, query with brief synopsis and a small representation of the writing (7-15 pages pasted in the e-mail). "If we are sufficiently intrigued by your project, we will ask for samples or the complete proposal or manuscript. Due to the volume of submissions, we regret that we cannot respond to all e-mail. We do not represent children’s books, novellas, poetry, textbooks, plays or screenplays."

Want more on this subject?

How many agents should you query?

How to write a query letter: The 3 parts

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice: Dan Conaway of Writers House

Chuck — Thu, 05 Nov 2009 01:31:20 GMT

Agent Interview by

contributor Ricki Schultz.

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features Dan Conaway of Writers House. Dan has been Executive Editor at Putnam, Executive Editor at HarperCollins, Director of Literary Acquisitions at PolyGram Films, Story Editor at Citadel/HBO, Creative Executive at Tribeca Films, and Associate Editor at W.W. Norton.

He is looking for: literary fiction, true crime, commercial fiction, historical fiction, thrillers/suspense; and his nonfiction interests include history, pop culture, narrative, and journalism. He does not accept e-mail queries. See full submission guidelines here.

GLA: How did you become an agent?

DC: When I was an editor at HarperCollins and at Putnam, the agent I did the most business with—Simon Lipskar at Writers House—had become pretty much my best friend in the world. And one of our many standing jokes (our favorite: “friends don’t let friends write books”) was that how when (not if) I got fired, I’d come work for him.

GLA: Does that mean you were on the verge of being fired when you left Putnam in 2007?

DC: No—at least, not that I'm aware of! But I've always had this paranoid fixation with the number 52—that being the age at which I always figured my corporate superiors would at last judge me too expensive relative to my productivity, and cut me loose, leaving me to wander about aimlessly like some gray-suited ad-man in a John Cheever short story. And what happens to editors when they get fired—and they all get fired, eventually, don’t they?—is, they become agents. At the time I left Putnam, I’d published or had acquired bestsellers by Ridley Pearson, Martha Raddatz, David Stone, and Steve Lopez, and had published some other pretty amazing books along the way. So I wasn't feeling vulnerable at that time. But I did a little math and realized that 52 corresponded with another number: 17, as in the age my three triplet daughters would be when I turned 52. Three college educations to pay for? That seemed like a particularly bad year to get fired.
So, long story short, it occurred to me that my stock probably wasn’t going to get much higher than it was right then, and that if I really imagined I wouldn't survive to get my gold watch at the age of 65, maybe I should make the move to becoming an agent preemptively. Writers House was looking to grow the agency, so I was invited to come aboard. That was about two and half years ago.

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

DC: The End of Everything by Megan Abbott, sold to Reagan Arthur for her eponymous imprint at Little, Brown. A two-book contract; and we've since sold the book in a number of foreign countries, too.

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

DC: Slush or not, I keep my prayers simple: Let's start with a handful of really wonderful sentences strung together just so. "Just so," of course, speaks to the impossibly subjective nature of this racket.

GLA: You used to be the anonymous voice behind Mad Max Perkins of the now-inactive BookAngst 101, the blog that started out as a way to candidly discuss the industry with other editors and publishing types but emerged as a resource for writers. Do you miss it? Have you found another outlet for such conversations?

DC: I do miss it! BookAngst 101 was a wonderful experience, for a whole bunch of reasons. As time passed, it became less about industry stuff and more just my riffing on one thing or another, kinda self-indulgent, I suspect, but it was a uniquely satisfying outlet for me. But ultimately the energy I put into Mad Max is work that is more profitably channeled to my clients, with whom, in many cases, I'm allowed a great deal of creative input.

GLA: In an interview you did last year for Susan Henderson’s LitPark, you said you weren’t looking to take on any new clients. Still true?

DC: Kinda yes, kinda no. I will take on new clients when I'm bowled over.

GLA: Do you notice any trends in what you tend to represent in historical fiction? Elements that particularly grab you?

DC: First off, I'm never interested in anything but beautiful writing; engaging, urgent storytelling; characters you fall in love with—above all, voice. I'm reading a new novel right now by Robyn Young, a huge bestseller in the UK; the novel is called Insurrection, the first in a new series about Robert the Bruce and the wars for Scottish independence, and it's blowing me away on all these fronts.

GLA: What draws you to a true crime story?

DC: How annoying would it be if were to give you essentially the same answer? And yet it's true: I'm always looking for basically the same thing! Regardless of genre—thrillers, narrative nonfiction, anything—it's the writing and the voice and so on that are the determining factors for me.
True crime is a particular publishing challenge, because the phrase itself signals down-market crap-ola, and yet, so many of the most beloved and enduring works of narrative nonfiction could be categorized as such. The reason there will always be interest in good true crime stories is the same reason that dramatic adventure stories like The Perfect Storm or Into Thin Air continue to resonate: They're real stories, often about communities in crisis, dealing with matters of life and death. For more than a decade, I've wished I could find a new category tag/euphemism that would allow people to publish what we mean by "true crime" without the stigma the phrase connotes. If you come up with one, let me know.

GLA: If you were teaching a class on nonfiction writing & submitting, what would be item number one on your syllabus?

DC: On the submitting side, I'd say: Keep the pitch short and to the point. On the writing side, I'd say: When you think you're done—that is, after you've rewritten it a couple of times, set it aside, wait a while—then sit down and rewrite it again. Whatever you submit, it needs to be as good as you're capable of making it.

GLA: Concerning your nonfiction interests, what are three topics you would classify as overdone?

DC: For me, execution is everything, so anything handled the right way can still be interesting. We may not have another seafaring story quite so big as The Perfect Storm, but great stories told well, regardless of category, are likely going to find interest. One category that seems especially tough, though, is military memoir regarding Iraq and Afghanistan.

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

DC: What a terribly slow reader I am.

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

DC: It's not advice, really, but perspective: This really is a profoundly subjective business. Editors and agents respond to what they respond to—not so much to whether there might be a market for something, but whether they themselves are sufficiently moved by something to be the right person to help find that market. There's lots of good writing that doesn't quite light my fire; that doesn't mean there's anything wrong with it—it's just that it's not right for me.

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

Want more on this subject?

Interview with agent Jeffrey McGraw (The August Agency).

Agent interview: Michelle Brower of Folio Literary Management.

Interview with agent Phil Lang (Reece Halsey North/Kimberly Cameron).

What Agents Hate: Chapter 1 Pet Peeves.

What Agents Hate: Even More Chapter 1 Pet Peeves.

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

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

How I Found My Agent: Marisha Chamberlain

Chuck — Mon, 02 Nov 2009 21:32:36 GMT

"How I Got My Agent" is a new recurring feature on the GLA blog. I find it fascinating to see the exact road people took that landed them with a rep. Seeing the things people did right vs. what they did wrong (highs and the lows) can help other scribes who are on the same journey. Some tales are of long roads and many setbacks, while others are of good luck and quick signings.

To see the previous installments of this column, click here.

If you have a literary agent and would be interested in writing a short guest column for this GLA blog, e-mail me at literaryagent@fwmedia.com and we'll talk specifics.

This installment of "How I Got
My Agent" is by Marisha Chamberlain.
Marisha is the author of the novel,
The Rose Variations (Soho Press).

PLAYWRITING DAYS

It took me three long years of persistent querying to find my literary agent, and although the journey was grueling, I was ready for it. I’d already had rough-and-tumble experience with more than one theatrical agent for my plays.

Word was that a playwright wanted either a fierce woman or a motherly man for an agent, and I went the fierce woman route. So why was I surprised to find my fierce and famous play agent to be combative and high handed? She negotiated contracts just fine (I had plays done in London, New York, Chicago, Minneapolis, Toronto) but I dreaded talking to her. And God help me if I had a question to ask her. One day, she took on an assistant—guess who?—a motherly man. He and I bonded, and when he left the fierce woman agency, I went with him, and he still represents me as a playwright and librettist.

When I switched my writing focus to fiction, some fifteen years ago, I pondered the writer-agent bond. My first theatrical agent, impossible though she was, did make a telling comment that I’ve never forgotten. No play, she said, was ever produced too late. By this, she meant many were presented to the public too soon, and that is true both of plays and novels. I didn’t even think about seeking an agent ‘til I had a manuscript ready. I mean, ten-years-and-twenty-drafts ready. Not everybody needs ten years to write a polished draft of a first novel, but I did.

COMMENCE "OPERATION: AGENT"

Then I began the search for a literary agent. I’d already learned the hard way that I wanted not just any agent, but someone with whom I’d have rapport. I was looking for courtesy, candor, clarity, energy and trustworthiness—someone I could freely ask questions, someone I wouldn’t be tempted to second-guess. However, landing any agent would be difficult. So my beggar-as-chooser approach was absolutely secret.

I began with researching sources such as Guide to Literary Agents and Jeff Herman’s Guide. Who’s looking for literary fiction? The agents who are, say so in their listings and/or interviews. I made a lengthy chart of possible agents, sent out queries and sample pages by the bale, fielded a lot of phone calls from agents, saw my postage and Xerox bill go up, up, up. I got a bunch of nibbles and a few bites, followed by sudden, prolonged silences.

The process, which took three years, was equal parts encouraging and exasperating. I did it in waves: first wave, second wave, New Wave. I rewrote my manuscript again, whenever I got a comment that seemed apt. And I sent out a new query the day after any rejection arrived. To keep going, I amused myself by jotting into my chart outrageous or damning bits from agents. The worst were handwritten scrawls right on my original query letter, sent back after requesting my full manuscript. Given that I paid all that postage back and forth, you’d think I might rate a piece of the agent’s stationery. This happened twice. Both agents are prominent. Call it sour grapes, but I think I’m lucky those two said no. Oh, and the pompous form rejections. Cue the tubas: We are sorry we are unable to use your material. There are many reasons to decline a manuscript, etc.

THREE YEARS, THEN...

I got contacted by Stephany Evans of FinePrint Literary Management. She loved the first fifty pages of my novel and wanted to see the rest. I Fed-Exed. She responded within a week with an offer. That’s when I brought my secret plan out into the light. It was simple. Before signing, I asked for a meeting, face to face, on my own dime. It was cheeky. I asked her for references and I called the references. All of them.

