Guide to Literary Agents - Narrative Nonfiction

Successful Queries: Agent Sharlene Martin and 'River of No Return: Tennessee Ernie Ford and the Woman He Loved'

Chuck — Thu, 19 Nov 2009 05:42:30 GMT

This new series is called "Successful Queries" and I'm posting actual query letters that succeeded in getting writers signed with agents. In addition to posting the actual query letter, we will also get to hear thoughts from the agent as to why the letter worked.

The 20th installment in this series is with agent Sharlene Martin (Martin Literary Management) and her author, Jeffrey Buckner Ford, for his book, River of No Return: Tennessee Ernie Ford of the Woman He Loved.

This query excerpted from Sharlene's awesome new work, Publish Your Nonfiction Book, out this month (Nov. 2009). If you're looking to sell a book proposal, this book is a must-buy.

>>>

Dear Ms. Martin:

I'm sure I've browsed to your site several hundred times if once, and I continue to come back; drawn primarily, I think, by the evident priority that you place on your authors.

Ernie and His Lovely Wife, Betty is a narrative recounting of the lives of Betty Jean Ford and her husband, Ernest, the man known to the world as Tennessee Ernie Ford. In a career that lasted half a century, Ernie Ford achieved a degree of fame that went beyond his success as an entertainer. It was a fame that weaved him into the fabric of popular culture, and earned him a permanence in history: three stars on the Hollywood Walk of Fame, walls of Gold and Platinum records, and a television legacy spanning generations.

But Ernie and His Lovely Wife, Betty is not a biography of Ernie Ford, but rather, a record of the lives of two people. It is a portrayal of the complex and beautiful woman who shared his life; a gifted artist the world would never know, whose own star might one day have eclipsed even his, but instead, slowly faded over the years, paling under the weight of the lengthening shadow unwillingly cast by the man she loved - a shadow she believed she could escape, but only by taking her own life.

From their first meeting on a desert airbase at the dawn of World War II, to their last moments together nearly half a century later, the story of Ernie and his lovely wife, Betty, is an American love story, an American tregedy; a portrait of an ordinary family changed forever by an extraordinary life. A family whose story is also my own. Ernest Jennings and Betty Jean Ford were my mother and dad.

I am haunted by the memory of these two souls. I am gripped by the arc of their radiant lives, and wounded by the memories of their deaths, This book is my hope of healing those wounds; a hope bound with the promise that one day I would tell their story.

The book stands completed at just over 92,000 words. I would be honored if you would consider reviewing a partial submission.

Jeffrey Buckner Ford

Commentary from Sharlene

As you see, there is a blood relation in this nostalgic celebrity memoir, but it is a mistake to think that just because you are related to somebody famous, you have an actual book in you. Relationships are one thing, but you are either able to write about them with alacrity and depth of insight, or you are not.

This author is careful to explain his protagonist in paragraph two, so that you know what the scope of his story will be. But it is in the third paragraph where Jeffrey Ford demonstrates why he was not merely born into this family; he was born to write this book. The paragraph is consumed mostly by the second sentence, and after reading it, can you doubt that this writer possesses the sensibilities required to tell this powerful tale of quiet frustration?

This author also took the impressive step of writing a complete draft before seeking literary representation, although this can sometimes work against you. With memoirs, which are more narrative in nature, writing a full draft can be helpful. However, many publishers of nonfiction books like to have some input into the flow of the information and the text. Before the book is sold, it usually is best to put your time and energy into your platform, your proposal, and then your query - in that order.

River of No Return: Tennessee Ernie Ford and the Woman He Loved sold to Cumberland House in Tennessee, in Ernie Ford's hometown of Nashville.

BUY Publish Your Nonfiction Book

New Agent Alert: Sophia Seidner of Judith Ehrlich Literary Management

Chuck — Thu, 12 Nov 2009 14:42:49 GMT

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

About 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!

New Agent Alert: George Bick of the Doug Grad Literary Agency

Chuck — Thu, 22 Oct 2009 16:43:57 GMT

About George: Prior to joining the Doug Grad Literary Agency as an associate agent, George was a sales and marketing veteran of over twenty years at Warner Books, Random House, Simon & Schuster, and HarperCollins. (Previously, I blogged about the opening of the DGLA. See that post here.)

Seeking: Bick is actively looking for narrative nonfiction, business, science fiction, horror/paranormal, thrillers, military, comics and graphic novels, diet/self-help, memoir, pets/animals, romance, science, humor, pop culture, and travel.

How to submit: "Query by email letter first at query@dgliterary.com. Please do not send more than a brief letter explaining your book--no sample material unless requested. And your patience is greatly appreciated. The agency is receiving over 100 queries a week and our time is limited--our first priority is to our clients and their books."

Want more on this topic?

For other posts about graphic novels, 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!

Successful Queries: Agent Greg Daniel and 'Peaches & Daddy'

Chuck — Tue, 20 Oct 2009 19:55:03 GMT

This new series is called "Successful Queries" and I'm posting actual query letters that succeeded in getting writers signed with agents. In addition to posting the actual query letter, we will also get to hear thoughts from the agent as to why the letter worked.

The 17th installment in this series is with agent Greg Daniel (Daniel Literary) and his author, Michael M. Greenburg, for his book, Peaches & Daddy: A Story of the Roaring 20s, the Birth of Tabloid Media & Courtship That Captured the Heart and Imagination of the American Public.

Dear Mr. Daniel

On the evening of March 5, 1926, 51-year-old Manhattan millionaire Edward “Daddy” Browning waltzed through the doors of the legendary Hotel McAlpin and into the life of a 15-year-old high school girl named Frances “Peaches” Heenan. Thirty-seven days later, with the Society for the Prevention of Cruelty to Children in close pursuit, they were married.

Within 10 months, they would begin a courtroom drama that would capture the imagination of the American public and cast their impassioned saga into a national scandal.

Peaches & Daddy: A Story of the Roaring 20s, the Birth of Tabloid Media & Courtship That Captured the Heart and Imagination of the American Public is a work of narrative nonfiction set in America’s “Era of Wonderful Nonsense,” and is a chronicle of the odd romance, marriage and ultimate legal battles waged by this publicity-craving Manhattan couple. It is the improbable yet compelling story of two social and cultural opposites who, together, would become one of the nation’s celebrated icons of the early 20th century.

