Guide to Literary Agents - Pitching

I am Critiquing Queries and Pitches!

Chuck — Wed, 05 May 2010 13:58:06 GMT

If you dread writing a query letter or composing a pitch for your book, perhaps all you need is a little feedback and instruction. That's why I'm running a webinar called "Novel Queries & Pitches: Critique Series." Here's the deal: The key to catching an agent's eye is a compelling query and pitch, so all registrants are invited to submit a hook (200 words or fewer) in advance of the event. All submitted hooks are guaranteed a critique! You can retool your query before sending it out to more agents.

DETAILS

It all goes down at 1 p.m., EST, Thursday, May 6, 2010. The session lasts 90 minutes. If you sign up but cannot make the entire webcast, no worries—because it will all be online and archived for you to watch over and over again for one year.

WHY SIGN UP?

Successfully pitching an agent or editor on your book concept takes brevity and power. Whether you're pitching at a live event, or in the context of a query letter, two essentials must guide you: protagonist & problem. What you'll learn:

5 essential elements of every query, and how to order them
3 components of a compelling novel hook
Common mistakes and red flags that appear in typical queries
Why a shorter letter is more likely to succeed
What to put in your bio even if you have no credits

WHO SHOULD ATTEND?

Writers who are actively querying agents and publishers
Writers whose query letters always get rejected (or never get a response)
Writers who will be pitching their concept at a conference

I hope to "see" you on May 6! Sign up here.

What's In a Pitch? Examining 'The Undomestic Goddess'

Chuck — Wed, 16 Sep 2009 01:56:38 GMT

What's In a Pitch? is a new series that takes actual novel pitches and examines why they work successfully. This series is designed to help writers who need help composing the pitch paragraph of their query letter, or pitching an agent in person.

By the way, since I read mostly kids fiction, it will be mostly kids fiction here, too, but the framework of a successful pitch is the same no matter what category or genre you're writing. Today's pitch to dissect is (women's fiction!) Sophie Kinsella's The Undomestic Goddess. Women's fiction is not a category that really interests me, but I read the flap of the book when my wife was reading it, and was intrigued. That's a successful pitch.

THE UNDOMESTIC GODDESS:

Workaholic attorney Samantha Sweeting has just done the unthinkable. She’s made a mistake so huge, it’ll wreck any chance of a partnership.

Going into utter meltdown, she walks out of her London office, gets on a train and ends up in the middle of nowhere. Asking for directions at a big, beautiful house, she’s mistaken for an interviewee and finds herself being offered a job as a housekeeper.

Her employers have no idea that they’ve hired a lawyer—and Samantha has no idea how to work the oven. She can’t sew on a button, bake a potato or get the %&#! ironing board to open. How she takes a deep breath and begins to cope—and finds love—is a story as delicious as the bread she learns to bake.

But will her old life ever catch up with her? And if it does … will she want it back?

Why Does This Pitch Work?

The main character is immediately introduced. Her name is Samantha and she is workaholic attorney.

She has done something bad - but what? We don't know, but whatever it is, it's big enough to wreck her career and get her to walk out of her office (and life). Naturally, I'm curious as to what happened - and you just know that she will eventually have to confront her London problems no matter how far she runs.

The hook is introduced: Samantha, by sheer luck and accident, gets a new life. The city workaholic is now a country gal doing laundry and dinner. Once again, we have a unique "fish out of water" story. The turn from Act I to Act II is obvious and seems to work.

Then the "promise of the premise" is unveiled. (Screenwriter Blake Snyder came up with this term.) What it means is this: When you or I hear the big hook ("...lawyer is now a housekeeper!?"), what scenes start to pop into our minds? Samantha burning dinner; Samantha making up lies; Samantha screwing up her duties - these are ideas that popped into my head. And as the pitch continues, it lets us know that those scenes are indeed in the story, thereby delivering on the promise of the premise.

Then you have that line - "delicious as the bread she bakes," blah blah blah - which is the weakest part. This is something you can get away with on the inside flap of a book of a proven women's fiction author. Leave this stuff out of an actual query.

And then the last line reminds us that even if Samantha survives country life, her problems will find her no matter where she hides - and what happens then?

Want more on this subject?

What's in a Pitch? Examining "Alibi Junior High."

How to Maximize an Agent Pitch Slam.

What are the BEST writers' conferences in the country?

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

What's In a Pitch? Examining 'Alibi Junior High'

Chuck — Mon, 07 Sep 2009 21:14:02 GMT

By the way, since I read mostly kids fiction, it will be mostly kids fiction here, too, but the framework of a successful pitch is the same no matter what category or genre you're writing. Today's pitch to dissect is Greg Logsted's Alibi Junior High. I saw the book at the library, read the inside cover (the pitch) and immediately wanted to read this book.

ALIBI JUNIOR HIGH:

Thirteen-year-old Cody Saron has never lived in one place longer than a few weeks, and has never attended a regular school. Growing up on the run with his father, an undercover agent for the CIA, Cody has traveled the entire globe; he speaks five languages; and he has two black belts. What Cody isn't prepared for ... is junior high.