Now, it happens that Stephany’s office is in New York City, and I live in the middle of the country, in a river town south of St. Paul, Minnesota, so the face-to-face meeting was not a casual stroll across the street for me. I knew, within ten minutes of meeting her, that Stephany’s offer was my big break, but I played out my plan, every step of it, because, for me, the agent relationship is such a big deal. I played it carefully because we were setting the tone for something fine and mutually rewarding. And I played it quick: I checked those references and signed within a week of meeting Stephany, and all I’d hoped has unfolded since then. The Rose Variations was published by Soho Press in 2009 and the paperback will land in early 2010. I was lucky, yeah. But I played an active part in my luck.

Marisha Chamberlain

Want more on this topic?

How I Got My Agent: Kate Douglas (Demonfire).

How I Got My Agent: Robert Hicks (Widow of the South).

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice: Dorian Karchmar of WME (William Morris Endeavor) Entertainment

Chuck — Wed, 21 Oct 2009 17:40:52 GMT

Agent Interview by

contributor Ricki Schultz.

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features Agent Advice: Dorian Karchmar of WME (William Morris Endeavor) Entertainment. Dorian has been a literary agent for over a decade.

She is looking for: "She represents bestselling and award winning literary and quality mainstream fiction and narrative nonfiction (memoir, biography, history), cookbooks and general upmarket nonfiction."

GLA: How did you become an agent?

DK: I started agenting in 1999 when I came back to New York after completing my MFA in nonfiction at the University of Iowa.

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

DK: Russian Winter, a debut historical novel by Daphne Kalotay, to HarperCollins; subsequently, we have sold it in 14 countries.

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

DK: More phenomenal historical fiction—I get a lot in, but not a lot that’s as good as it needs to be—that, and a beautifully-written, very scary ghost story for grown-ups.

GLA: Can you tell us a little bit more about the kinds of short story projects you seek?

DK: I am not actively seeking short stories, as collections are nearly impossible to sell. The culture has moved away from stories to the point where they are nearly an endangered species from a financial perspective. That said, I do still take occasional leaps with collections, in which case I tend to be drawn to linked collections and collections that illuminate a place or culture that is unexpected or in some way deeply unfamiliar. (I would love to find something set in North Korea, written by an “insider.”)

GLA: I read online that you seek "offbeat/quirky" fiction. Can you give us 2-3 examples of books you've repped that fall into this category so that writers can get a better sense of what you mean here?

DK: That definition of what I’m looking for has probably caused me more trouble than almost anything else I’ve put out there, so I’m happy to have the opportunity to clarify. I love to be transported when I read, and what I’m seeking are stories and voices that I don’t feel I’ve read before. I’m not looking for the deliberately experimental, nor am I looking for much in the way of overtly comic novels (though I do love to laugh, I like the laughter to be only one part of what a book makes me feel—I’m not a big fan of satire, per se).
        I represented an extraordinary memoir last year called The House at Sugar Beach by New York Times reporter Helene Cooper, which was a New York Times bestseller. It’s the story of her growing up in Liberia and of her return there as an adult to try to find the foster sister she left behind when Helene’s family—a political royalty—was forced to flee the country in the way of the coup in 1980 when Helene was 13. That’s a story unlike any I had read before—something only this author could have written—and it completely transported me both emotionally and intellectually, to places I had never imagined. To me, that is very exciting.
        Last year, HarperCollins published a debut novel I represented called The Seamstress by Frances De Pontes Peebles, a young Brazilian-American writer. It is an epic set in Brazil in the 1930s, telling the story of two poor sisters who are separated as teenagers: one is kidnapped by a group of roving bandits and goes on to become their eventual leader; the other sister marries into a political dynasty in the capital of Recife. It’s a sprawling, deeply colorful story, and it felt both beautifully old-fashioned and refreshingly original to me in its settings and the intertwining of the political, the natural world, and the emotional pull between these sisters who are separated for over a decade. This wasn’t a book you would look at and necessarily think of as “quirky,” but, again, it could not have been written by anyone other than Frances, and I think it was an absolute triumph of historical fiction that used impeccable research without ever falling prey to it.

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

DK: I seek out assured and elegant voices—I’m a stickler for clean writing, which doesn’t mean it has to be spare, but I want writers who have made the tough decisions about what to include and what to exclude on a word level, line level, and plot level.
        I have lately been drawn to historical fiction and to fiction that has some sort of fabulous element to it—again, I’m dying for a ghost story: I’d like to be spooked out! I’m always interested in books that bring together unlikely people or pairings: something told from a unique point of view that we don’t often get to inhabit (an animal; someone with an strange and interesting job)—that’s back to the “offbeat” thing for me. I’d like to read about a Chinese washerwoman on a British naval vessel during WWI; an old gardener in the 18th century who takes it upon himself to redesign all the Queen’s gardens at some far-flung castle in France that the Queen never visits, etc.

GLA: You also rep some nonfiction areas. If you met a writer and suggested that he build his platform, only for him to ask "How do I do that?" - what would you say?

DK: Social networking via the Internet; lectures and other public appearances; building alliances with other professionals working in whatever his/her field of expertise may be.
        The reality is that certain kinds of nonfiction—especially practical, advice, business, etc.—are only going to sell meaningfully if the author is already very established in his/her field and has a media presence—TV show, radio show, etc.—or a huge presence on the lecture/personal appearances circuit.

GLA: How do you prefer to be contacted by writers seeking representation? Do you want a synopsis and sample chapters right away?

DK: E-mail queries are fine. A simple, straight forward query letter laying out meaningful writing/biographical background and what the book is.

GLA: What is the number one mistake you see in queries?

DK: People querying too early—before their writing and their book has matured to the point it needs to be. Finding an agent should be the last step, not the first. If the book is truly wonderful and fully-baked, the author will be able to find an effective advocate for it. Most people querying are doing so well before their work can stand up to honest scrutiny.

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

DK: Don’t give in to internal and external pressures to try to find an agent before you’ve matured as a writer. The book business is very difficult and not getting any easier; most books that are published don’t sell well, and many careers end practically before they start.
        Write a book that only you could write, and rewrite, rewrite, rewrite.
        Be more patient and more honest with yourself than you ever thought you could be.
        Find a couple of writers who you think are better than you are, ingratiate yourself with them, and start reading and workshopping each other. And ask them—beg them—to be merciless. Be humble and quiet while they give you feedback.
        Be prepared to cut, delete, throw away, put in a drawer.
        Only when you’ve got your best possible work—something that can stand up there with the best of whatever genre you’re working in—should you start looking for the right agent to represent you. If you’ve got a terrific book, you should end up with plenty of good agents from which to choose, so don’t jump at the first person who says “yes.”
        Put the good of the work before the good of your ego as much as you can.

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

Want more on this topic?

Agent Elaine Spencer talks queries.

What should you write in the bio paragraph of a query letter?

How to write a query letter - the three parts.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

New Agent Alert: Myrsini Stephanides of the Carol Mann Agency

Chuck — Sun, 11 Oct 2009 19:18:52 GMT

Myrsini Stephanides
of the Carol Mann Agency

About Myrsini: She has 10 years of experience as a nonfiction editor and book packager specializing in highly illustrated books. Most recently, she worked as an Acquisition Editor at Sterling Publishing, where she developed the pop/culture and music category with titles including Woodstock: Three Days That Rocked the World, Canyon of Dreams: The Magic and the Music of Laurel Canyon, The British Invasion, and Record Store Days. Myrsini was the editor of the Weird travel series (Sterling), senior editor of The Duke Encyclopedia of New Medicine: Conventional and Alternative Medicine for All Ages (Rodale, 2006) and developmental/series editor of the first three books in the Men’s Health Best series (Rodale 2005). She has also collaborated on projects with The Smithsonian, Archaeology magazine and YANKEE Magazine and was a contributing writer to the fifth edition of the Hammond World Atlas (Langenscheidt, 2007).

Nonfiction areas of interest: pop culture and music, humor, narrative nonfiction and memoir, cookbooks.

Fiction areas of interest: offbeat literary fiction, graphic works, and edgy YA fiction. Can fiction be offbeat and commercial? She thinks it can. She is NOT looking for: Sci-Fi/Fantasy, Romance (adult); MG (middle grade) fiction

How to contact: For fiction, paste the first 10-15 pages of your manuscript into the body of your e-mail. Please e-mail your query letters to myrsini (at) carolmannagency (dot) com. If your query has a graphic component, attach it to your email as a low-res PDF or JPG.

Tips: Myrsini futher delves into what she wants and doesn't want on the CMA website. "Hook me with your query and keep me hooked with your proposal. If you’d like to connect via the magic of social networking, you can follow me on twitter or check out Goodreads to see what I’m reading now."

Want more on this subject?

How many agents should you query?

How to write a query letter: The 3 parts

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice: Natanya Wheeler of Nancy Yost Literary

Chuck — Mon, 14 Sep 2009 23:26:46 GMT

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features Natanya Wheeler of the Nancy Yost Literary Agency. Previously, Natanya was an agent at Lowenstein-Yost Associates.

She seeks: literary fiction that touches on current events or multicultural issues; family sagas; dark and edgy thrillers with a great new hook, moody mysteries and cozy mysteries. She loves to find new writers and does not shy away from debut talent. For nonfiction, Natanya would love to find authors with strong platforms who write in the areas of nature, especially birds, women’s issues, alternative lifestyles, green living and food.

Natanya Wheeler

GLA: When did you first fall in love with books?

NW: Oh! Can't remember. Always?

GLA: How did you become an agent?

NW: I just really wanted to work with books and it seemed like a creative and fun job. And it is!

GLA: Tell us about this move to Nancy Yost Literary.

NW: We share office space with Liza Dawson Associates and the Laura Dail Literary Agency - it's a wonderfully cooperative and sunny atmosphere.

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

NW: The working title is Bingo's Run (Spiegel & Grau) by James A. Levine. The story follows the extraordinary life of a young drug runner in a Kibera slum.

GLA: You seek genre categories – thrillers and mysteries. The standard advice is not to query for more than one book (e.g., a trilogy, or series). Do you agree with this personally?

NW: When an author sends me a query with a whole bunch of books listed, it feels very unfocused. If the book is the first in a proposed series, of course I would like to know that. But yeah, just one book at a time.

GLA: What draws you to a good thriller or mystery? Strong protagonists? Dark themes? A killer hook? All of the above?