The shattered romance of Peaches and Daddy would find its breathtaking climax in a small-town courtroom packed to suffocation and stalked through the crosshairs of an expectant world. For five breathless days, hundreds of clamoring newspaper reporters and a wide-eyed public heard Peaches make allegations of "depraved tastes" and "abnormal activity," and they heard an indignant denial of it all from "Daddy." The bellowing press coverage and the ramifications of the final verdict would reverberate through the American conscience for years to come.

I believe this book to be of broad public appeal in that it combines the scintillating fervor of scandal with the true-to-life detachment of history. Our readership will range from those with a whimsical or tabloid interest, to those desiring a more historical or biographical study.

As a practicing attorney and as a past editor of the Pepperdine Law Review, I believe that I bring a unique perspective, via 22 years at my craft, to the true story of Peaches & Daddy and to the myriad of legal issues involved in their drama.

I would be pleased to forward a full proposal and sample chapters upon your request. Thank you.

Sincerely,
Michael M. Greenburg

Commentary from Greg:

Michael's query letter is a perfect example of a writer saying no more and no less than need be. He obviously put a lot of work into not only writing this letter but editing it, as well. Most authors seem to forget that their query letters should be crafted and edited as painstakingly as their manuscripts. By the end of the first paragraph of Michael's letter, I was hooked and knew I wanted to read this narrative history.

For nonfiction, it's also important that an author have sufficient credentials for the book he is writing. And while Michael is not a professional historian, he is a lawyer with a love of history - and much of the intrigue of the Peaches and Daddy story resides in the courtroom drama that unfolds in the last half of the book. I signed Michael as a client, and Overlook Press bought this book with a preemptive offer and published it in 2008 to glowing reviews.

This post about agents was
pulled from the current issue of Writer's
Digest (Sept. 2009) Order it online
to see more queries as well as our exclusive
list of 24 Agents Who Want Your Work.

Want more on this subject?

Successful Queries: (Fiction) "Hotel on the Corner of Bitter and Sweet"

Successful Queries: (Kids/YA) "Wake"

Successful Queries: (Nonfiction) "Buy Ketchup in May and Fly at Noon"

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice: Byrd Leavell of Waxman Literary Agency

Chuck — Fri, 16 Oct 2009 15:06:08 GMT

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

This installment features Byrd Leavell of Waxman Literary Agency. Byrd began his career at Carlisle & Company and then served as an agent at InkWell Management and Venture Literary. Byrd says: "As a literary agent I believe in representing works that carve out new territory and authors who are committed to creating books that succeed in the marketplace. I specialize in working with authors who have established a following on the Internet, athletes, celebrities, journalists, and first-time writers who are bound for glory. I love narrative nonfiction that pushes the envelope and finds new audiences, talented fiction that is a blast to read, and anything written by a motivated, confident, unapologetic author with a story to tell."

He is looking for: General fiction, Mystery, Reference, Biography, Business/investing/finance, History, Health, Travel, Sports, Horror, Humor, Memoir, Pop-culture.

GLA: How did you become an agent?

BL: I graduated from UVA, attended The Radcliffe Publishing course in Boston, caught a ride to New York, and then landed a job as Michael Carlisle’s assistant. I worked at Carlisle & Company for the next four years and made the jump to handling my own clients during that period.

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

BL: I just sold a hilarious book by Justin Halpern, the writer behind Shit My Dad Says (on Twitter), to Kate Hamill at IT books. Mark my words, it is going to be on bestseller lists next Father’s day.

GLA: From what I can gather, you are pretty open as to what you accept concerning nonfiction, and there are even some novels in your repertoire. Can you help readers better understand what you are looking for in fiction vs. categories you don’t represent?

BL: With fiction, I don’t want to rule anything out; if it’s good, it’s good, but I tend to gravitate toward the end of the spectrum where smart and commercial overlap. I only sign a couple novels a year, and it’s always because something leapt out of my inbox to the point that I couldn’t stop reading it.

GLA: You look for authors who have used the Internet to creative a unique and wide platform. Can you give us some examples of how clients have done this prior to you signing them. This may help writers understand how to cultivate a fan base before approaching an agent.

BL: I do indeed. Tucker Max (I Hope They Serve Beer in Hell) was one of the first clients I signed, and as I pitched his book to publishers, he had X amount of visitors each month - a huge fan base, etc. I realized I had hit on a formula that I completely identified with and believed in.
        Since I’ve been in the industry, publishing has gone through a couple different stages as it has tried to figure out what can make the jump from the web to the bookshelves. For a while, if you had a great blog, you could land a deal. Traffic was maybe mentioned in the third paragraph of the Author Bio section. And then none of those worked. Then for a while, if you had some insane amount of traffic and a big web presence, you could land a deal. But none of those really worked either (Fark, Perez, others). Now, editors seemed to be focused on Twitter, and after that, it will be the next thing. How many people hang out with your 3-D image at their house, etc.
        The key is this: You have to have lots of fans who will actually want to buy your book, and then you have to write a book that can succeed on its own in the marketplace, without any support from those fans whatsoever. Look at Clay Travis. He has a great web presence, but the guy writes terrific books about SEC football that sell to a very receptive audience. Other authors in his position usually make the mistake of trying to do sports humor books that they think their online readership will buy, and none of them sell more than 8,000 copies.

GLA: Speaking of Tucker Max, that book is approaching one million sales and the movie is coming out – congrats. You represent memoirs. A lot of people like to write memoirs or vignettes about their own life, but most don’t get sold let alone sell a million copies. What can people learn from Tucker’s writing and his success?

BL: That Tucker is a force of nature, knew that his book was going to be huge when I first spoke to him while he was sleeping on a friend’s couch, and the level of success of IHTSBIH is a reflection of this more than anything else.
      Tucker’s book also worked because it was the first to appeal to an audience that publishing had decided would never buy books and because he is a great storyteller. No one ever gives him any credit for this, but it is the main reason his book has stayed on the list for the last two years and will hit the #1 spot for the first time next week. If you want to write a memoir, you need to create something that appeals to an audience and not just your own need to write about yourself. (For the record, if you are reading this, don’t start your query with “I am the next Tucker Max.” I will just delete it.)

GLA: I see several sports books on your list – one from a journalist, two others by sports celebrities. Are you looking for more sports submissions by journalists? Something specific perhaps?