When the danger surrounding Cody's dad heats up, Cody is sent to stay with the aunt he's never known, Jenny, in her small Connecticut suburb. Cody has no idea how to fit in with other kids, how to handle his first crush, or how to make it through a day of classes. As Cody struggles to adapt to the one thing he's never experienced - a normal life - he starts to fear that his father's world has followed him and no one he loves is safe.

Why does this pitch work?

Immediately we know the protagonist and his age: Cody Saron is our main character, and he is 13. Next: His place in life is intriguing, no? He works with his CIA agent dad and is skilled in dangerous things, such as foreign languages and combat. And now comes the real hook: Can a kid who is prepared for any mortal danger or espianoge situation ... survive normalcy? The hook is laid. It's a unique take on the "fish out of water" story.

Then the "promise of the premise" is unveiled. (Screenwriter Blake Snyder came up with this term.) What it means is this: When you or I hear the big hook ("...survive normalcy?"), what scenes start to pop into our minds? Cody struggling to fit in, Cody struggling to woo a girl, Cody struggling to find classrooms - these are ideas that popped into my head. And as the pitch continues, it lets us know that those scenes are indeed in the story, thereby delivering on the promise of the premise.

The conflict is laid out and clear: Can he fit into a "normal" world? Whether he does or doesn't, what will happen to his father? And will his old world catch up to him in a bad way? Multiple layers of conflict are here.

One thing that struck me immediately was the name. Cody SARON. Sarin gas? Like in The Rock? A chemical agent used by special forces and shizz? Good name! Cody is like the typical boy name, and then you have a name signifying danger. Nice combo.

The pitch is not long - only six sentences - and it works on all levels. We know who the character(s) is, what the conflict is, what the stakes are, and a nice hook links it all together.

Want more on this subject?

Read How to Establish a Connection with an Agent.

Read about How to Make a Good Impression at a Conference.

What's in a Pitch? Examining "The Undomestic Goddess."

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

How to Pitch a Literary Agent In Person

Chuck — Mon, 07 Sep 2009 20:56:28 GMT

Q. Hi. I have a 5-minute appointment scheduled with a New York agent at a writer's conference. With only that much time, would you suggest I get right to the novel or should I start with my credentials and condense the story to a pitch line and a quick overview. I'd like to skip the amenities and get the story in, but I don't want to seem too abrupt or rude.
- Glenn

A. Glenn, five minutes is plenty of time to do everything you need. When you're talking about the book (the pitch), you shouldn't need more than about a minute and a half to pitch a novel, and maybe two minutes for nonfiction. After that, you can start talking about your credentials and accomplishments and platform. The whole thing should not take more than three minutes. I suspect most people practice their speech beforehand but still have it too long and sprawling. Boil it down; skip the nitty-gritty details. If you pitch your work in three minutes (max), you allow two minutes for discussion and follow-up questions. As far as how the order works, I would suggest jumping into the book pitch first, then getting to your credentials second.

Want more on this subject?

Check out my What's In a Pitch? series for help with pitching.

Read How to Establish a Connection with an Agent.

Read about How to Make a Good Impression at a Conference.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

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 2011 Guide to Literary Agents today!

2010 GLA Excerpt: Writing the Query Letter

Chuck — Wed, 29 Jul 2009 14:59:36 GMT

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

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

ON PROFESSIONALISM:

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

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

Successful Queries: Agent Bernadette Baker-Baughman and 'War is Boring'

Chuck — Tue, 14 Jul 2009 14:05:05 GMT

I've meant to start this new series on the blog for a while now, but am just now getting around to it. It's 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 fourth installment in this series is with agent Bernadette Baker-Baughman (Baker's Mark Literary Agency, LLC) and her author David Axe, for his graphic novel, War is Boring.

TO: info@bakersmark.com
CC:
SUBJECT: Query from graphic novelist David Axe

Dear Ms. Baker,

Street battles with spears and arrows in sweltering Dili, East Timor. Bone-jarring artillery duels between the Dutch and Taliban in the mountains of Afghanistan. Long, tedious patrols with British troops on the sandy wastes of southern Iraq. For three years war was my life. For three years I was alternately bored out of my mind … and completely terrified. It was strangely addictive.

As a military technology writer, and later a freelance correspondent for The Washington Times, C-SPAN and BBC Radio, I jetted from conflict to conflict, with only short pauses in between. While I reveled in death, danger and destruction in Lebanon, East Timor, Afghanistan, Somalia and Iraq, back in Washington, D.C. my apartment gathered dust, my plants died and my relationships with friends, family and lovers withered. I had set out to cover war believing that my reporting would make me wiser, sexier and happier. But I was blind to the violence my work was inflicting on my loved ones … and on myself.

War correspondence was expensive; physically, mentally and emotionally exhausting; and disillusioning. In late 2007 I returned from Somalia and Iraq a broken person; and, taking stock of the remains of my former life, I began the long process of rebuilding. In the summer of 2008 I returned to war, this time to Chad, where half a millions survivors of the Darfur genocide struggled to survive amid some of the most brutal conditions in the world. I had begun my sojourn as a sort of “war tourist” – politics weren’t an issue. But I ended up a deeply political man: over time my work became less about me, and more about the true victims of the world’s conflicts.