NW: I like some psychology with my mysteries and thrillers. If the author gets me inside of the head of the protagonist or the antagonist, I'm definitely going to keep reading. A killer hook is great and all, but I find myself more drawn to a conflicted protagonist trying to right some wrong.
I don't have many pet peeves really - it's kind of a joy reading the slush and discovering the wealth of creativity in the world. I actually love it. I'll admit though if a query is about a bunch of beautiful models, beautiful blondes or beautiful brunettes getting serial-killed, I'm going to stop reading. This is one I see a lot. Unless it's central to the plot, I kind of feel like this is a book, not a TV show, not a movie - so why not make it a little deeper? I really do get this one a lot. Let's not kill all the beauty in the world.

GLA: With literary fiction, do you put much stock in the query or synopsis? Is it all about the writing in that category?

NW: It's definitely all about the writing, which is why I really prefer to get a sample of the writing. Actually, I prefer a sample of the writing for all fiction queries.

GLA: Besides just general “good writing,” what’s something specific you’re always looking for but never getting. What do you pray for when tackling the slush pile?

NW: I just look to be lost in the voice of the writer, no doubts, no hesitations, just completely drawn into the author's world. I think I am finding what I'm looking for, on the whole. I'm really looking for unique and standout voices in fiction - and by definition, that's not going to be an everyday occurrence in the slush. Would I love to find more? Yes! That's why I keep reading.

GLA: When we crossed paths at a conference last year, you told everyone that you enjoyed birdwatching. Are you on the lookout for books in this subject area?

NW: I would love to find a book about vultures a la John McPhee. To me, it seems like a fascinating subject. Vultures have a lot of historical and cultural significance from ancient society to the present. Some cultures view the bird as a charm, while others revile it. Does it all go back to how that culture deals with death? Plus they have some fascinating, albeit kind of gross, science. Vultures!

GLA: There have been a lot of “green living” books in the past few years – and there’s always a decent number of food books. How does a submission catch your eye in these areas? Is it as simple as a good platform and the ability to sell books? Or maybe a fresh take on an old subject? Something you’ve never seen before?

NW: With food books, I'd say something I've never seen before and absolutely top notch writing. For green living, it's definitely about the platform and ability to sell books. I think you're right - there have been tons of green living books and we might be reaching market saturation in that area.

GLA: If you were teaching a class on nonfiction writing & submitting, what is the first thing you wish every author would be educated about?

NW: Learn how to write a nonfiction proposal. It makes my job so much easier!

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

NW: Please visit our website, where you can find submission guidelines. My e-mail is on there, so feel free to query me through e-mail. However, I have found that I tend to respond better to paper submissions. Just a personal preference.

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

NW: I'll be at the SoCal Writer's Conference San Diego in February.

GLA: What’s something surprising writers would be interested to hear about you, apart from your ornithology interests?

NW: I once rode my bicycle across the U.S., not perfectly dipping a toe in each ocean, but close. I also rode my bike from Paris to Barcelona, in a zigzag like fashion. Fun! Even with all that, riding a bicycle in Manhattan scares me - a lot.

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

NW: Oh, this is going to sound flaky, but listen to your inner voice. Don't write for the market or what trends may say the market is. Write a book that challenges and satisfies you.
Also, don't quit your day job. Not just yet. Establishing a writing career is a process, not a one-shot deal. There's a fine line between realistic expectations and cynicism. So let's all quit the cynicism because what is cynicism but intellectual laziness? Publishing is not dead! It's just having a few growing pains.
Which is to say - you have time! I love books. You love books. Lots of people love books. It's all going to be okay. Oh, and the last piece of advice is that you should always do what your agent tells you to do.

Want more on this subject?

Interview with agent Jeffrey McGraw (The August Agency).

Agent interview: Michelle Brower of Folio Literary Management.

Interview with agent Phil Lang (Reece Halsey North/Kimberly Cameron).

What Agents Hate: Chapter 1 Pet Peeves.

What Agents Hate: Even More Chapter 1 Pet Peeves.

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

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

Agent Advice: Emily Forland of The Wendy Weil Agency

Chuck — Mon, 07 Sep 2009 21:42:47 GMT

Agent Interview by
contributor Ricki Schultz.

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features Emily Forland of The Wendy Weil Agency, Inc. Emily is in her twelfth year at The Wendy Weil Agency, Inc. In addition to representing her own list of authors, she also handles the agency's foreign rights. Originally from Texas, she has a B.A. in English from the University of Chicago, an MFA in Poetry from Sarah Lawrence College, and an MFA in Graphic Design from the School of Visual Arts in New York.

She seeks: The Wendy Weil Agency, Inc. represents fiction and nonfiction for the trade market. We work with literary and commercial fiction, mystery/thriller, memoir, narrative nonfiction, journalism, history, current affairs, books on health, science, popular culture, lifestyle, and art history. We do not handle screenplays or textbooks. See full submission guidelines here.

Emily Forland

GLA: How did you become an agent?

EF: By accident. I needed a summer job after my first MFA year at Sarah Lawrence College. I met Wendy Weil and became an intern, which means I spent a summer reading manuscripts at the agency, answering the phone, and dragging packages to the mail truck. This was just after Wendy had been profiled in Poets & Writers sounding like herself, an approachable agent who champions writers. This resulted in a huge flood of submissions and it was my job to go through those manuscripts. Out of that unwieldy stack, I hit upon one that stood out, and that became an Oprah Pick, Mother of Pearl by Melinda Haynes. It was tremendously exciting to watch that happen. I got hooked. It was supposed to be a summer job, but it is 12 years later, and I am still here.
      I like writers, and I like working with writers. I think having a bit of a writing background makes me empathize with the vulnerability of writers and what they go through in putting their work out into the world.
      Also, lunch is a nice thing.

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

EF: In fiction, a transfixing debut called Stiltsville by Iowa MFA grad Susanna Daniel. A love song to Miami, this episodic novel follows the life of a marriage, starting in the 1960s and ending in the 90s. It will be published by Jennifer Barth at HarperCollins next summer.
      Nonfiction: Playwrights at Work, by Rosemarie Tichler and Barry Jay Kaplan, a lively collection of interviews with great American playwrights of the day, to Northwestern University Press.

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

EF: I’m looking for a distinctive voice. That can mean a lot of things, but I look at every submission wanting to be gobsmacked on the first page (and those that follow!) by original, compelling, well-crafted sentences. I like character-driven stories. Humor helps, though it isn’t a requirement.

GLA: Within commercial fiction, can you tell us about two or three manuscripts you recently agreed to represent and what grabbed you about each to the point where you knew you had to represent them?

EF: I guess I tend to be most interested in commercial fiction with literary qualities.
      I took on a novel that made me laugh out loud on pretty much every page, at the same time that every sentence is so polished as to almost be some kind of perfect haiku. The structure is idiosyncratic, and the subject is an extremely timely take on the spiritual estrangement of contemporary culture. I was wowed by the writer’s originality and craft.
      One novel is set on a hardscrabble subsistence farm in the Australian outback during World War II, beautifully and slyly told in the salty first person narration of the main character, a farmwife named Gin Toad. It is extremely accomplished.
      Another novel follows an immigrant Russian family with three daughters of marriageable age. The writer’s approach is playful and original. She pokes fun at her characters, but she handles them with real affection. The dialogue is fizzy and hilarious. That dialogue got me. It jumps off the page.

GLA: Specifically within the thriller genre, do you prefer any particular subgenres, such as legal, psychological, or supernatural thrillers, etc.?

EF: I like a psychological novel. I have a knee-jerk reaction against the fantastical and supernatural (my own limitation) that I can get past when the story is grounded in strong writing.

GLA: Where do you notice most nonfiction book proposals fall short?

EF: Voice again. I want a proposal to be thorough, meticulously researched, well-organized, etc., but it also needs to be a compelling argument for the subsidized existence of this particular book. And the most convincing way for an author to demonstrate that is by being good company on the page. Also, there is that whole thing about platform (groan).

GLA: One area of nonfiction you seek is journalism. With the Internet pushing us toward an increasingly paperless society, many see the world of journalism as changing. Do you think printed newspapers and magazines will be obsolete one day? What should a journalism proposal look like in order to stay current with the times as well as catch your attention?

EF: I like paper and the tactile nature of books and magazines and newsprint. That said, I do read most of my news online. It is hard to deny that the magazine and newspaper business is heading that way. Ultimately, though, I suppose the story is what’s important and the medium of delivery is secondary.
      Because of the way a publishing timeline usually works, a journalism book proposal should anticipate where the news is going and what we’ll be interested in a couple of years. The writer needs a solid platform, an area of expertise, to have done the research, and to convey it in a lively manner that convinces me I’m interested in a subject I didn’t necessarily previously know I wanted to read about. I once heard a nonfiction editor say that a journalistic book should either be the first book on a subject, or the last (definitive) book on a subject.

GLA: Is there a particular angle to explore or avenue to attempt for writers without celebrity status who wish to break into memoir?

EF: It depends on what you mean by ordinary people. If you mean a non-celebrity, yes definitely. But if you mean a common experience written in unextraordinary prose, probably not. What makes a successful memoir is a distinctive story, or else a distinctive take on a common life experience, combined with highly readable prose. And I’ve found that you really need both. Both the story and the voice. It doesn’t work when you have just half.
      An example of a memoir that really worked is Jennifer Traig’s Devil in the Details (Little Brown). It tells about the author’s girlhood as an obsessive-compulsive religious fanatic. Books had been written about OCD, but at that time nobody had written about the disorder called scrupulosity. And Jenny’s writing is sympathetic, smart, and FUNNY. She has the distance on this period in her life to render it an insightful and very enjoyable reading experience.
      Another was Margaret Sartor’s Miss American Pie (Bloomsbury), which, through compelling, moving, and sometimes unintentionally humorous diary excerpts, traces the author’s evolving girlhood, which was rife with romantic, identity, and spiritual crises in 1970s Louisiana. The authenticity of her voice crackles on the page.

GLA: Would you say your MFA in Graphic Design influences your acceptance of art pieces? For example, are you more interested in graphic design books? As well, what topics are you drawn to most in this category? Least?

EF: I am a visual person with an affinity for visual texts (art and design books, picture books, graphic novels, etc.) but have represented very few. Art books can be expensive to produce and challenging to get published, but I am always open to being wowed by a project.