BL: We represent some of the best sports writers in the business and are always looking for submissions from journalists.

GLA: Most common problems you see in a query letter?

BL: A general lack of professionalism. That and writing three paragraphs about the plot.

GLA: What are you praying for when you tackle the slush pile? Specifically, what are you looking for that no one seems to send?

BL: Good question. Most of my clients are actually people I have tracked down on my own. The one thing I never see, that I would love to find, is an author that has sold a large number of their self-published book, (think above 30,000) completely on their own. (I represent Once a Runner, and by the time I reached out to the author he had single-handedly sold more than 100,000 copies.)

GLA: When you get a narrative nonfiction submission, do you want to see a proposal? The whole ms?

BL: I usually just want the first couple pages pasted below the query.

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

BL: I’ll be on a panel at the Digital Book World Conference called “The New Farm System: Scouting Blogs and Self-Publishers for Commercial Books.” The event is Jan. 26-27, 2010, in NYC.

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

BL: Pass.

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

BL: Read more books. And the novel you are sending out isn’t ready yet.

Want more on this subject?

Agent interview: Jim McCarthy of Dystel & Goderich.

Agent interview: Sha-Shana Crichton of Crichton & Associates.

Interested in attending Digital Book World in New York in Jan. 2010? Learn more here!

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice: Michelle Humphrey of Sterling Lord Literistic

Chuck — Tue, 13 Oct 2009 21:56:38 GMT

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

This installment features Michelle Humphrey of Sterling Lord Literistic. Michelle has been with Sterling Lord since 2007. As an assistant for the Renee Zuckerbrot Agency and then Anderson Literary, she's worked with such authors as Kelly Link, Amy Ryan, Barry Lyga, and Helen Benedict. Prior to agencies, her gigs have included English Teacher, Proofreader, and Freelance Book Reviewer; her reviews have been published in Bitch, Bust, and The Women's Review of Books.

She is looking for: "She is interested in representing writers of young adult fiction (historical, contemporary, literary), middle grade, memoir, women's fiction, and narrative nonfiction (history, psychology, women's studies).

GLA: How did you become an agent?

MH: After working numerous non-fulfilling jobs (I think my low-point was when I was a proofreader for the yellow pages), I took an internship at the Renee Zuckerbrot Literary Agency, and have been working at agencies ever since - for three years.

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

MH: This month, I've sold a YA novel called Steinbeck, the Scoot and the Pull of Gravity, by Gae Polisner, to Frances Foster at Farrar Straus and Giroux Books for Young Readers.

GLA: You seek awesome YA. What can you tell us about your love for this category?

MH: I'm drawn to teen heroines. It seems like all the great battles happen for them: girl versus family, girl versus boy, girl versus best friend from childhood, girl versus popular crowd, girl versus Evil Creature of the Night. Who can resist?

GLA: You seek not only contemporary and literary YA, but also "historical." Can you give us some examples of historical YA you loved so writers can get a feel for your tastes.

MH: One of my favorite books is The Green Glass Sea by Ellen Klages, which is about the Manhattan project. I love those characters, and I especially love World War II history and 20th-century history in general. If characters are likeable and dimensional, I could get into any kind of historical context, but 20th-century history is probably my favorite.

GLA: Do you also accept middle grade, as well?

MH: Yes I do! I'm open to anything, especially stories that are character-driven.

GLA: Some agents love synopses and some don't. Where do you stand?

MH: I am pro-synopsis - no more than three pages, though. Not a fan of synopses in the query. Query letters should have a teaser for the story (like a blurb on the back of a book), whereas a synopsis should be separate from the query letter.

GLA: When you get a narrative nonfiction submission, do you want a full proposal or the entire book, or a combination thereof?

MH: Full proposal and sample chapter, please.

GLA: Do you find yourself getting proposals for narrative nonfiction that really aren't narrative NF at all, but rather mis-classified?

MH: I don't get many proposals, unfortunately, but I'm always on the lookout for great narrative nonfiction. I do get memoirs in proposal format, and I'm generally not a fan. For memoir, I'd prefer to see the writing - first three chapters, for instance.

GLA: What are the most common and recurring problems you see in chapter 1 of a garden variety fiction partial?

MH: This is an excellent question. The most common problem is that the writing feels a little clichéd (i.e., it's something I've heard before, and it's not particularly vivid). Or, I just don't get a sense of a story happening. Even character-driven stories, I think, need a clue of the drama right from the beginning.

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

MH: I am obsessed with Red Hot Chili Peppers - band and food.

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

MH: Nothing planned right now, but I'm always open to e-mail queries, and am generally happy to answer (brief) questions about publishing from new authors: I can be reached at michelle@sll.com.

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

MH: Embrace rejection! Wink at it, laugh, maybe bake a rejection pie. You'll get there -- why not have fun along the way?

Want more on this subject?

Examine great high-concept hooks for kids books.

New agent seeking kids stuff: Adriana Dominguez.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice: Matt Bialer of Sanford J. Greenburger Associates

Chuck — Thu, 24 Sep 2009 19:45:59 GMT

Agent Interview by

contributor Ricki Schultz.

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

This installment features Matt Bialer of Sanford J. Greenburger Associates . Matt has been in the publishing community since 1985, including 14 years in the book division of the William Morris Agency.

He is looking for: fantasy, science fiction, thrillers, and mysteries as well as a select group of literary writers. He represents many veteran authors, but also enjoys finding unique new voices. He also loves smart narrative nonfiction including books about current events, popular culture, biography, history, music, race, and sports. See full submission guidelines here.

GLA: How did you become an agent?

MB: I had been an English major at Vassar College. I thought I might pursue being an academic, but then I realized I wanted to be out in the "real world," so to speak. It was 1985. I sent my resume to publishers. But then a dear friend of mine (an assistant to an editor at Crown) told me that a literary agency was looking for an assistant. I didn't even know what a literary agency was! So Jane von Mehren (she is a VP and head of trade paperbacks at Random House—the assistant grew up) helped me get my first job, and it was at Curtis Brown, Ltd. in New York. I was Perry Knowlton's assistant. And then, I went on to William Morris for many years, and I eventually became a book agent there. But to answer your question, I kind of fell in to being an agent and being on that side of the fence. I realized that I enjoyed it and that we offer a kind of stability for authors, and I can take on whatever projects I please. I enjoy the freedom. I enjoy handling all different kinds of books. And I get paid for it, too.