WAR IS BORING, a black and white graphic novel of around 120 pages, is about the journey through the world’s most dangerous places, en route from naïvete to contrition by way of maxed-out credit cards, broken relationships, near-death experiences and the mind-numbing boredom of waiting – and, perversely, hoping – for the next battle. It’s also about the reasons people and nations go to war, and the absurd, often comic, situations that result.

The book begins in Lebanon, continues through Okinawa, East Timor, Afghanistan, Somalia and Iraq – with layovers in Washington, D.C., at various arms bazaars across the U.S and in Detroit as I try to reconnect with my family – and ends in Chad, as I attempt to help bring some attention to the victims of the Darfur genocide.

My name is David Axe. I am the author of the graphic novel WAR FIX (NBM, 2006) and the nonfiction book ARMY 101 (USC Press, 2007). WAR FIX made Amazon’s and the ALA’s end-of-year lists for 2006, won first place for graphic novels in Foreword Magazine’s 2007 book contest and will be excerpted in Houghton-Mifflin’s America’s Best Comics for 2008. The sequel, LOVE & TERROR, will be published this year. I get a thousand unique hits a day at my blog www.warisboring.com, where some of the pages in WAR IS BORING first appeared as comic strips. I also blog for Wired and have contributed to Popular Science, The Village Voice, Salon, Good, Vice, Columbia Journalism Review and many others. I am a frequent TV and radio guest.

Artist Matt Bors’ editorial cartoons are distributed by United Feature Syndicate three times a week and appear in The Village Voice and other newspapers across the country. He draws a bi-weekly comic for the ACLU's website.

Matt and I would like to interest you in representing WAR IS BORING. We can provide a synopsis and a full illustrated chapter on request.

Cheers,

David Axe

Commentary From Bernadette

As an author, first impressions are not just important; they are critical. Since I associate being an agent to being a matchmaker for creators and publishers, I might say that a query letter is your one chance to get a first date. It is your first (and possibly only) chance to make a good impression. In the course of one letter, you can influence how someone looks at you: Are you funny, compelling, interesting? More importantly, can you write? And that impression will set the course of a possible working relationship. Before I delve into the reasons why the enclosed query was so compelling, I’d like to explain the results of this one excellent query.

On July 28, 2008 at 4:45 p.m., this query came into my general agency inbox, where I request all queries be sent. That same day, I requested that the materials be sent via e-mail, and David Axe sent along the materials the same evening. Within 48 hours, our editorial director and I had reviewed the material and were offering to represent the author and illustrator. We spent about a month working with the authors to create a proposal and polish the materials, and a month after we began shopping the book around to publishers, we had a deal with Penguin. Wow, that was easy.

Here are the nuts and bolts of what makes this a great query: You can see in the subject line that the author, David Axe, mentions that this is a graphic novel. Since I have a specialization in this area, the subject jumped out at me immediately. I wouldn’t have recognized the title of the work, and though I didn’t recognize his name, he at least had two touchstones in his subject line. Now, this particular subject line is really important because if I had opened the query without knowing that this was a graphic novel, I would have thought it as a war memoir, which is most likely not something our agency would represent. But, since Axe did mention that this is a graphic novel in the subject line, he had me at hello, so to speak.

The first paragraph was interesting but the last line of the first paragraph really clenched it for me. “For three years war was my life. For three years I was alternately bored out of my mind … and completely terrified. It was strangely addictive.”

Who is this person that finds war alternately boring and terrifying? What is his experience? What is he addicted to? This is something I really want to know more about. Now he has me, and then he immediately displays that, not only does he have credentials, but that he also has experience in media and a platform, and he is savvy enough to appear on television. Things are really looking up. As Axe spends the next two paragraph’s explaining the highlights of the story (perfect), he doesn’t forget to mention the crux, or the real tension that is driving this intimate story along:

“I had begun my sojourn as a sort of ‘war tourist’—politics weren’t an issue. But I ended up a deeply political man: over time my work became less about me, and more about the true victims of the world’s conflicts.”

This is an incredibly poignant thought and an important part of this query. In addition to sharing insight on his own personality, this sentence also shows that the author has a message to share with the reader, and his message happens to be something that resonates with me (yes, agents are humans too). But more importantly, Axe is intimately familiar with the crux of his own story. This is what will keep the readers turning pages.

In paragraph four, the author tells me what I need to know logistically: This is a black and white graphic novel of approx. 120 pages. This, in some way, provides an anchor for the query. The vision for the final book allows the agent to envision what, up to this point, is just an idea. Immediately following, Axe gives the rundown of his impressive credentials, and then instantly lets me know that he also has an illustrator (with some chops of his own) on board to draw the book. This is all shaping up to be one impressive query.

Finally, at the end of the query, the author let’s me know precisely what material he can provide me with (a synopsis and sample chapter) and gives me the details I need to contact him.

When I think about it closely, the fact that this query has not a single spare word is a real pleasure. It doesn’t begin with the line “I am an author who…” or “I am writing because…” The query speaks for the book the whole way through. If I can be this intrigued with a query, then I figure the book must be a great read.