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

EF: In terms of submitting material, we always talk about the importance of writers putting their best foot (feet?) forward. Because we’re all (editors and agents) inundated with reading, we don’t usually have time to see potential in work and nurture it until it becomes a polished finished piece (which isn’t to say that there isn’t some editing, and there are always exceptions). It is always a good idea for writers to ask another trusted reader to take a look before sending out their materials. It is to authors’ advantage to make sure their work is far along when it is goes out into the world for consideration.
      In terms of writing, I once heard Tony Hillerman give a talk at the Taos Writers Conference and he spoke about how each person is the world’s expert on their own life experience (whether it be following the crime beat as a news reporter in the Southwest, or something else). He talked about the breakthrough in his own writing when he decided to mine the territory in which he was the world’s smartest. I guess that’s not new advice, but I thought it was a good way of thinking about it.

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

Want more on this subject?

Check out all the agents I've interviewed here.

Want to query Emily? Check out How to Write a Query Letter to an Agent.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice: Jessica Sinsheimer of Sarah Jane Freymann Literary

Chuck — Mon, 17 Aug 2009 03:54:19 GMT

She is seeking: She handles literary fiction, young adult, women’s fiction, food memoirs, travel memoirs, parenting, psychology, and cookbooks. See full submission guidelines here.

Jessica Sinsheimer

GLA: How did you become an agent?

JS: I was lucky. My college roommate had an internship at a large agency in New York and, when she finished, got me an interview. At the time, I was fresh from small-town California—there were literally sheep across from my high school—and had no idea what an agent was. But I arrived, loved it (who wouldn’t love reading and talking to writers and editors all day?), and kept on. The same friend got me another internship at a small publishing house, and when I graduated, I was hired with my current company.

GLA: Tell us a little about yourself – what are your interests? Your hobbies?

JS: In addition to the usual publishing-type interests (bookbinding, quill pens, wax seals, old books), I enjoy hiking, kayaking, traveling, browsing for heirloom produce at the farmer’s market, making homemade pasta, throwing dinner parties, undertaking unusual arts and crafts projects, keeping up handwritten correspondence, digital photography and exploring the city. In the next year, I’d like to study a new language, find a karate studio, and get involved with an environmental organization.

GLA: What draws you to literary fiction? Why the love for that category?

JS: I’ve loved literary fiction since a very young age, and I love when manuscripts come across my desk that make me sit up after a brilliant sentence and pause to savor the image—to think, Yes, this is why I love books.
I’ve just finished Robert Goolrick’s A Reliable Wife, which is an excellent example—because the writing is so beautiful, the book transcends the subject matter. If you can write a book that’s officially about one thing but really, actually, about so much more, I will bother everyone in the office until they read it (“How about a cup of tea and this manuscript? How about right now?”) and then, as they read and laugh if it’s funny and make appreciative sounds, and we get that incredible We’ve found something really special glow, I can’t imagine doing anything else. I always love my job, but especially in those moments.

GLA: Concerning the “edgy young adult” fiction you seek, can this be any genre? Can you help writers understand more about what you do and don’t want to see in YA submissions?

JS: Yes, of course—there’s a freedom to this work because it’s for readers who haven’t yet settled into the rational, routine, this-is-possible-and-this-isn’t adult mindset. With that in mind, I’m happy to see YA works of any subgenre. Young Adult can be more tender -more emotionally raw, and messy, and thus truer to life than works for adults.
That said, my personal preference is for YA that would be of interest to young women. We’re primarily looking for YA crossover—works that are multilayered so that they are interesting to adult readers as well. My favorite manuscripts include but also deal with larger concepts than shopping/romance/school issues: they examine the emotional nuances of this life stage, with writing that is beautiful but accessible to young adults.

GLA: When reading a YA partial, what are the 1-3 most common reasons you stop? Where are people going wrong?

JS: Once we’ve determined that the writing is strong enough, it’s usually a question of plot (we receive many works that are derivative or otherwise unoriginal) or voice. As we know from the young adults in our lives, anything that sounds even vaguely parental will not be well-received. And there’s nothing worse than narration that reads like a text message from a grandmother.
In the past month, I’ve received twenty-nine YA partials. Looking back on my notes, I see that I rejected eight for writing, seven for voice, six for derivative or unoriginal plots, four because they were inappropriate for the age group, and two that simply weren’t a good fit for the agency but may find a home elsewhere. Then there were two I liked and passed them on to others in my office.
Also, I think a lot of writers, seeing the success of Twilight, have tried to force their manuscripts into this genre. I know you’ve heard it before, but it’s so true: write what you are meant to write—don’t write what you think will sell.

GLA: According to your BEA bio, literary and edgy YA is the only fiction you are looking for. Is that still so?

JS: Not at all! I’d especially love to see women’s fiction, literary fiction, food memoirs, travel memoirs, Parenting, Psychology, and cookbooks. Naturally, many works are some combination of the above. I also have a lot of respect for writing of the Aimee Bender/Amy Hempel variety, but know this is hard to find in full-length form. If the writing was extraordinary, I’d consider anything—though violent works about alien wars would, admittedly, have an uphill battle.

GLA: You seek a few nonfiction subjects. When you start reading a query letter for a nonfiction book, what do you immediately look for in the letter?

JS: I always look for a strong narrative element. Nonfiction isn’t just about facts; it’s about the narrator—usually the writer—discovering the subject matter, how it relates to others, and what it means for the reader. Platform is, of course, necessary for some nonfiction, but it isn’t the first thing I notice. I’d say first writing, then narration, then professional background.

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

JS: Absolutely. In the past six months, I’ve taught workshops, presented on panels, and done author-agent speed-dating, which I love. I’ll be at the Writer’s Digest conference in September and expect to travel more throughout fall and winter. See my blog for updates: http://agencygatekeeper.blogspot.com/

GLA: What’s the best way to submit to you? Just a query? Something else?

JS: A query is best—preferably via e-mail—to Submissions@SarahJaneFreymann.com. I won’t object to a few sample pages (attach them as a Word document, please): I know that writing queries is a skill separate from writing manuscripts.

GLA: I know this may be a tough question, but what are your thoughts on the future of publishing? What can you tell writers?

JS: We need to remember that many of the major publishing houses predate the Great Depression. Yes, there have been scary moments, and the industry is changing. But I don’t think it will be technology that brings on this change. I’m with Nicholson Baker (in this week’s New Yorker): though ridiculously convenient, the Kindle can turn otherwise extraordinary content, like the New York Times, into something the resembles a blog. A reliable blog, but a blog. I think great writing deserves more than that.

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

JS: Keep in mind that we are not looking for, and representing, every work that is devoid of flaws—we’re looking for the work we fall in love with.
      Ensure that the first line of your pitch proves that you’ve done your research: I spent six months gathering data on why I reject authors (there’s a pie chart on my blog), and the number one reason is a lack of research into agents. It’s not necessarily genre, here, but fit: a certain feel that makes a work compatible with that agent’s sensibilities. I immediately have more respect for authors who have done their homework. Use the books available and your intuition.
      Your pitch letter may change your writing life forever. Do not simply cut and paste, and certainly do not BCC. Tailor each one. Say something like, “I see that you represented [name of book]; I liked X, Y and Z about it” or “I loved what you said at [conference name]” or “I see you like [name of TV show]—my work is similar.” Vary your sentence structure, use strong verbs and advanced punctuation—and do so correctly. Prove with your writing that you love the language.
      Be cordial: we’re considering a long-term working relationship. The best writers are often the kindest. Don’t be impatient, but follow up graciously if you’re not sure we received your work.
      I wish I could take authors into the office—a sort of field trip, with free coffee and souvenir letter openers—so that you could see the kind of consideration we give everyone’s work. We read every query carefully, we discuss many of them, we consider a million factors that have nothing to do with whether or not you have what it takes to be a writer. Sometimes we have something too similar to your work; sometimes we just don’t feel we’re the very best agency, of the many, many agents out there, to champion this project. Have faith that we do this out of love of writing, and take our responsibility toward the future of books very seriously. We’re here not just to sell your work, but to make it—and you, as an author—all that you can be.

Want more on this subject?

Previously, I interviewed another agent at Sarah Jane Freymann Literary: Katharine Sands. See her interview on the blog here.
If you're interested in meeting Jessica in person, she will be at our writing conference in New York, Sept. 18-20. Learn more here.
Confused about formatting? Check out Formatting & Submitting Your Manuscript.

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice: Susanna Einstein of LJK Literary Management

Chuck — Sun, 09 Aug 2009 15:11:23 GMT

Agent Interview by
Contributor Ricki Schultz:

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features Susanna Einstein of LJK Literary Management. Susanna has worked in publishing since 1995 and is one of the founding agents at LJK, where, since 2005, she has been building a client list and selling projects ranging from children’s picture books to adult literary fiction.

She is seeking: She is interested in: crime fiction, historical fiction, literary fiction, and women’s fiction, as well as the occasional narrative or practical nonfiction book. She is particularly interested in finding great middle-grade or young adult books. Her primary requirement for any project she handles is having a distinct voice.

GLA: How did you become an agent?

SE: I had worked as an editor and as a scout, and while I loved both of those jobs, I wanted to work on the books that interested me, as opposed to the ones I needed to acquire for a particular list or ones I needed to read for a particular client. As an agent, I don’t have to work within a niche—I can work on crime novels, young adult novels, practical nonfiction, memoir, literary fiction—whatever I think I can sell!

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

SE: I just sold a second novel by a super-talented young-adult author, Lara Zielin, to Putnam Books for Young Readers. Her first book, Donut Days, comes out on August 6, and is getting terrific reviews and word of mouth. The new novel is called Promgate and is based on a true story about a high school scandal in which a pregnant teen was elected Prom Queen.

GLA: What is it that draws you to the middle-grade and young-adult age group?

SE: I love middle-grade and YA books for many reasons. For one thing, the books I read as a child and young adult are the ones that made me love reading, that transported me and made me into the bookworm that I am today. So the opportunity to be involved in that process, where kids and teens discover their own favorite books, is one that I couldn’t pass up. And there’s a joy and creativity in the children’s/YA market that is less present, or at least less visible, in the adult market. I also think, perhaps naïvely, that there’s a sense of purpose, of good work being done, in finding and selling books that young people will want to read, and that’s important to me. Last but not least, the children’s/YA market is flourishing and expanding in terms of subject matter, kinds of books, and sales. What’s not to like?

GLA: You also seek crime fiction, historical fiction, literary fiction, women’s fiction, and sometimes nonfiction. This leaves a lot of wiggle room for authors wishing to query you. Do you have particular "likes" or "dislikes" as far as subgenres for any of these categories?