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

MB: I just sold a big, new prehistory project by my clients W. Michael and Kathleen O'Neal Gear to Tor/Forge. Mike and Kathy are masters of the prehistory genre, and they have sold many copies of their books over the years. I also sold an exciting new series by Tad Williams to DAW Books titled Sleeping Late on Judgement Day. It is a fantastical noir about a dead man caught in a war between heaven and hell. I sold a first novel titled High Before Homework by Maya Sloan. It's a riot. It's about a boy named Doug in a small town in Oklahoma. He is pretty bored and cynical and wise beyond his years. He works at a shopping mall and has crush on a girl named Laurilee who works at the mall, too. She likes all of the stupid big guys. So what does Doug do? He becomes a crystal meth addict so he can get put in rehab, impress Laurilee, and live happily ever after.

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

MB: I am looking for something supernatural that fits into this whole paranormal craze going on. But I want something fresh and with a world pretty mapped out. I found something in the slush titled Mark of the Demon by Diana Rowland. Well, my assistant Lindsay Ribar, found it. We sold it to Bantam. But I like what is really good and new. I always like a great fantasy or a great thriller that has a new twist on something. In thrillers, I like either the Harlan Coban kind of domestic suspense (ordinary people in trouble), or I am looking for thrillers that have some crossover into the fantastic or supernatural. I like literary fiction, too, but that is a tricky area. I think novels that take place in more exotic places are what sell in that area.

GLA: One area of interest for you is women's fiction. What draws you to this category?

MB: It is a healthy area of publishing, and a career can be nourished and grow. It also deals with "real issues" that women face in their everyday lives often crossed with an element that make the story more surprising.

GLA: You also seek multicultural pieces in both fiction and nonfiction. What subjects are you tired of seeing in this category? Are there any subjects you feel are untapped and would, therefore, be a refreshing change from the typical multicultural manuscript or proposal?

MB: In more upscale fiction, I like stories set in more exotic locales. I think it is no surprise that some of the better selling literary fiction is written outside of this country or set outside of here. In nonfiction, I am struggling with that question myself. I think reader taste here has grown more inward due to what has been going on. I am not sure if there is the same interest in reading about other cultures, unless it is a form of escape.

GLA: What are three things that make you stop reading every time they crop up in a manuscript?

MB: The story is not grabbing me. The writing is flat. I feel like I have read this too many times before.

GLA: In a query or book proposal?

MB: A lack of knowledge about the publishing world. Many people just put on their blinders and shotgun their queries out there. It shows. I think it is good for a writer to come across like they follow trends, they know what sells, who they would compare their work to, why they chose to write to me in particular. Presentation makes a big difference. Only a small percentage of queries have a savvy.

GLA: Specifically within science fiction, what themes that particularly hook you—such as time travel, post-apocalyptic, or first contact?

MB: I think post-apocalyptic stories can have possibility if the story is set in a world that is not too far a stretch from the world we live in now. I always believe in science fiction stories that can cross over into mainstream. They're rare, but they do happen. Look at Michael Crichton or The Traveler. A time travel book can always sell if it is really good and fresh. I would love to sell a great time travel book. I still love Time and Again. Editors would love to see a story like that.

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

MB: I hope to be at the World Fantasy Convention in October. And I like to go to the Thrillerfest in New York.

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

MB: Just keep writing. And pay attention to the business. If something becomes a bestseller, check it out and ask yourself why. But the most important thing to do is to keep writing. It might not happen with your first or even second or third novel. You have to develop. I think one of the biggest changes in the business over the years is that there isn't really a "farm system" for writers anymore. It's like you make it to the Majors or you don't. That means the writer has to develop a good game and let yourself mature as a writer. It takes time to develop the skills.

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

Want more on this topic?

Agent Lucienne Diver is also a big fan of science fiction and fantasy.

The Rappaport Agency is another agency that likes science fiction and fantasy.

If you're writing women's fiction, check out all posts in that category.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice: 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

Successful Queries: Agent Jon Sternfeld and 'Children of Disappointment'

Chuck — Wed, 12 Aug 2009 18:30:10 GMT

This new series is called "Successful Queries" and I'm posting actual query letters that succeeded in getting writers signed with agents. In addition to posting the actual query letter, we will also get to hear thoughts from the agent as to why the letter worked.

The eighth installment in this series is with agent Jon Sternfeld (Irene Goodman Literary Agency) and his author David Chura, for the narrative nonfiction book, Children of Disappointment. (The book has not yet come out.)

Agent Jon Sternfeld
of The Irene Goodman
Literary Agency

Dear Mr. Sternfeld:

Aware of your interest in social issues as well as education, I would like you to represent Children of Disappointment: Kids in Adult Lockup, an 80,000-word narrative nonfiction book. This book examines important cultural concerns while maintaining a deeply personal approach, telling the stories of kids disenfranchised by their own actions and by society's attitude towards them.

The number of kids in U.S. jails is at an historic high, having risen 35 percent since the 1990s, according to the U.S. Department of Justice. For ten years I shared that life behind bars. As a teacher at a New York county prison, I worked seven hours a day with the kids the media throws away as drug and sex-crazed "super-predators" and with the correctional officers it depicts as sadistic misfits. Children of Disappointment: Kids in Adult Lockup offers a new, more fully realized portrayal of these teens and COs, reflecting my work in the classroom and beyond, into the blocks, the high security unit, the visiting room, and the clinics. The book reveals the gripping and poignant stories of troubled kids and the adults who care for them, experiences unavailable to visitors and volunteers.

Whereas writers and reporters write about kids held in juvenile detention centers - Mark Salzman in True Notebooks and John Huber in Last Chance in Texas - I write about minors already serving time in adult lock-up, a much harsher world than that of juvenile centers. With this insider's view, Children of Disappointment: Kids in Adult Lockup shows what prison is really like, responding to many Americans' concerns and curiosity, while at the same time putting a face on the statistics academics and policymakers analyze and act on. Readers meet the 17-year-old druggie and devoted daddy; the snarling but protective Irish-Bronx CO; the wannabe hip-hop poet; the cheap warden rationing inmate toilet paper. Yet even in the grim prison setting, humor flashes into these stories' darkest corners. Children of Disappointment: Kids in Adult Lockup, with its unique yet universal perspective, mirrors society's challenging family and community problems.