Editor's note: War is Boring will be published by New American Library in 2010. For more information, visit warisboring.com or the Baker's Mark agency page.

Successful Queries: Agent Mary Sue Seymour and 'A Gift of Grace'

Chuck — Fri, 10 Jul 2009 14:51:42 GMT

I've meant to start this new series on the blog for a while now, but am just now getting around to it. It's 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 third installment in this series is with agent Mary Sue Seymour (The Seymour Agency) and her author Amy Clipston, for her book, A Gift of Grace.

Dear Ms. Seymour,

I am seeking representation for my Amish inspirational novel, A Gift of Grace, complete at 80,000 words. It is the first in my Kauffman Amish Bakery Series. The sequel, A Promise of Hope, is nearing completion, and another freestanding book featuring the same characters is in outline form.

Rebecca Kauffman's tranquil Old Order Amish life is transformed when she suddenly has custody of her two teenage nieces after her "English" sister and brother-in-law are killed in an automobile accident. Instant motherhood, after years of unsuccessful attempts to conceive a child of her own, is both a joy and a heartache. Rebecca struggles to give the teenage girls the guidance they need as well as fulfill her duties to Daniel as an Amish wife. Rebellious Jessica is resistant to Amish ways and constantly in trouble with the community. Younger sister Lindsay is caught in the middle, and the strain between Rebecca and Daniel mounts as Jessica's rebellion escalates. Instead of the beautiful family life she dreamed of creating for her nieces, Rebecca feels as if her world is being torn apart by two different cultures, leaving her to question her place in the Amish community, her marriage, and her faith in God.

I’ve visited Amish Country in Lancaster County, Pennsylvania, many times and have spent extensive hours researching the spot.

A member of American Christian Fiction Writers (ACFW), I hold a degree in communications from Virginia Wesleyan College and work full-time as a public information specialist.

Thank you for your generous time. I look forward to hearing from you soon.

Sincerely,
Amy G. Clipston

Commentary From Mary Sue

The project was the perfect length and I like how word count was immediately mentioned. Also, she mentioned the book was completed - many first time authors never complete their books

It was a series and I happened to be looking for series right then.

A lot of why I loved this letter was due to her pitch. Her pitch was nicely abbreviated and proved she could write. I liked the concept and the characters from the start.

She had actually visited Amish country, which is the best way to research. I was impressed. She had a college degree, too. Although one isn't really isn't necessary, it can't hurt. You can find A Gift of Grace on Amazon.

How to Establish a Connection With an Agent

Chuck — Wed, 08 Jul 2009 14:09:00 GMT

Previously, I wrote about the three basic parts of a query letter to an agent. In part one (the first paragraph), I recommend explaining two things: what the book is and why you're contacting the agent. To address this second aspect, I thought I'd mention the most common ways to establish a "connection" with an agent.

1. "I read your interview..."

Dear Ms. Agent:

I recently read your interview on the Guide to Literary Agents blog and saw that you're a huge baseball fan. To say I'm a huge fan of the game is like saying Captain Ahab had a slight interest in some whale. Because of our mutual love of baseball, I thought you might be a good fit for my middle-grade novel, Bottom of the Ninth...

2. "Thanks for speaking with me at XYZ Conference..."

Dear Ms. Agent:

Thank you for speaking with me at the Wyoming Writers Conference about my Western romance, Saddle Up. It was very nice to talk with you, and I enjoyed listening to your publishing advice. As you requested, I have submitted a query and the first ten pages of my novel...

3. "Because you represented (that), I think you might like (this)..."

Dear Ms. Agent:

I'm not sure, but I think I was at sitting in a coffeeshop the first time I overheard two people talking about Dead Cat Bounce. Curious, I picked up the book at Borders and finished it the same day. When I learned you were the literary agent that represented this amazing medical thriller, I knew I wanted to query you regarding my own book, Injection, which is complete at 86,000 words.

Successful Queries: Agent Michelle Wolfson and 'Timing is Everything'

Chuck — Mon, 22 Jun 2009 19:05:32 GMT

I've meant to start this new series on the blog for a while now, but am just now getting around to it.

It's 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 first installment of this series is with agent Michelle Wolfson, and her client, Mark Di Vincenzo, and his book, Buy Ketchup in May and Fly at Noon: A Guide to the Best Time to Buy This, Do That and Go There.

Dear Ms. Wolfson,

Have you ever wanted to know the best day of the week to buy groceries or go out to dinner? Have you ever wondered about the best time of day to send an email or ask for a raise? What about the best time of day to schedule a surgery or a haircut? What’s the best day of the week to avoid lines at the Louvre? What’s the best day of the month to make an offer on a house? What’s the best time of day to ask someone out on a date?

My book, Timing is Everything: A Guide to the Best Time to Buy This, Do That and Go There, has the answers to these questions and hundreds more.

As a long-time print journalist, I’ve been privy to readership surveys that show people can’t get enough of newspaper and magazine stories about the best time to buy or do things. This book puts several hundreds of questions and answers in one place -- a succinct, large-print reference book that readers will feel like they need to own. Why? Because it will save them time and money, and it will give them valuable information about issues related to health, education, travel, the workplace and more. In short, it will make them smarter, so they can make better decisions.