SE: If a book tells a good story, I am all for it. To me, that means a book I can’t put down because I have to know what happens next, or one in which I’m so seduced by the world the author creates that I just want to stay there. I’m reluctant to say “never” vis-à-vis subgenres, but that said, I am probably not the ideal person for books of military history or military fiction—if battle details and hardware play a huge role, I tend to zone out. I’m also not particularly drawn to what I think of as the MFA novel—a book which has exquisitely chosen words but a plot I’ve read a gazillion times before.

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

SE: I pray for excellence. I see lots of books that are perfectly adequate. They tell a good story, they observe the conventions of their genre, etc., but they don’t stand out. In this market, it’s not enough for a book to be just fine. It has to be superlative.

GLA: Within all your areas of interest, you say you are looking for anything so good you “can’t put it down.” Have a you noticed any trends in what you tend to represent—things you are particularly a sucker for—that prevent you from putting down a manuscript?

SE: Honestly, not really. I have eclectic taste. All of my clients are wonderful storytellers, though, who create tangible, believable worlds. If a book makes me cry, then that’s a good sign, but that’s not to say I’m only looking for tearjerkers. I do find that I like reading about characters whom I’d like to be, if only for a day. I want characters who are charismatic—which does not mean likeable, necessarily—and I want there to be an arc to their story, some real emotion, something at stake. What do they want and how do they get it?

GLA: On the other side of that, what are some things that make you stop reading a manuscript every time you see them?

SE: Bad dialogue stops me immediately. I’m shocked by how many writers don’t seem to read their dialogue aloud, since if they did, they could surely tell it was stopping the reader cold. I subscribe to Elmore Leonard’s rules of dialogue (“Never use a verb other than said to carry dialogue. Never use an adverb to modify the verb said.”). A good writer will be able to give their characters distinct voices and will be able to convey emotion without spelling it out. Anything too derivative of another writer makes me stop reading, as does anything that’s written to a trend—since, in the amount of time it takes to publish the book, the trend will have ended. And, of course, bad grammar, bad spelling, single-spaced manuscripts—all the usual suspects.

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

SE: I just finished a summer full of conferences, so am taking a break for a while. But I’m sure I’ll be at some in the future—I like getting out of New York City and meeting writers.

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

SE: 1. The best writers I know are the ones who treat writing like a job, whether or not they have another one. They work every day, they revise, they network, they educate themselves. They don’t think of themselves as artists, but as workers, and they take rejection in stride.
        2. Your first book may not be publishable. Really consider that when you’re beginning to look for representation. Is this the best possible book to go out with, or do you just want it to be published because you worked hard on it? There are those books that teach writers how to write—and there’s a lot of worth in that, even if they never reach a wider audience.
        3. Join a critique group—one that does not include your family or friends.
        4. Just because I don’t like something, doesn’t mean another agent won’t.

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

Want more on this subject?

To see all the many agent interviews on this blog, click here.

Confused about formatting? Check out Formatting & Submitting Your Manuscript.
Read about What Agents Hate: Chapter 1 Pet Peeves.
Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

New Agent Alert: Adriana Dominguez of Full Circle Literary

Chuck — Thu, 06 Aug 2009 14:52:25 GMT

Adriana Domínguez

Full Circle Literary is based out of the SanDiego area, but Adriana will be their east-coast representative.

About Adriana: She has more than 10 years of experience in publishing, most recently as Executive Editor at HarperCollins Children's Books, where she managed the children's division of the Latino imprint, Rayo. Prior to that, she was Children's Reviews Editor at Críticas magazine, published by Library Journal. She is also a professional translator, and has worked on a number of translations of best-selling children's books.

Fiction areas of interest: Children's books - picture books, middle grade novels, and (literary) young adult novels. On the adult side, she is looking for literary, women's, and historical fiction.

Nonfiction areas of interest: Multicultural, pop culture, how-to, and titles geared toward women of all ages.

How to submit: "To save trees we are now accepting initial queries and submissions by e-mail only. To submit to Full Circle, please send a brief, one-page query (in the body of the e-mail, no attachments please) describing your book project and author highlights. No phone queries. Please send your queries to: submissions(at)fullcircleliterary.com Please allow 4 to 6 weeks for response. We will notify you if we are interested in representing your project or if we will be requesting additional materials (such as sample chapters or a proposal). Unfortunately we cannot respond personally to every query and submission we receive."

Also: "Please refer to our blog posts on fullcirclelit.blogspot.com for further detail about what we might be looking for at any one time, as well as a more detailed explanation of what we seek in an author and their credentials."

Want more on this subject?

I previously interviewed Full Circle agent Lilly Ghahremani. See that interview here.
Check out Writing & Selling the YA Novel, by award-winning YA author K.L. Going.
Confused about formatting? Check out Formatting & Submitting Your Manuscript.
Read about What Agents Hate: Chapter 1 Pet Peeves.
Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

New Agent Alert: Gordon Warnock of Andrea Hurst & Associates Literary Management

Chuck — Wed, 05 Aug 2009 14:47:42 GMT

Gordon Warnock

About Gordon: He started as an intern with Andrea Hurst Literary Management, a Sacramento-based agency, and has now been promoted to full agent. Recently, he attended the 2009 San Francisco Writers Conference and the 2009 Jack London Writers Conference. E-mail: gordon@andreahurst.com. Web: www.andreahurst.com.

Nonfiction areas of interest: Memoir, Pets, Cookbooks, Self-Help, Current Events, Humor, How-To, Health and Dieting. Fiction areas of interest: Commercial Narrative, Character-Driven Literary, Monster and Disaster, Pets, Humor. Does not want to receive: Religious Fiction, Women's Fiction, New Age, Children's and YA.

How to Submit: "Please query one agent only from this agency. E-mail your query and please include your query in the body of the email--no attachments. Do not send proposals, sample chapters or manuscripts unless specifically requested by an agent. They will not be opened or returned. Please indicate if you are simultaneously submitting to other agents. Give some time to respond—in busy periods this may take several weeks. The agent will contact you if we are interested in seeing more. If interested in seeing more of your work, we will request a synopsis, author bio, sample chapters, and, for nonfiction books, a proposal. Fiction must be complete to be considered. Please send only your very best, most ruthlessly edited work. Hint: If you just finished your novel recently, chances are it is not yet ready for scrutiny."

Want more on this subject?

Confused about formatting? Check out Formatting & Submitting Your Manuscript.
Read about What Agents Hate: Chapter 1 Pet Peeves.
Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!>>

Agent Advice: Jim McCarthy of Dystel & Goderich

Chuck — Fri, 01 May 2009 13:33:54 GMT

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features Jim McCarthy of Dystel & Goderich. Jim interned for DGLM while studying urban design at New York University.

Seeking: "literary and commercial works. He is particularly interested in literary women’s fiction, underrepresented voices, mysteries, romance, paranormal fiction, and anything unusual or unexpected. In addition to fiction he is also interested in narrative nonfiction, humor, memoir, paranormal nonfiction, and anything related to architecture, planning, or real estate." His e-mail address is jmccarthy@dystel.com. To contact him, enclose a cover letter, outline or brief synopsis of the work (with word count if possible), a sample chapter, and SASE for our response. Please type all of your correspondence and double space everything other than the cover letter. E-mail queries are fine (no attachments). Please be sure to query only one agent at this agency.

Jim McCarthy

GLA: How did you become an agent?

JM: I really stumbled into the industry. I was studying Urban Design at NYU and needed a part-time job. Stacey Glick, my now colleague, was the first person to call me back from the forty resumes I sent out. I didn't even know what a literary agent was at the time. Ten years later, I know it was a hell of a lucky break.

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

JM: One of my most exciting recent sales was for a literary novel called Yield by a young writer, Lee Houck. I originally signed it on in 2006. It sold last month to Kensington. It was a long, long process, but it's a book I've always adored, and I'm thrilled that it will be seen in print. I also just sold seven new young adult titles by the outstanding (and New York Times bestselling) Richelle Mead to Razorbill.

GLA: I'm very curious. What constitutes these "underrepresented voices" you
seek?

JM: This is very open for interpretation. What I really mean is that I want to see stories that aren't being told. I think there are a lot of groups that don't necessarily see themselves represented in the literary market as much as they should: whether that means underrepresented ethnic, religious, or even geographic narratives or simply people who feel like they fall out of the mainstream, I'd love to have a look.

GLA: When you're looking at a submission for a literary novel, how much stock do you put into queries and synopses?

JM: I always want to see samples when I'm looking at literary queries. There are tons of books that I probably wouldn't be especially interested in just based on a synopsis that I ultimately end up loving. Coetzee's Disgrace is a great example. The plot didn't appeal to me, but the book was dazzling. Once I see that something is literary, I tend to skip to the sample to see if the voice grabs me.

GLA: When I think of paranormal romance, I think of vampires and more
vampires. What other things do you see would classify the fiction writing to be in this category?

JM: Well, I certainly do love my vampire romances. And zombies, succubi, werewolves, and all of those other glorious fantastical creatures. But what I'm seeing a lot of (and am really encouraged by) is that the boundaries of the subgenre are being stretched. I love fiction that is fantastical--alternate worlds, alternative realities, that sort of thing. It isn't so much about the entities you're writing about as it is the ability to create a world that feels wholly realized and entirely believable in its own right.

GLA: We met recently at the Las Vegas Writers Conference. You took a lot of pitches. What were the most common mistakes you saw writers doing concerning in-person pitches?

JM: Fear. Writers get so caught up in making sure they capture everything about their book in as short a time as possible that they get really worked up and flustered. I'm not looking for a synopsis of everything that happens in a book when I'm getting pitched. I just want to hear someone talk about why they wrote their book and what excites them about it. It should be a much more natural process than a lot of people are ready for it to be.

GLA: Concerning the mystery and romance genres, do you seek anything specific here? Do you have particular "likes" (subgenres, etc)?

JM: I'm really open to anything, but I particularly love serial killer thrillers, ghost stories, and anything hardboiled in mystery. I'd love to find my very own Chelsea Cain or Charlie Huston. On the flipside, I adore a good cozy mystery series, particularly if there is an element of humor. In terms of romance, I skew more contemporary than historical, still love a good sense of humor, and am always on the lookout for writers who pull off sexy really well (it's tougher than it sounds!).

GLA: On the same subject, what do you pray for when tackling the slush pile?
What do you keep looking for and not getting?