Excerpts from Children of Disappointment: Kids in Adult Lockup as well as my short stories and creative nonfiction essays have appeared in various publications, including The New York Times. The editors of Fourth Genre nominated "Pin-Ups," a selection from the book, for a 2005 Pushcart Prize in narrative nonfiction.

Thank you for considering my request for representation. Below is the first chapter (seven pages) of Children of Disappointment: Kids in Adult Lockup. A complete proposal and other sample chapters are available at your request. I look forward to hearing from you.

Sincerely,

David Chura

Commentary From Jon

Having to cull through something like fifty query letters a day, I’ve developed something of a system about what questions to ask myself as I scan queries (yes, scan; sadly, I can’t read every word or I’d have no time for anything else).

The questions are:
        1.) Does it interest me?
        2.) Does it appear to be well done?
        3.) Can I sell it?

Though these three questions are bouncing around my head simultaneously, I’ll take each separately so I can give writers a peak as to how this whole thing works, at last on my end.

1.) Does it interest me?
        This includes both personal taste and a sense of ‘wow’ (or ‘aha’, or ‘I haven’t seen this before.’); I feel the excitement in my bones if I feel this. Is it an original take on a topic that engages me? Is it fresh? Is the angle new and (to some extent) groundbreaking?
        I represent a mix of literary fiction and social/cultural nonfiction (mostly narrative), so if the book falls into one of these areas and answers question one affirmatively, I’ll usually ask to see more.
        David Chura’s Children of Disappointment is right in my wheelhouse; the author clearly researched the kind of narrative nonfiction that I’m looking for. This world piques my interest, both from a socio-cultural standpoint and from a dramatic standpoint. He frames his project as an original and human spin on an area that the news and the public have pigeonholed, so the angle feels new to me.

2.) Does it appear to be well done?
        A query letter gives the content of the book, but it also lets agents know if you can write, organize your thoughts/ideas, and express yourself engagingly and professionally. Writers should not just blindly dump content into their query letter and hope the agent wants to read their manuscript. The old “I’m not good at query letters” doesn’t fly with me; if the query letter is poorly done, I most likely will never get to your chapters.
        This is an extremely professional and well-written query letter. It’s structured properly, announcing at the outset what the book is and how it connects to me and then giving enough detail without going overboard with its summary (I often ignore long synopses.) The letter has enough voice to give me a sense of who the writer is and he clearly understands how to ‘position’ is book (with comparable titles) in a way that lets me know what ‘type’ it is. I can picture where it would be shelved at bookstores and can imagine myself buying it.

3.) Can I sell it?
        Really the biggest question, and the one that is often a guessing game based on experience. With non-fiction, I have to consider the promotional capabilities of the client (known as ‘a platform’), and without some expertise or connections, publishers have no chance to get word out about the book. Besides platform, there needs to be both a definable audience and interest in the topic, as well as something of a gap that needs to be filled. If there are too many comparable titles to your book, then why write another one?
        As for Children of Disappointment, it’s certainly a dark area, but there’s something marketable about the project. Writers like Jonathan Kozol and Barbara Ehrenreich have explored the underclass in compelling way and given birth to a new genre in the process. Television shows like “The Wire” and “Oz” have shown that the public has an interest in this subject matter, as long as there’s drama and a humanity behind it; since Children of Disappointment is coming from their teacher, I’m imagining it’s not going to be hard-hitting and cold, so much as eye-opening and moving.
        Luckily, the writing turned out to be novelistic and engaging – a huge reason why I ended up signing David and his project.

Want more on this subject?

See all the installments of this "Successful Queries" series 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: Meredith Kaffel of Charlotte Sheedy Literary Agency

Chuck — Wed, 01 Apr 2009 03:59:09 GMT

She is seeking: "or children's books, my first love is YA. And my YA tastes run the gamut from the highly literary (especially fish out of water tales, outsider stories told teetering from the edge, high concept novels taking on themes with gravity, up-market historical fantasy and stories involving the arts in some way), to the highly commercial (teen paranormal with a twist, high school dramas and friendship sagas, anything with sass and attitude, etc). I also enjoy smart middle-grade fiction, and I will take on the occasional quirky picture book manuscript. I'm actively looking for new illustrators as well -- for both the picture book and graphic novel/comic markets. As for adult manuscripts, I'm primarily looking for narrative nonfiction (specifically books dealing with food, science, international themes, feminism, cultural trends, art and literary history, music, and general "juicy" history and biography), and the rare literary novel that steals my heart. I tend to be drawn more toward darkly wry and edgy fiction than novels brimming with sugar-and-sunshine, but my rule about taking on a project is that there are no set rules. I just have to love it." I accept both email and snail mail queries. For email, please send to meredith@sll.com, and for snail mail, to: Meredith Kaffel Charlotte Sheedy Literary Agency, 65 Bleecker St., Ste. 12, New York, NY 10012. For initial queries, I prefer a query letter along with 1-3 sample chapters for fiction, or a proposal for nonfiction."

GLA: How did you become an agent?

MK: I interned for agent Sarah Burnes one summer, when I was an undergrad at Yale. I watched the rhythm of her day, the intimate author and editor contact, the invigorating daily flurry, and thought "that's what I want to do." After that, I kept interning in publishing until I graduated, and then, after a brief stint as a writer's assistant, I joined the Charlotte Sheedy Literary Agency.

GLA: You have a Sterling e-mail, but you're not technically with Sterling, is that right?

MK: Good question. Charlotte Sheedy Literary Agency (CSLA) is an affiliate of Sterling Lord Literistic (SLL). Charlotte owns her own agency, but we're a sister company of SLL – a boutique agency within the larger agency. It’s really a best of both worlds situation: the intimacy of a small agency, complete with the wonderful SLL extended family.

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

MK: A hilarious, quirky middle grade novel called Flirt Club by Cathleen Daly. It went to Neal Porter at Roaring Brook exclusively, because I wanted Neal's gorgeous aesthetic on this book. Thankfully, he loved it as much as I did.

GLA: You look for a lot of children's stuff. Specifically, with "fish out of water" stories - do you gravitate toward multicultural tales? Or can it simply be "poor kid gets sent to a rich boarding school" story?

MK: Charlotte and I both are very interested in multicultural tales, yes. But I'm also interested in any character who feels like an outsider, a misfit, anyone struggling to figure out who he or she is or how to exist outside his or her comfort zone.