Best of all, the information in this book is relevant to anyone, whether they live in Virginia or the Virgin Islands, Portland, Oregon, or Portland, Maine. In fact, much of the book will find an audience in Europe, Australia and Latin America.

I‘ve worked as a journalist since 1984 and have made a name for myself as someone who exposes wrongs, such as rampant abuses at mental hospitals and decades of neglect by government agencies that monitor the environment. I've won numerous awards, competing against reporters from The Washington Post, The Washington Times, the Associated Press, the Richmond-Times Dispatch and The (Norfolk) Virginian-Pilot. In 1999, the Virginia Press Association created an award for the best news writing portfolio in the state – the closest thing Virginia had to a reporter-of-the-year award. I won it that year and then again in 2000. The next year I beat out reporters from The Charlotte Observer and the Atlanta Journal-Constitution to win the Southern Environmental Law Center’s first-place journalism award. I then became metro editor at a 100,000-circulation newspaper in Newport News, Va. Over the years, I’ve honed my long-form writing skills by doing magazine cover stories and writing short stories. During the summer of 2007, I left newspapering to pursue book projects and long-form journalism.

I saw your name on a list of top literary agents for self-help books, and I read on your Web site that you're interested in books that offer practical advice. Timing Is Everything offers plenty of that. Please let me know if you'd like to read my proposal.

Sincerely,
Mark Di Vincenzo

Commentary from Michelle:

This query caught my attention and I requested it less than 3 hours after I received it. I’m pleased to say that Mark became my client and his book, with the new title Buy Ketchup in May and Fly at Noon: A Guide to the Best Time to Buy This, Do That, and Go There will be coming out from Harper Collins in October.

I loved the opening to Mark’s query. I tend to prefer it when authors jump right into the heart of their book, the exception being if we’ve met at a conference or have some other personal connection. Otherwise, it’s safe to assume I know you are looking for representation and I like to get down to business.

Mark chose clever questions for the opening of the query. All of those questions are in fact relevant to my life—with groceries, dinner, e-mail, and a raise—and yet I don’t have a definitive answer to them. Then the next paragraph he got a little more offbeat and unusual with questions regarding surgery, the Louvre, buying a house and dating. This showed a quirkier side to the book and also the range of topics it was going to cover. So I knew right away there was going to be a mix of useful and quirky information on a broad range of topics.

The next sentence was great. By starting with “As a long-time print journalist,” Mark immediately established his credibility for writing on this topic. While I needed more—which he provided later—this was great to know right away that he had experience researching topics. And the second half of that sentence helped show that there is a market for this book. This established the need for such a book.

And what do you know? Mark had the solution! A book that answers that need. And he does, in the rest of that paragraph. I think he could have shortened it a drop maybe to “…hundreds of questions and answers with valuable information about issues related to…” I would also be careful not to be too specific about how you envision the final book, and this is something I am always changing with authors in their proposals, since if editors see it differently, you may turn them off by having such a rigid format already described. Why large print? Who knows. I would not put that in a query.

Mark’s next paragraph is interesting because I like it if an author can describe his target audience. However, when most authors say their audience is everyone, as many do, I pretty much automatically reject it. And even as I type this, a query comes in for a YA vampire novel that will, “find a market in most reading ages, similar to the first couple Harry Potter books.” But Mark’s book really does have broad market appeal and he made his point based on a regional basis rather than age, although I think it cuts both ways in this particular case. But keep in mind this is a reference book—and facts are facts and they really do apply to all people.

Mark’s bio paragraph is a little on the long side but offers a lot of good information. Again, I think a journalist is the perfect background for this kind of book since being an expert on any one thing wouldn’t help; you really need to be an expert in researching information and delivering it in an entertaining readable fashion. Overall, I felt I gleaned enough information to feel confident that we could present Mark’s platform in an impressive enough manner to find a publisher.

I liked Mark’s final paragraph, of course, since it’s all about me! Seriously though, it is nice when I feel like an author has sought me out specifically and thinks we would be a good fit. Here I am saying Mark is going to be doing a research heavy book and he has taken the time to research agents as well and has personalized his query with a little flattery thrown in. Always a nice touch.

Of course, now that I’m looking at the query with an eye towards critiquing the query itself, I will comment on the little nitpicky things that I notice, but wouldn’t necessarily stop me from requesting something. Since I just mentioned personalization, I’ll say that on closer inspection, I noticed that the "Dear Ms. Wolfson," is in a different font than the rest of the query. Now I don’t expect you to send me an exclusive query; in fact, I hate them since I then feel pressured to respond right away when that’s not how I generally work if I’m not interested. But you could at least make me feel like you’ve typed it out just for me, and a different font calls attention to a writer's admirable, yet meant to be secret, time-saving methods.

Meeting Agents at Conferences - Make a Good Impression

Chuck — Fri, 12 Jun 2009 14:00:38 GMT

Here's a bit of advice you probably thought I would never say ... When you're at a writers' conference, and there are agents there, don't be afraid to not pitch them.