JM: I always used to answer this question by saying that if someone would write a novel about Elvis, vampires, and road trips, I would definitely sign it on. Happily, someone finally took me up on it! So now I'm dying to find some great big Gothic thriller or romance. A 21st Century The Ghost and Mrs. Muir is my current dream project.

GLA: I've been talking a lot about memoir on the blog recently. Is there anything you can add when talking to writers about writing and submitting memoirs, since so many people are doing so?

JM: Two bullet points I'd throw out there: first, make sure you're ready to share your story on a major scale. I've seen people write their memoirs and then pull them from consideration and, once, even from publication, when they realized that they weren't prepared to deal with the emotional effects of sharing something so intimate. It's something you really need to be sure you explore personally before you take that step. And when you do decide to write it, my second piece of advice is to find your framing mechanism. It isn't usually enough to just present a snapshot of your life. You need to find a narrative in there--something with a beginning, middle, and end. It doesn't have to be chronological, but you need to give the reader structure. I always find myself recommending three memoirs that I think do this especially well: The Glass Castle by Jeannette Walls, Strip City by Lily Burana, and the amazingly funny (and truly moving) I Am Not Myself These Days by Josh Kilmer-Purcell.

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

JM: I'll be at PNWA in Seattle from July 30-August 2, and at the South Carolina Writers Workshop conference October 23-25.

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

JM: If you think you can give up writing, then give it up. If you can't ... if you know that no matter how much stress or rejection or frustration you face, that you can never stop writing? In that case, never give up. Publishing is too hard to face if you aren't in it for the right reasons. But it's not too hard to break into if it's what you need to do.

Want more on this subject?

How to Write a Query Letter.

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

Why Your Manuscript Can Get Rejected, by Hallie Ephron.

10 Hidden Gifts of Rejection Letters.

Google Alerts and Agents.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

New Agent Alert: Willy Blackmore of BLISS Literary

Chuck — Tue, 24 Mar 2009 15:03:09 GMT

Willy Blackmore

Willy Blackmore, great-grandson of Farrar, Straus and Giroux co-founder John Farrar, has joined BLISS as an associate agent. He is a former editor and co-founder of Impetus Press.

Fiction areas of interests: writing with a pop or urban edge that falls between commercial and experimental, and traditional literary fiction. He prefers narrative-driven novels that construct and develop a real and engaging world. He does not represent straight genre fiction (e.g. fantasy, romance, crime, horror, etc.), but will consider manuscripts that take a new slant on the traditions and tropes of a genre.

Nonfiction areas of interest: pop culture, food/travel writing, contemporary art/culture, memoirs that showcase an intense sense of immediacy and confront difficult realities, and histories and biographies that relate to literature and art.

How to contact: wblackmore@blissliterary.com. Snail mail - BLISS Literary Agency International, Inc., 1601 N. Sepulveda Boulevard, #389, Manhattan Beach, CA 90266. www.blissliterary.com. The agency's submissions page online has much more detail on how to submit via snail mail or regular mail.

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.

Agent Advice: Courtney Miller-Callihan

Chuck — Thu, 29 Jan 2009 05:16:03 GMT

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features Courtney Miller-Callihan, of Sanford J. Greenberger Associates. Courtney began her career in publishing at Random House, where she spent a number of years in subsidiary rights sales and in contracts before joining Sanford J. Greenburger Associates in 2005. Courtney holds a B.A. in Literature from the University of California, Santa Cruz and a M.A. in English from The Johns Hopkins University.

She is seeking: She looks for nonfiction projects on unusual topics, science, personal finance, business, pop culture, lifestyle books, and craft books. In addition, Courtney is seeking new voices in literary fiction, historical fiction, and women’s fiction. Solid credentials are a must. She also represents a limited number of children’s book authors and illustrators. She prefers to receive submissions via e-mail at cmiller [at] sjga [dot] com.

Courtney Miller-Callihan

GLA: How did you become an agent?

CMC: I've always loved books - everyone in this business does, which is the best thing about it. I think my interest in publishing stemmed from a stubborn desire to actually use my two degrees in English. I started at Random House, in the contracts department, in 2002, and then spent a couple of years in subsidiary rights before joining SJGA in 2005. I started taking on my own clients shortly thereafter.

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

CMC: The Twelve Days of Christmas in Georgia, illustrated by Elizabeth O. Dulemba (Sterling, fall 2010). Sterling is doing a great series of picture books about holiday traditions in different states.

GLA: You seek "unusual" nonfiction topics. Kind of like "miscellaneous"? Could you give me some examples of books out there in the market you wish you'd repped?

CMC: "Miscellaneous" is good, or "weird." I want to see proposals for books on subjects I've never really thought about or even heard of, as well as really creative takes on subjects that have already received a lot of attention. I love narrative nonfiction and investigative journalism, and anything that teaches me something new.

GLA: You seek solid credentials. Is that just for nonfiction? Or do you want some kind of a platform even when getting a fiction query?

CMC: If the query is for literary fiction, I like to see a strong record of publication - short stories in literary magazines. For more mainstream fiction, the platform doesn't matter if the writing is terrific.

GLA: Do you find that you have any weird quirks as an agent? Perhaps everyone likes a query presented in such-and-such a way, but you prefer something else?

CMC: I respond poorly to clip art, whether it's the "writerly" scroll of parchment on the letterhead or simply an attempt to add illustrations to a proposal. Better to leave it out.

GLA: Regarding the juvenile work you will accept - can you elaborate a bit? Mid grade? Picture books?

CMC: I'm feeling more drawn to middle grade and YA at present, but I've always got my eye open for really wonderful illustrators. I don't like talking animal books or picture books done in rhyming couplets.

GLA: Literary fiction, historical fiction and women's fiction are unique in that none of them fall under "pop" or "genre" fiction. What do you like to see when you sit down to read a partial?

CMC: Introduce me to a character I want to get to know. Get me invested in the story, fast. And, everyone always says this but it's true, I live for the times I get so absorbed that I almost miss my subway stop.

GLA: What are you looking for now and not getting? For example, a 18th century story set on the high seas...

CMC: I'd love to see more historical fiction with a non-Western setting. As with my taste in nonfiction, I relish the opportunity to learn something. I'd love to see more compelling, character-driven women's fiction. And I'm on the lookout for a book on homesteading - DIY, frugality, eco-conscious.

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

CMC: Nothing on the schedule at the moment (but I'd love to hear from writers' conferences looking for more agent participants/speakers!)

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

CMC: I can't emphasize enough the importance of making a good first impression. Agents are inundated with queries, and for me, the ones that follow my guidelines (a proposal and CV for nonfiction, a synopsis and the first three chapters for fiction), spell my name right, and maybe reference my existing clients' projects, really do stand out from the pack.

Want more on this subject?

Word Count Guidelines for Novels and Children's Books.

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

20 Tips on Writing a Query Letter

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

What are the BEST writers' conferences in the country?

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice: Ellen Pepus of Signature Literary (formerly the Ellen Pepus Literary Agency)

Chuck — Fri, 02 Jan 2009 18:48:23 GMT

She is seeking: "narrative nonfiction, including history, true crime, science, adventure, and memoir, as well as self-help, health and diet, food and cooking, travel, entertainment, popular culture, how-to and humor. She also represents a wide range of fiction, including literary, historical, mystery, women's fiction and romance, erotica, thrillers, fantasy and general commercial fiction. She does not handle science fiction, young adult, children's, short stories, poetry or screenplays."

GLA: How did you become an agent?

EP: My background is in English, writing and law, and I'd always wanted to work in publishing. My introduction to agenting was at The Graybill and English Literary Agency where I was assistant to several agents (including Jeff Kleinman and Elaine English) and sold foreign rights. When that agency disbanded in 2006, I decided to start my own agency, based in Washington DC.

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

EP: The Belly Dancer, DeAnna Cameron, Berkley 2009. Really fun historical fiction by a first-time novelist.

GLA: You say you're looking for women's fiction that transcends chick lit. Can
you expand on what you mean by this?

EP: I love themes and subjects that appeal to women - books about people, relationships, women's lives. I like the funny, lighthearted aspect of chick lit, but I'm more looking for books with more depth, that are original and unpredictable and take a few risks. I would love to find authors who can break out of the formula and still tell a great story.

GLA: You also look for "animal stories," but this seems like a subject where you may get a lot of bad submissions. True? What mistakes are people making?

EP: It's funny; animal books are sort of perennial sellers, so I thought I'd put it out there as something I was looking for - but I do get a lot of misguided submissions in this area, particularly people's "cute pet" stories. I'd like to see books that include animals as a theme or subject, but not necessarily ones about someone's weird dog or cat. Instead, I'd love to see good narrative nonfiction in the science or nature areas or even a memoir/human interest story with an unusual twist and great writing.

GLA: What are the most common problems you see in a query letter from an unknown author?

EP: The most common problems in query letters - first, mistakes in grammar, spelling, word usage, or sentence structure. Anything like that is going to put me right off. Second, not saying what the book is about right away. I am only able to spend a minute at most reading your query letter - tell me exactly what I should know immediately because I may not read all the way to the end. Third, being boring or unoriginal - writers don't seem to realize how many query letters we read in a day or a week, we've seen everything and are looking, more than anything, for our attention to be caught, to be taken by surprise. Be surprising!

GLA: What are you noticing about how the recession is affecting the publishing
world and authors' abilities to sell work?

EP: It's definitely tightened up quite a bit. I think there will still be sales but maybe fewer for a while, and publishers may be less likely to take a chance on an unknown fiction author unless the work has a very strong commercial hook, or, in nonfiction, if the author has a great platform.

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

EP: In 2009, I'll be at the Las Vegas Writers Conference in April and Washington Independent Writers Conference in June. I'll also be taking pitches at the Writer's Digest Books Writers' Conference just before BEA in May in Manhattan.

GLA: When writers pitch you in person, what do they need to do to make their
short amount of time work?

EP: I think pitching is difficult because it's impossible to judge a piece of writing based on a pitch. Having said that, I want to hear about what the book is about, what makes it interesting, why people will want to read it, what one thing will get a publisher excited about seeing it. I also usually like to have a conversation with the writer, to find out their background, why they wrote this particular book, what else they've written, etc.