GLA: Does "tween" exist as a category? If you got a query for a tween book that clearly straddled the YA-MG line, would you take it on? Or is it too hard to market because it's neither one nor the other?

MK: Tween does exist, and various publishers even have specific tween imprints in place. As for queries, the same standard holds true for me in terms of tween as it does with YA or MG: if the voice is authentic, then I'm probably interested. However, I do look more at plot with tween novels: right now, it's not enough just to have a great tween voice -- the storyline also needs to be unique enough to stand out in the marketplace.

GLA: What's more common? Seeing a juvenile ms that talks down the audience, or one that's a little too purple-prose and over their heads?

MK: Well, typically I'd say the former. But since CSLA is the agency of Lemony Snicket, we also see a lot of queries attempting to mimic Snicket's highly idiosyncratic voice – which sometimes unfortunately results in the latter!

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

MK: Things I cross my fingers for:
      1) High-concept YA novels - especially something as brave as Jay Asher's Thirteen Reasons Why.
      2) YA and adult novels that make me laugh out loud (either light comedy or something really dark and twisted, something that's 'I can't believe I'm allowing myself to laugh at this, I should be arrested' funny)
      3) Science for the trade market, pop sociology, books regarding cultural trends, counterculture histories, books which weave food and/or travel in as a theme, books about escape, about things lost and found, music histories for the trade market, compelling biographies of undersung women in history
      4) Books about the renaissance (fiction or non, and especially YA novels set in the renaissance)
      5) Teen paranormals that subvert and reinvent the genre and aren’t just vampire knockoffs

GLA: Following up on that last question, you seek plenty of narrative nonfiction in a whole host of subjects? Which of these categories, in your opinion, is really under-mined, so to speak? Which category is wide open and hasn't been fully explored yet?

MK: CSLA has long represented works of African-American history, but I think this category remains under-mined. Less crucially, I'd also love to see a book on the internet's effect on radio from a cultural standpoint, having become a recent NPR pod-cast fanatic…!

GLA: Since you seek narrative nonfiction, do you want a book proposal, a full completed manuscript, or both when pitching you?

MK: A really bang-up proposal with a sample chapter or two is often enough for me when it comes to narrative nonfiction -- at least in terms of taking someone on. Though if you’re not submitting many chapters, your proposal should be in the same voice as your book would be – it should leap off the page in the same way and should not be dull just because it’s a proposal!

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

MK: Indeed, I'll be attending the Wyoming Writers, Inc. conference this year in June, 2009, and also the Surrey International Writers’ Conference in October 2009.

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

MK: Try to educate yourself in terms of the current state of the publishing industry, and be ready and excited to help market and promote your own book as much as possible. To this point, having an already-established Web presence helps immensely – in finding an agent and ultimately a publisher.

Want more on this topic?

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

See examples of Successful Queries that agents liked.

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

How to Write a Synopsis for a Novel.

Facebook, Twitter and Literary Agents.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

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!

Is It Nonfiction or Fiction or Memoir or ... ?

Chuck — Tue, 18 Nov 2008 21:16:12 GMT

Q. I want to write a story about my life (very unusual circumstances), but I can't completely recall all the details with regard to signifigant events: What day was my son taken away from me? What day did my daughter's father tell me he was arrested by the organized crime unit for being a bookie?
        Also, I'm sure that no one wants me to use their names or the names of businesses that are going to be discussed. What genre am I going to classify this as?
       - Lori

A. If you're making anything up, it ceases to be nonfiction. If you make up conversations to create scenes, or you make up names/characters to help the story go along, you're definitely entering the realm of fiction and not nonfiction/memoir.
       You can certainly use the names of real people and businesses, but everything must be true and you have to be able to prove it if necessary. When you start to write negative things about people and places, it gets complicated.
       If you're worried about using real names and real timelines, my advice is: Don't. Draw upon events of your life and create a fictional story.
       "But wait," you say. "A lot of it is based on real things that happened!" Yes, I know. So are many, many other novels. Yours is no different. Draw upon your life experiences to write a great story. And when you're touching on sensitive things, such as mobsters, you will want to make sure that your characters in the book are not too close to real-life figures. Better safe than sorry.

New Agent Alert: Amberly Finarelli of Andrea Hurst Literary

Chuck — Tue, 04 Nov 2008 19:21:06 GMT

Andrea Hurst Literary Management, a Sacramento-based agency run by the talented Andrea Hurst, has a new official rep, Amberly Finarelli, looking for clients. She is currently looking for new clients in the following areas:

Nonfiction:

humor/gift books
crafts
how-to (financial, house and home, health and beauty, weddings)
Relationships/advice
Self-help, psychology
Travel writing
Narrative nonfiction

Fiction:

Commercial women's fiction
Comic and cozy mysteries
Literary fiction with a focus on the arts, culture, and/or history
Contemporary young adult.

Learn more about Amberly Finarelli on the Andrea Hurst agency site. Her e-mail is amberly@andreahurst.com. Submission instructions can be found online.

Is It Truth or Fiction?

Chuck — Fri, 19 Sep 2008 13:51:49 GMT

Q. I'm sorry to bother you, but I would like to ask you a question. I have just finished writing a book about [true events in the U.S. in] 1948. The facts are accurate; however, I did use fiction to fill in between the actual events. How do I determine whether this is fiction or nonfiction?
- Scott

A. It's fiction. If anything anywhere is made up, it has to be fiction. This gets complicated, though. If you're making some parts up and calling it fiction, then it gets dangerous to have lots of real people and names thrown in there, because you could get sued because you're including them in a story that is not 100% true.
My advice? Do however much research it takes to piece together these parts you have to make up. Figure out what happened and make the entire story nonfiction. Writing it as "narrative nonfiction" allows your readers to experience this journey as it unfolds, like a novel would. Narrative nonfiction is a bit "hot" right now, so this is your best bet.

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."