Wait a second. Back up. Let me explain. At conferences, there are designated "pitch times" where writers meet with agents, or perhaps there's some kind of "speed dating" thing, such as how the WD conference worked a month ago. Naturally, you want to pitch agents during this time.

What I'm talking about is those other times - when you're sitting down together for a meal, or perhaps you're giving an agent a ride somewhere. The thing is: Agents are sometimes overloaded with pitches at conferences. If you can just avoid business and strike up a normal conversation ("Hey, I love the Yankees, too!"), then you have a better chance of sticking out in her mind later. An agent is going to remember a few of the day's best pitches as well as a few of the worst. Besides that, it all could very well blend together in a haze. If you can stick out in her mind by cracking a joke or talking about some hobbies you both have, you can make a positive impression not as a writer, but just as a person.

Now, it all depends on the circumstances, of course. If you're a romance writer, and you're at a lunch table with an agent who accepts romance, you don't need to ask, "Can I pitch you later?" You already know you can! Instead, start chatting and try to get her to smile. Ask for a business card later. A few days after the conference, when she's caught up from all the madness, pitch her then, and remind her of what you were talking about before where you both had a connection. Something like, "It was so very nice to meet and talk with you at the conference, Mary. And here I was thinking that I was the only person on the planet who lived in New York yet somehow never set foot in New Jersey. You have shown we are not alone. We do have another connection, though - we both love romance."

And then you gracefully slide into your book and pitch.

What Are the BEST Writers' Conferences in the Country?

Chuck — Tue, 02 Jun 2009 19:35:52 GMT

I get this question quite often, strangely enough. I'm guessing that people decide they're "going to do this right," so they save up money to travel to one conference wherever they want, and they are just trying to make sure that they get some serious bang for their buck.

Now, to answer the question at hand, let's examine two things: 1) the different kinds of writers' conferences, and 2) what you want to get out of the event.

DIFFERENT TYPES OF
WRITERS' CONFERENCES:

1. General conferences
       These are just what you think they are - writers' conferences that are general in nature and geared toward all categories and levels of writers. There are hundreds of these nationwide every year, and most of the biggest fall under this category.

2. Conferences with a specialized focus.
       There are plenty of these, too. These gatherings have a unique focus to them - and that usually means they are all about romance writing, or Christian writing, or children's/juvenile writing, or screenwriting (& TV), or mystery/thriller writing.

3. Writing retreats
       Retreats are unique in that the focus is about craft and actually sitting down to write. There are usually no agents present, because that is not the purpose of the whole thing. You find a serene location somewhere and just try to focus and write. Lots of MFA profs, etc., teach these things, and there are even several overseas.

WHAT DO YOU WANT TO
GET OUT OF THE EXPERIENCE?

This question, obviously, is key. Perhaps if you want to just sit down and write - maybe finally start that novel - then maybe an intensive retreat is just what you need.

We're circling back to the original point here. People ask me about the "best" writing conferences, but, truthfully, it doesn't work that way. It all depends. If by "best," you are talking size and number of agents in attendance, off the top of my head I'm thinking our own writers' conference in conjunction with BEA, the San Francisco Writers Conference, Willamette in Portland, the Agents and Editors conference in Austin, Muse & the Marketplace in Boston, the Honolulu Writers Conference, and the Las Vegas Writers' Conference, among others.

"Big" speciality conferences include SCBWI's two national conferences (winter in NYC, summer in LA), the Romance Writers of America national conference (this year in DC), the Screenwriting Expo in LA, and the big mystery conferences (such as Bouchercon and Thrillerfest).

But why is size such a big deal? More agents = good, yes, but you're competing against more people and paying more money. Let's say you're writing literary fiction, and there is a smallish conference nearby that has three agents coming and two of them handle your genre. That's not bad at all. It's probably cheaper and closer than "the biggies."

Are you not ready to pitch yet? Do you just want to sit in on some seminars, take notes, meet people and recharge your batteries? Well then that opens it up a lot more. Take a real close look at the conference schedule and what presentations will take place.

I know that these Writer's Digest intensive conferences we put on seem to do well because people love the critiques. We invite people to send in a decent chunk of their manuscript and get it evaluated by a WD staff editor. The writer then meets with us one-on-one to hear our thoughts.

WHERE CAN YOU FIND A
LIST OF CONFERENCES?

The three best sources are:
        1. Google. Search "writers conference" and "(month year)" or "(location)".
        2. Specialty websites. For example, look at the Mystery Writers of America website to find their regional conferences.
         3. Guide to Literary Agents, of course! You can start by signing up for my free biweekly newsletter at www.guidetoliteraryagents.com. At the end of every newsletter, I list 5-15 upcoming conferences and link to them.

Want more on this subject?

Check out this guest column on Networking at Writers Conferences.

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

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

My Adventures in New York 2009 ...

Chuck — Thu, 28 May 2009 14:50:45 GMT

I just got back from our own writers' conference in New York. And wow. Everything was a blur. I was running here. Running there. Doing that. Answering questions and phone calls. Holy wow.