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

EP: My best advice to writers is to keep practicing, to take workshops and classes, to really learn your craft. Read a lot. Notice things like story structure, character development, how scenes are put together in the books you love. These things can all be learned. I see way too many people who think they can just bang out an unoriginal, poorly crafted novel and get an agent to take it seriously.
Writing is a discipline and it requires dedication, talent, craft and - unfortunately - luck, but the luck part has a lot more to do with the first three than people think. And if you don't succeed with your first novel, write another one. Consider that first one practice. Keep going, but don't get bogged down thinking you've written a misunderstood masterpiece if every agent in the world turns you down. Assume there's something in that piece that isn't working and move on ... but keep writing.

Want more on this subject?

How to Write a Query Letter.

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

Why Your Manuscript Can Get Rejected, by Hallie Ephron.

10 Hidden Gifts of Rejection Letters.

Google Alerts and Agents.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

New Agent: Jon Sternfeld of Irene Goodman Literary

Chuck — Thu, 21 Aug 2008 19:24:54 GMT

Reminder: Newer agents/agencies are golden opportunities for new writers because they're likely building their client list; however, always make sure your work is as perfect as it can be before submitting, and only query agencies that are a great fit for your work. Otherwise, you're just wasting time and postage.

Jon Sternfeld of the Irene Goodman Literary Agency

80 Fifth Avenue, Suite 1101, New York, NY 10011. E-mail:
queries@irenegoodman.com. www.irenegoodman.com/about.php. Actively seeking: intelligent literary fiction, high-end modern fiction; nonfiction and narrative nonfiction dealing with social, cultural and historical issues; an occasional memoir and current affairs book. Prior to his current position: Jon comes to the agency from the film world, where he worked both the creative and development sides. He is actively seeking new clients. "I'd be happy if people just reached out to me," he says.

How to contact: "For Unpublished Authors: If you have a manuscript that you would like to send to the agency, please first ask yourself the following questions: 1) Is this manuscript in the best possible shape? Do I believe it is ready to sell, or am I just testing the waters? 2) Have I completed the manuscript? 3) Does it fit the guidelines of the kinds of books this agency represents? If you can answer yes to all of the above, then please do the following: Send a query letter and the first 10 pages, along with a detailed synopsis of the entire book, in the body of an e-mail to queries@irenegoodman.com (Query, ATTN: Jon Sternfeld)."

Responds in 1-2 months. If interested, this agent will request more pages. E-mail queries only. No snail mail or phone queries will be accepted, nor will any queries to Jon's personal e-mail account. "Because we are receiving more than 50 queries a day, the system is getting overloaded. If your e-mail bounces back, please do not call the office. Just try again in a day or two."

New Agency Alert: Straus Literary Agency

Chuck — Fri, 27 Jun 2008 03:27:27 GMT

Reminder: Newer agencies are golden opportunities for new writers because they're likely building their client list; however, always make sure your work is as perfect as it can be before submitting, and only query agencies that are a great fit for your work. Otherwise, you're just wasting time and postage.

Straus Literary Agency

319 Lafayette St., #220 New York, NY 10012. (646)843-9950. Fax: (646)390-3320. E-mail: jonah@strausliterary.com. Contact: Jonah Straus. See the agency website. New agency actively seeking clients. Prior to becoming an agent, Jonah spent 13 years in editorial, sales and marketing for publishing and book distributers in New York and San Francisco. Established: 2003. Currently handles: 50% Fiction, 50% Nonfiction.

Nonfiction areas of interest: biography, history, mind/body/spirit, travel, lifestyle, memoir, cookbooks, multicultural, current events, politics, humor. Fiction areas of interest: general fiction, historical fiction, literary fiction, multicultural fiction, mystery. How to Contact: E-mail query with synopsis, author bio and two sample chapters as attachment.

Recent sales: Above Top Secret: Uncover the Mysteries of the Digital Age by Jim Marrs (The Disinformation Company); Depression, War and Cold War: Studies in Political Economy by Robert Higgs (Oxford University Press, USA).>

Note: This agency is not be confused with Robin Straus Literary, Inc.

Eberhardt Moves to Reece Halsey North

Chuck — Tue, 13 May 2008 14:19:57 GMT

April Eberhardt has recently left the Andrea Brown Literary Agency and moved to Reece Halsey North. ABLA confirmed the move to me recently. Both agencies are located in the Bay Area.

Here is what she is looking for: "Her specialty is adult literary fiction, particularly ironic family dramas and realistic midlife tales, often with a twist, preferably involving strong female characters. She is attracted to collections of interlinked stories with a common character or theme. An original voice and smart, speedy delivery are critical, as is a subtle sense of the absurd. She enjoys working with new authors to edit and streamline their manuscripts before submitting them to publishers. April does consider selected nonfiction works. She does not represent mysteries or murders, thrillers, historical fiction or fantasy, nor does she represent children's titles."

Contact her at:

Reece Halsey North
98 Main St., No. 704
Tiburon, CA 94920
info@reecehalseynorth.com

A full submissions page for April and the agency is available online.

The Newest Genre: Quagmire Fiction

Chuck — Sat, 26 Apr 2008 20:35:02 GMT

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

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

barbara@irenegoodman.com

New Agency Alert: Davis Wager Literary Agency

Chuck — Thu, 28 Feb 2008 18:47:44 GMT

Davis Wager Literary Agency

419 N. Larchmont Blvd., #317, Los Angeles CA 90004. Phone: (323)962-7741. E-mail: timothy@daviswager.com. Web site: www.daviswager.com/. Contact: Timothy Wager. Seeking new and established writers. Prior to his current position, Mr. Wager was with the Sandra Dijkstra Literary Agency, where he worked as a reader and associate agent. Established: 2004. Represents: Nonfiction and fiction.

How to Contact: Query with SASE. Submit Author Bio, short synopsis for fiction, full book proposal and outline for nonfiction. Query via e-mail. No fax queries. Actively seeking: "literary fiction and general-interest nonfiction."

New Agent Alert: Colleen Lindsay at FinePrint Literary Management

Chuck — Wed, 13 Feb 2008 14:39:58 GMT

Got a tip this morning that FinePrint Literary had taken on a new agent: Colleen Lindsay. Prior to becoming an agent, Ms. Lindsay was the director of publicity for Del Rey Books. Also, she was a reviewer for the San Francisco Chronicle.

Fiction areas of interest: Science fiction and fantasy of all kinds, horror, paranormal romance, YA fiction and fantasy, pop culture, graphic novels and LGBT fiction and nonfiction. She also seeks thrillers, literary and commercial fiction.

Nonfiction areas of interest: humor or narrative nonfiction, as well.

Does not want to receive: No category romance, poetry, short story
collections, children's picture books, westerns, spirituality, Christian fiction or non-fiction, self-help, Westerns, politics, history or biography.

How to contact: E-queries preferred. Because her submission instructions are so detailed, you should review them personally here on her blog.

Colleen Lindsay

colleen@fineprintlit.com

Agent Advice: Gary Heidt of Signature Literary

Chuck — Fri, 05 Oct 2007 19:47:49 GMT

Note from Chuck: This interview took place when Gary was with FinePrint Literary Management. He is now with Signature Literary.

-------

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment is with agent Gary Heidt of Signature Literary (formerly of FinePrint Literary Management). Gary was a John Jay Scholar at Columbia University and General Manager at WKCR-FM. Upon graduating, he returned to the nightclubs as a gigging musician. He is a published poet and columnist. His librettos for composer Evan Hause's Defenestration Trilogy earned praise, and his musical comedies (he has written several in collaboration with Gary Miles, including The Feng Shui Assassin and American Eyeball) were described by The Onion as "strangely funny." Originally from Texas, he has lived in New York City for a decade and a half.

He is seeking: Gary Heidt represents both fiction and nonfiction. He seeks History, science, current events, pop culture, military history, memoir, politics, cultural criticism and Fortean/High Strangeness/paranormal or deep politics. In fiction, he seeks literary fiction. He also likes techno-thrillers, hard-boiled crime, graphic novels and young adult novels with a bit of an edge to them. No science fiction, fantasy, cozies, romance, or historical fiction please.

GLA: What are some recent things you've sold?

GH: 100 Girls, by Adam Gallardo and Todd Demong, a graphic novel about a girl (actually, 100 Girls) who is/are the product of a government experiment intended to create a superweapon. Another is Secret Places, Hidden Sanctuaries, by Stephen Klimczuk and Gerald Warner. Two Knights of Malta - one a globalist businessman, the other a Scottish Lord - explain some of the world's greatest mysteries.

GLA: You represent both "history" and "military nonfiction." With so many books already written in subjects such as these, what must a nonfiction book proposal have to get you interested?

GH: There is no end to history. All of history will never be written. Anything that has a great story and great characters and profound conflicts will be of interest in history. With military nonfiction, we're looking for novelistic, action-filled narratives of battles, famous or heretofore neglected, with emphasis on the characters of the combatants, and lots of detail.

GLA: If you were teaching a course on writing nonfiction book proposals, but only had 60 seconds to talk, what would you say?

GH: 1) Spill the beans. Don't try to tantalize and hold back the juice. 2) No bullshit! We learn to see right through bullshit, or we fail rapidly. 3) Write for local publications and small publications first; why does everyone want to pole-vault from being an unpublished author to having a big book contract? It makes no sense. You have to learn to drive before they'll let you pilot the Space Shuttle.

GLA: It appears as though you gravitate toward nonfiction, but you also represent literary fiction. If you're reading a requested literary fiction manuscript, what are you looking for in the first 20 pages?

GH: There was a great first chapter of a Chuck Palahuniak novel that started out with a woman in a burning wedding gown firing a shotgun down a flight of stairs. How can you stop reading something like that?

GLA: What's another piece of advice you can pass on to writers that we didn't already cover?

GH: Get published small. Local papers, literary journals, Web sites, anything. The more credits you have, the better. And list them all (although not to the point of absurdity) in your query.

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

GH: Probably. Although meeting in person isn't all it's made up to be. A really good query with some good prior credits will do just as well.

Want more on this topic?

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

See examples of Successful Queries that agents liked.

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

How to Write a Synopsis for a Novel.

Facebook, Twitter and Literary Agents.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice: Michelle Andelman of Lynn C. Franklin Associates (formerly of Andrea Brown Literary Agency)

Chuck — Fri, 10 Aug 2007 14:59:00 GMT

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features literary agent Michelle Andelman, of Lynn C. Franklin Associates (formerly of Andrea Brown Literary), holds a BFA in Dramatic Writing and an MA in English Literature from NYU. Her publishing and film background allows her to offer clients guidance at every stage of story development.