Agent Advice: Michelle Brower of Folio Literary Management

Chuck — Fri, 02 May 2008 20:17:52 GMT

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

This installment features Michelle Brower of Folio Literary Management (formerly of Wendy Sherman Associates). Michelle has been with Wendy Sherman Associates since 2004, and has also previously worked with Joelle Delbourgo Associates. She enjoys working directly with emerging writers. She has a MA in Literature from New York University.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Talking Memoir and Narrative Nonfiction

Chuck — Sun, 17 Feb 2008 19:02:31 GMT

Q. What's the difference between memoir and narrative nonfiction? Aren't they the same thing?

A. Memoir is when someone writes about their own life. Narrative nonfiction is when someone writes about the lives of others.
Both of these categories are notable because they blur the line between fiction and nonfiction. Narrative nonfiction is unique (and in high demand) because it tells a true story - hence the word nonfiction - but it's told like a novel. If you want to write about horse racing, you would probably come up with an average book on horse racing. But Seabiscuit is narrative nonfiction. Same thing with the space program. There's a huge amount of difference between a book on NASA's programs and The Right Stuff.

Q. How do you pitch memoir and narrative nonfiction if they bridge the gap?

A. Memoir is tricky because it's the only nonfiction subject that must be treated as fiction. That means you have to write the entire manuscript (and revise it) before submitting. You would eventually write a synopsis - not a book proposal.
Narrative nonfiction, however, is still nonfiction and you would submit a proposal, most likely. Writers with a track record and platform would do just fine submitting a book proposal and writing very little of the actual text. But - for writers without a track record, it wouldn't hurt to write a lot (or all) of the manuscript. Narrative nonfiction is tricky, and you have to show that you know what you're doing.

Q. Are publishers jittery about memoirs these days because of James Frey and A Million Little Pieces?

A. From what I'm hearing, oh yeah. I talked with literary agent and lawyer Paul S. Levine over the weekend and he said that memoirs should be vetted before being sent to publishers. The purpose of this is to eliminate any libel or invasions of privacy in the text itself. Though vetting a manuscript will not ensure that you never get sued, it should prevent anyone who sues you from winning.

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: Debbie Carter of Muse Literary Management

Chuck — Wed, 19 Dec 2007 18:10:11 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 Debbie Carter of Muse Literary Management. Prior to starting her own agency in 1998, she worked for a literary agent, a talent manager, and in the record business as a talent scout. She has a BA in English and music from Washington Square University College at NYU.

She is seeking: literary novels and short story collections with popular appeal, mysteries, thrillers, suspense, espionage fiction/nonfiction, children's fiction/nonfiction and literary narrative nonfiction. Other nonfiction areas of interest include music, writing, birds and gardening.

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

DC: Recent sales include a short story to The Kenyon Review by 2005 Pushcart nominee Aurelia Wills, to be published in their 2008 summer issue; and a children's folktale collection, The Adventures of Molly Whuppie, by Anne Shelby, to Univ. of North Carolina Press.

GLA: You accept short story collections and novellas. Do you feel that the stories have to be connected or can they all be individual? Are these still a tough sell to publishers either way?

DC: I am looking for writers of short fiction who have enough stories for a collection or are writing toward completing one. Most collections are by prize-winning authors and feature stories previously published in name journals and magazines. If stories are interconnected, like a novel, and the work is strong enough to compete with debut novels, the writer does not need these credentials. Aurelia Wills, a writer who sold a couple stories on her own to journals, is completing stories toward a collection, and I submitted stories to journals as she worked toward that goal. We sold one to The Kenyon Review, but major journals passed on the other stories; unfortunately, we couldn't agree on a strategy for further submissions and we parted company: I thought the stories needed to be longer and that she should revise, and she wanted to keep sending the stories out because making submissions was "a numbers game." If a writer and I don't agree editorially on content, I will usually suggest that they seek feedback in a workshop. Some follow my advice, but some don't and decide to submit to publishers on their own.
      It is a matter of a reader's taste whether or not an editor publishes a story, but if I see something wrong with a story (usually an aspect of the structure), I will ask the writer to "fix" it. It's rare for an agent or anyone for that matter to like everything by a writer, and many writers will want to sell everything they write. I try to allow room for disagreement in my relationship with writers: I offer an agency agreement that is limited to specific works. I offer an agency agreement that is limited to specific works.
      As for novellas, the content of the story should determine its length, but I didn't see any novellas by new writers on BN.com. Children's publishers are open to young adult novels of novella length, but I don't know firsthand if publishers of adult fiction are receptive to them; I haven't found one. Stewart O'Nan just published Last Night at the Lobster, a Christmas novella. If readers buy it, then publishers will know there is an audience for the short novel, and will probably consider short novels by new writers. When I receive a query for a novella, my first hunch is that the book isn't finished. I usually recommend that the writer read Building Better Plots by Robert Kernen, for its checklists in chapter 2, to see if there's something missing in their story or plot.

GLA: When you're reading a partial, what are the most common problems you see in the writing samples? What are the most common reasons you turn down a submission?

DC: I usually request the first hundred pages of a novel, and for story collections, four or five stories. I want to see if the opening chapters or stories capture me in any way, with a compelling narrator or a strong premise or situation as in The Firm or The Day of the Jackal. Many times, I turn down first submissions because they're trashy or trite, or they're about obscure or specialized topics, like Roman history. That's not to say these manuscripts won't appeal to other readers; on my Web site, I list genres that don't appeal to me. But I'll always tell writers why I'm passing and offer suggestions on where they might look for agents. Or, in the case where I like the voice or specific passages, but there isn't enough there for me to work with, I'll suggest books for further reading.

GLA: You seek narrative nonfiction. What are the key elements you look for in a narrative nonfiction submission? What elements must be there to capture you attention and distinguish it from regular nonfiction?

DC: I read narrative nonfiction as I do novels, for story and character, except they seem to mean more to me because they're true. I've placed my favorite titles on the "bookshelf" page on my site www.museliterary.com with links to excerpts.

GLA: Plenty of people want to write a memoir (and many do), but few are good. For you, what separates the best memoir from the others?