She is seeking: all children's categories, from picture and chapter books to middle-grade and YA fiction, with an interest in fantasy, sci-fi, thriller, adventure, romance, graphic novel, and serious literary projects. She's drawn to high-concept, commercial tween and teen lit if it's edgy, gritty, and daring or all sweetness and light. Stylized but authentic voices, magical realism, Jewish themes, interesting story structure, freak and geek protagonists, identifiable quests, and fully realized storyworlds always catch her eye. Her adult categories are literary and women's fiction, narrative nonfiction, and memoir.

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

MA: I’m very proud that my most recent sales will launch the careers of two brand new writers. Debut author Jenny Meyerhoff’s chapter book, Third Grade Baby, and contemporary YA novel, Girl in Waiting, both went to Farrar, Straus & Giroux. And, Cheryl Peevyhouse’s dystopian middle grade novel, The Melancholy Chronicles of Keen and Rodder, went to Hyperion. So, unpublished writers should take heart. Editors and agents are certainly looking to nurture and invest in new talent.

GLA: You specialize in children's writing. What are some subjects or styles of writing that you rarely receive in a submission and wonder why more writers don't tackle such a subject/style?

MA: So far goes style and execution, I'd love to see more MG and YA submissions use innovative narrative strategies deliberately and well. For example: alternating voices/POVs, or a structure that plays with narrative time. Kids are sophisticated readers. Books that engage them on the level of storytelling, as well as story, could break out. So far goes subject matter, I don’t see as many stories as you’d think about multicultural families and friendships. I’d also love to see more YA submissions depict awkward, funny and real—rather than flat and glossy—teen romance.

GLA: Simply put, concerning middle grade and young adult—how should they differ? Subject matter? Length?

MA: As a disclaimer, there are exceptions to these rules, with the fantasy genre being a big one. But, typically, MG novels run between 20-40K words and feature protagonists aged 9-13. YA novels run between 40-65K and feature protagonists aged 14+. The type of relationship at the core of a project can also tell you how to characterize it: MG often revolves around a protagonist’s relationships with family and friends, while a story heavily driven by a romantic relationship is going to be YA.

GLA: What are the most common mistakes you see with new writers trying to compose a graphic novel?

MA: Graphic novels are such a fresh format. I adore DC’s Minx line, and I think YA novelist Cecil Castellucci did a wonderful job on The Plain Janes. That said, not all novelists are natural graphic novelists. You need to be a visual storyteller. You need to be able to reveal information via image and gesture, rather than dialogue. You need to be a tight, swift and sparse plotter who favors action over exposition.
Common mistakes I’ve seen: too much text, humdrum rather than spectacular illustrative opportunities, and a graphic novel that doesn’t "need" to be one.

GLA: Many people tend to try their hand at children's writing and picture books, but it's often said that writing such books is much more difficult than writers first consider. Why is this so?

MA: I suspect the common thinking goes that if a writer "knows" children, she can write for them. But a successful children’s author doesn’t simply "know" children—what makes them tick, what their internal and emotional lives are like—but she also knows children’s literature. She's an avid reader, so she's familiar with what’s age-appropriate and authentic to her category of the market. If she's writing a picture book, she’s a skilled visual storyteller and can offer up a plot, character, relationship, or emotional arc in miniature—but still, and this is the difficult part, in full.

GLA: Some publications have said that the picture book market is flat, and publishers aren't interested in new picture book ideas. Any truth to this?

MA: The first half of that statement has been true and, as a result, picture books have proven to be tougher sells in recent seasons. But, importantly and thankfully, the second half of that statement is false. Like any market, the picture book market tightens and trends, so it’s important to know some publishers now want character-driven picture books with less text, meaning lower word counts. But, they’re always interested in new ideas.

GLA: What's your best piece of advice for new writers who wish to submit children's work to agents?

MA: My best one word of advice: professionalize. A new writer who has done her homework on the children's market ahead of time, and submits to agents in a way that suggests a professional approach to a writing career, is going to stand out. Professionalizing may mean doing a few different things that make all the difference: joining a critique group that can help you polish your manuscript before you query, researching and approaching agents according to submission guidelines, crafting a query that aims to pique interest in—rather than fully explain—your project, and joining the Society of Children’s Book Writers & Illustrators (SCBWI).

A book sold by Michelle:
Dreaming Anastasia

Want more on children's writing?

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

New children's agent seeking submissions.

How to write picture books for kids.

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

Interview with kids agent Joe Monti of Barry Goldblatt Literary.

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

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice: Mollie Glick of Foundry Literary

Chuck — Tue, 26 Jun 2007 15:16:52 GMT

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features Mollie Glick, a literary agent with Foundry Literary + Media.

She is seeking: She focuses on literary and commercial fiction, as well as nonfiction—she's a generalist, more interested in finding fresh, unique voices and smart, original perspectives than in sticking to a prescribed genre. Very hands-on, Mollie works collaboratively with her authors to refine their manuscripts and proposals, then focusing on identifying just the right editors for the submissions. Published books Mollie wishes she had worked on are Siri Husvedt's What I Loved, Audrey Niffeneger's The Time Traveler's Wife, and Mary Doria Russell's The Sparrow.

Mollie Glick

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

MG: I just accepted a fabulous three-book preemptive offer from Simon & Schuster for a first-time novelist named Dorothy Hearst. Her series is called “The Wolf Chronicles” and it was pitched as a cross between The Clan of the Cave Bear and Watership Down. It's about the first wolves that became dogs and the co-evolution of dogs and humans. Another recent deal I'm really excited about was a first novel by Willa Cather Award-winner R.M. Kinder. It's a dark literary suspense novel called An Absolute Gentlemen, and it's coming out from Counterpoint this October—right around Halloween!

An Absolute Gentleman by R.M. Kinder (Counterpoint)

GLA: Your agency is a member of the Association of Authors' Representatives (AAR). A lot of agents out there are non-AAR. Plenty are reputable. Plenty aren't. How do writers go about separating the reputable from the non-reputable?

MG: If the agent you're considering isn't a member of the AAR, you'll want to check a few references of clients they've worked with, to ask them what houses they've made deals with, and to make sure their commissions are fair and that they're not charging you for reading fees.

GLA: What do you think is the most common mistake writers make when they give a short in-person pitch to an agent?

MG: Being really nervous. When authors get really nervous, they tend to give full plot summaries, rather than presenting a concise one- to two-sentence elevator pitch, telling me the kind of book they're writing. Another big mistake authors make is failing to do the same research they would if they were sending a letter—making sure that the agent they're sitting with handles the kind of book they're writing.

GLA: Bottom line—what attracts you to a work?

MG: I'm drawn to originality—in voice and subject matter. When I've got a manuscript or proposal in my bag, sitting next to a great published book I'm reading and I pick up the manuscript instead of the book because I'm that drawn to it, I know I'm going to take it on.

Want more on this subject?

See all agent interviews here.

Word Count Guidelines for Novels and Children's Books.

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

20 Tips on Writing a Query Letter

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

What are the BEST writers' conferences in the country?

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice: Katharine Sands of the Sarah Jane Freymann Literary Agency

Chuck — Tue, 12 Jun 2007 18:23:59 GMT

"Agent Advice" is a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.

This installment features Katharine Sands, a literary agent with the Sarah Jane Freymann Literary Agency in New York City. She is the author of Making the Perfect Pitch: Advice from 45 Top Book Agents (Kalmbach).

She is seeking: Katharine seeks a variety of fiction and nonfiction, memoir and femoir. She seeks books that have a clear benefit for readers' lives in the categories of food, travel, lifestyle, home arts, beauty. wisdom, relationships, parenting and fresh looks, which might be at issues, life challenges or pop culture. For compelling reads in "faction," memoir and "femoir," she likes to be transported into a world rarely or newly observed. Her fiction interests include literary, chick lit and commercial fiction.

Katharine Sands

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

KS: The project I’m most excited about selling is always the most recent. A book I’m particularly excited about is The Complete Book to International Adoption: A Step by Step Guide to Finding Your Child, which is by Dawn Davenport. It’s with Broadway. I met Dawn at a writers' conference in the hallway

GLA: Speaking of meeting writers at conferences, what do you think is the most common mistake writers make when they give a short in-person pitch to an agent?

KS: One of the things I believe people do wrong is to speak to agents as they would a tax professional or lawyer – somebody for hire who is there to listen to their process and backstory and get involved with their case in that way. Agents are listening in for a reason to be interested, first and foremost, and they’re not going to be interested in the writer’s (process), the word count, what is impeding, or why the writer doesn't want to do extra work.

GLA: Let’s say an acquaintance calls you and says, “Hey, an agent wants to represent me, but she’s new and has no sales. Is that OK?” How would you answer that?

KS: An agent with little or no sales who has been an assistant in a leading agency will have just as much clout getting to an editor perhaps as an established agent, at least initially. One of the things I always advise writers to do is to ask an interested agent – that is, one who’s made an offer of representation – “Why do you want to be my agent?” They will then hear a very clear thumbnail sketch of how that agent will sound agenting. Secondly, you’re listening for strategy and prognosis: How will that agent work with you and what is their prognosis for your career?

In terms of sales, it’s not the only indicator of the agent’s ability to agent you, because we have New York Times bestsellers that were first or second sales from newer agents. It’s much more open in that way now than it was some years ago. An important point to remember is that sometimes for newer writers - that is, one without any kind of track record, celebrity or platform - a newer agent is better for several reasons. They’re the most committed. They’re eager to build their list as the writer is to become published. And also, they don’t subject a writer to a problem I have seen with very established, even leading, agents. An editor is not going to make a low offer to a leading or big-money agent that they might make to a newer agent - and sometimes, that works to a newer writer’s advantage. Because an editor that wants to be known for big money might simply decline a project rather than make a mediocre offer and be branded in the mind of an agency as someone who can’t get big money. It will cost them the chance maybe to get bigger books. I have seen publishable authors sometimes go too high in terms of their representation.

GLA: Bottom line—what attracts you to a work?

KS: It might be the voice or it might be something very specific about the fresh approach to the story or the material.

Want more on this subject?

See all agent interviews here including an interview with Katharine's co-agent, Jessica Sinsheimer.

How to Write a Query Letter.

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

Why Your Manuscript Can Get Rejected, by Hallie Ephron.

10 Hidden Gifts of Rejection Letters.

Google Alerts and Agents.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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