DC: The way you phrased the question is subjective. What's good depends on whether you're looking for a well-constructed story or a firsthand, often amateur, account of an experience that may provide answers to questions in your own life, as a kind of self-help read. I'm looking for well-constructed stories, and the memoirs I like, posted on my bookshelf page, are by authors or journalists who have studied writing. I evaluate them as I would a first-person narrator in a novel. Do I like this person? Some bestselling memoirs don't appeal to me because their lives are just too awful to read about, as in The Glass Castle. The narrator recalls one miserable episode in her childhood after another with no letup; she wore me out.
In a play or novel, the dramatist or author would alter the plot, selecting only significant scenes instead of telling everything about the life, and arranging them for dramatic effect; and giving readers a break from the main story with scenes with other characters. Some memoirs are on topics that don't appeal to me, such as Eat Pray Love, a spirituality title, or I Hope They Serve Beer in Hell (why would I want to read about a womanizer? Again, a personal reaction) or the didactic Bill O'Reilly books; But in the memoirs I do like, the narrators appeal to me as people, and have strong plots that satisfy expectations for traditional story structure: I like coming-of-age stories like Mermaids by Patty Dann, stories that capture an aspect of American culture that has past, like The Prize Winner of Defiance, Ohio, or stories of historical significance that are relevant today, like The Zookeeper's Wife.

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

DC: Right now I'm booked for the Sand Hills Writers' Conference at Augusta State University in March. I'll also be at ThrillerFest in NYC in July.

GLA: What's your best piece of advice regarding something we haven't discussed?

DC: I would suggest they read Publishers Weekly and the New York Times Book Review. I know writers need time to write and research their projects, but I think writers would be less frustrated if they knew more about the business. Many writers approach novels or memoirs strictly from aesthetics: Is this a good book? Many of them are thoughtful and well-written, but do they know who would want to read it? Can they define their book's category as a publisher or bookseller would? Does the book speak to the concerns of their readers? Some of the stories and topics are old-fashioned, too derivative of other books, or aren't relevant to our lives today.
Readers are looking to connect with a character, and see the world in a way that is familiar and new at the same time. We constantly hear that people have less time to read, but we all have time for a compelling story that speaks to our concerns, like Harry Potter, Sophie's Choice or Carrie. Reading PW and the NYTBR will tell them what's being published by large and small companies, what's selling, and why. They don't have to force themselves to write books they don't like just to fit a trend, but they should see who is publishing books they like, and shape their own manuscripts to fit publishers' lists.

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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?

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice: John Willig of Literary Services, Inc.

Chuck — Thu, 09 Aug 2007 14:34:16 GMT

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

This installment features agent John Willig of Literary Services, Inc. in Barnegat, N.J. John specializes in all things nonfiction and has been in publishing for more than 30 years.

John Willig

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

JW: We have recently enjoyed a number of excellent deals. Jim Trippon's Becoming Your Own China Stock Guru (to John Wiley & Sons), Beverly Smallwood's This Isn't Supposed to Happen to Me! (which was managed by my associate, Cynthia Zigmund, who is based in Chicago) and Hector Seda's Home $weet Home: 151 Guaranteed Projects to Increase the Value of Your Greatest Investment (to Adams Media) stand out. Above and beyond the financials, we were happy to find editors who were genuinely excited about each book's topic potential and working with the author. These authors/clients of ours will be working with great champions of their work, which I believe will ultimately have a very positive impact on their publishing experience and outcomes.

GLA: If an author envisions a five-book series for his story and even has three manuscripts completed, is it still best to query you regarding the first one only? Will the "series talk" come later?

JW: We've been seeing a lot more of these types of "series" presentations lately—the feeling being that the author needs to present a future "franchise" for the agent and publisher to get them more interested in representation and publishing their work. This is not necessarily the case. In fact, it may send up a red flag about the author's expectations.
I always try to downplay the series pitch unless there has already been a strong brand presence established in the marketplace. My advice is to sell the first one; when it sells well, the editor and publisher will be very happy to listen to ideas for books two and three. Oftentimes, the idea for the next book is actually embedded in the current book and it's up to the author and editor to listen to the marketplace and know what topic is garnering more attention than others. Also, feedback can come from the publisher's sales and marketing teams, who will suggest (based on the success of book one) that the author write another book or make a series out of the original.

GLA: What's the difference between a literary agent and a literary scout?

JW: Great question. I have many friends who do one or the other and/or a little bit of both. I think it is analogous to how a ghostwriter works vs. how an author works.
The ghost is working primarily as a "work for hire" and does not necessarily want to be involved with promotion, publicity, etc. An author is obviously consumed with all these issues as they affect outcomes and careers. These matters also concern the author's agent, who's an advocate throughout the publishing process, be it for legal contractual matters or for giving guidance on cover designs, publicity campaigns, etc. Our inboxes are filled each day with these types of concerns and challenges for our authors and clients. It being a client-based relationship, the agent is actively involved in all aspects of the author's book and, many times, well being!
Now, this is where one needs to be careful in this discussion because, in publishing, there are always exceptions. But for the most part, I think literary scouts feel that since they are going to be paid primarily from the publisher, there may not be as much as a vested interest in the outcome. Being paid a flat fee for performance (like a ghostwriter) vs. being paid an agent's commission (similar to writers' royalties) can define one's level of future involvement and responsibilities to the project.

GLA: You specialize in nonfiction. If you have a client who wants to try her hand at fiction, should she approach you and ask for your blessing in finding a second agent? Also, how would it work when the next nonfiction book comes along? Would there be conflict between you and Agent 2?

JW: Since the author and agent have a client-based relationship that, hopefully, will be longstanding, I think it’s always best for a writer to let me know what's going on with their projects and if there’s a fiction book in the works. I like to know about (all my clients') projects even though I work exclusively with nonfiction writers. Sometimes I'll review samples, make recommendations, and suggest fiction agents. The agreement the author makes with the fiction agent can be exclusive to fiction or to a particular genre. It's always best to get these things out front and in the open and clarified in the agreement to represent.

GLA: What conferences will you be at this year? Will you be taking pitches?

JW: I try to attend a variety of publishing and professional conferences each year, such as the Writer's Digest Books Writers' Conference, Author 101/MEGA Book, ASJA, etc. I'm always open to pitches, whether in person or via e-mail. On our Web site, www.LiteraryServicesInc.com, we have posted our submission guidelines and questions.

John Willig is a literary agent and a member of the Author's Guild. He specializes in nonfiction books, seeking a variety of subjects, including art, biography, business, parenting, cooking, crafts, health, history, how-to, humor, language, money, New Age, pop culture, psychology, science, self-help, true crime and sports.
He does not want to receive fiction, children's books, religion, memoirs or poetry.

Richard Goodman, on the Elusive Definition of Creative Nonfiction

Chuck — Mon, 11 Jun 2007 17:39:16 GMT

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

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

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

Richard Goodman >

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

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

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

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

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

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

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

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

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