I got in on Tuesday afternoon and visited a literary agency to meet some agents in person.

An actual NYC agent slush pile.
The real deal.

On Tuesday night I got to see a little bit of Brooklyn. Fellow WD staffer Zac Petit and I visited Brooklyn and had drinks at the Clover Club. That was fun because we suddenly decided to have an impromptu photo shoot with Zac's awesome camera, and we used the bar's many candles to light ourselves in different ways. It was very high school, which is probably why it was so much fun. Employees eventually asked us to stop.

Fun with candles in Brooklyn! Never
underestimate the sheer entertainment
of a camera and lighting equipment.

Wednesday was the conference itself. We had about 410 attendees. I got to sit on an editor panel first thing in the morning, and then the agents arrived for the "Ask the Agents" panel. Participating were Janet Reid of FinePrint Literary Agency, Barbara Poelle of Irene Goodman Literary, Ted Weinstein of the Ted Weinstein Literary Agency, and Michelle Andelman of Lynn C. Franklin Associates. You can see them all pictured from left to right in this lo-res cell phone picture I took.

The agent panel had the whole place roaring. The agents were cracking jokes while answering questions.

Following lunch, I was supposed to give a 50-minute presentation on helping writers prepare for the monster Pitch Slam to follow. That is, I WAS, until agent Janet Reid told me ever so bluntly, that she "could do it much better" than me. So we agreed to split the session in half. I took the first half and give some tips. Janet took the second half and listened to sample pitches then gave feedback on what worked and what didn't. It all went smoothly.

Note from Janet: "What I said was 'let's give them some actual practice and examples, oh fearless leader!' Smoothly? Chuck, I shrieked, fainted, cursed and carried on. Smooth is the last thing that ever describes moi. You on the other hand ARE full of awesome."
Janet even posted about this whole pitch event and was in awe of those brave enough to face her in front of hundreds.

After that, people started to line up and flooded in the rooms to pitch 68 agents. Considering the insane logistics of this whole thing, it all went very well. I have to give mad props to all the WD staffers who helped run these crazy rooms. And also I should thank all the attendees, especially those kind souls who stopped to tell me how much they enjoy my blog/newsletter. You guys are the best.

Following the whole shebang, I had dinner with some agents and editors at Dos Caminos in Midtown (50th and 3rd) and it was soooo good. A great way to end the night!

Above is the big group of
agents and editors who
hung out at Dos Caminos. Below
you can see Writer's Digest
staffer Zac Petit and I hanging out
late when the restaurant offered
us all free champagne.

The WD Writing Conference in New York! (and Other WD News and Opportunities, Too)

Chuck — Wed, 18 Mar 2009 18:44:37 GMT

Every year, Writer's Digest Books puts on an awesome one-day writers' conference in conjunction with BookExpo America. This year's BookExpo event is in Manhattan in late May, and our writers' conference is on Wednesday, May 27.

Well have I got some good news for writers. The numbers of literary agents who will be in attendance taking pitches from writers just keeps getting bigger. We are at about 60 agents right now and that number will certainly grow by a few. We'll basically just keep signing up agents until representatives from the Jacob Javits Center in NYC stop us because of fire codes. (Only half joking.)

Below you will find the list of attending agents who will be taking pitches at the conference. Here are the details: The slam is the finale of our event on Wednesday, May 27, at the Jacob Javits Center in Midtown, NYC. The slam goes from 3 to 5 p.m., and pitches last three minutes total. You get to pitch as many agents as you can in that time. I don't care what category/genre of fiction or nonfiction you're writing, we have multiple agents attending who are looking for what you write. Memoir? Check. Children's stuff. Check. How-to business? Check. Romance bordering on erotica? Check. Everything in between? Check.

Prior to the slam, the day is chock full of presentations and panels with authors, agents and editors.

For space purposes, we can't fit the complete agent bios on this blog post; however, you can see everything these agents accept and "want" on the official conference BEA page right here. That link will also show you who is presenting at the conference itself.

Literary agents (and some editors)
in attendance at the 2009
Writer's Digest Books Writers' Conference:

EMMANUELLE ALSPAUGH (Judith Ehrlich Literary)
MICHELLE ANDELMAN (Lynn C. Franklin Associates)
BERNADETTE BAKER-BAUGHMAN (Baker's Mark Literary)
MICHAEL BOURRET (Dystel & Goderich Literary Management)
JAMIE BRENNER (Artists and Artisans)
REGINA BROOKS (Serendipity Literary)
ANDREA BROWN (Andrea Brown Literary)
SHEREE BYKOFSKY (Sheree Bykofsky Associates)
DEBBIE CARTER (Muse Literary Management)
JENNIFER CAYEA (Avenue A Literary)
DANIELLE CHIOTTI (Firebrand Literary)
ADAM CHROMY (Artists and Artisans)
VIVIAN CHUM (Prospect Agency)
GINGER CLARK (Curtis Brown, Ltd.)
GREG DANIEL (Daniel Literary Group)
STACIA DECKER (Firebrand Literary)
RACHEL DOWNES (Caren Johnson Literary)
VERNA DREISBACH (Dreisbach Literary Management)
JENNIE DUNHAM (Dunham Literary)
STEPHANY EVANS (FinePrint Literary Management)
SORCHE FAIRBANK (Fairbank Literary Representation)
MOLLIE GLICK (Foundry Literary + Media)
GARY HEIDT (Signature Literary)
BLAIR HEWES (Dunham Literary)
LEAH HULTENSCHMIDT (editor, Dorchester Publishing)
CAREN JOHNSON (Caren Johnson Literary)
ABIGAIL KOONS (Park Literary)
MIRIAM KRISS (Irene Goodman Literary)
MICHAEL LARSEN (Larsen-Pomada Literary Agents)
MEG LEDER (editor, Penguin imprint, Perigee)
SANDY LU (L. Perkins Associates)
DONALD MAASS (Donald Maass Literary Agency)
ALEXANDRA H. MACHINIST (Linda Chester and Associates Literary Agency)
MICHAEL MANCILLA (Greystone Literary Agency)
SHARLENE MARTIN (Martin Literary Management)
JEFFERY McGRAW (The August Agency)
COURTNEY MILLER_CALLIHAN (Sanford J. Greenburger Assoc.)
JUDITH ANN MIRAMONTEZ (Book Cents Literary Agency)
ROBIN MIZELL (Robin Mizell Literary Representation)
CHRIS MOREHOUSE (Dunham Literary)
ELLEN PEPUS (Signature Literary)
LORI PERKINS (L. Perkins Agency)
BARBARA POELLE (Irene Goodman Literary)
ELIZABETH POMADA (Larsen-Pomada Literary Agents)
ALANNA RAMIREZ (Trident Media Group)
JENNY RAPPAPORT (The Rappaport Agency)
JESSICA REGEL (Jean V. Naggar Literary)
JANET REID (FinePrint Literary Management)
CHRIS RICHMAN (Firebrand Literary)
JANET ROSEN (Sheree Bykofsky Associates)
RITA ROSENKRANZ (Rita Rosenkranz Literary)
ELANA ROTH (Caren Johnson Literary Agency)
KATHARINE SANDS (Sarah Jane Freymann Literary)
ALISON SCHWARTZ (ICM)
JESSICA SINSHEIMER (Sarah Jane Freymann Literary)
MICHAEL STEARNS (Firebrand Literary)
NICOLE STEEN (Elyse Cheney Literary)
GRETCHEN STELTER (Baker's Mark Literary)
JOANNA STAMPFEL-VOLPE (Nancy Coffey Literary & Media Representation)
UWE STENDER (TriadaUS Literary Agency)
KARI STUART (ICM)
BROOKE WARNER (editor, Seal Press)
CHERRY WEINER (Cherry Weiner Literary)
TED WEINSTEIN (Ted Weinstein Literary)
JENNIFER WELTZ (Jean V. Naggar Literary)
TINA WEXLER (ICM)
JOHN WILLIG (Literary Services, Inc.)
TOM WILLKINS (Jeff Herman Agency)
CHRISTINE WITTHOHN (Book Cents Literary Agency)

---------------------

AND OTHER WD NEWS

1. SOCIAL NETWORKING WEBINAR
        Wondering how to become an established author in an online world? Writer’s Digest is here to prepare you to take advantage of all the new online tools (like Facebook, Twitter, LinkedIn), while also showing you the essentials of creating a website that gets noticed. We’re offering an online, interactive presentation that teaches you how to:
        - Easily build a website or blog in an afternoon or weekend. (It’s much easier than you think.)
        - Use social networking sites like Facebook, MySpace, and LinkedIn. These sites are changing the way authors and publishers can market, promote, and connect.
       - Find success examples of writers using the Internet and examine why their strategies work.
        The online event is on March 31 at 1:30 p.m. EST. All you need is a computer with Internet access. Seats are limited, so register today! [Link to registration page]

2. FREE ARTICLE ON CHOOSING A CRITIQUE GROUP
       See it online here courtesy of Writer's Digest.

Pitch With a Partner?

Chuck — Tue, 03 Jun 2008 19:47:33 GMT

Q. One of (my group's writers) is co-authoring a book. She wants to know if she and her co-author would be advised to pitch this book to agents together at our upcoming conference, or if they should they pitch separately, maximizing their coverage. What should they do?

A. Depends. I recently pitched a book to an editor with my writing partner nowhere in sight. It didn't matter because I knew answers to questions. If these writers are a two-headed monster (perhaps one knows the material, the other the marketing), then they should stick together for sure. Presenting together tends to give off a professional approach. To me, at least...
If time is an issue, then you they want to split up. At our conference in LA last weekend, we had some long lines for a few agents and hundreds of writers running around. We keep the pitch time very short so the line keeps moving; but if you truly fear you will be missing face time with agents you really want to see, then split up down the stretch.

Agent Advice: Brandi Bowles of Howard Morhaim Literary

Chuck — Sun, 20 Apr 2008 18:19:29 GMT

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

This installment features Brandi Bowles of the Howard Morhaim Literary Agency in New York. Brandi has been an agent with Howard Morhaim Literary Agency, Inc., in Brooklyn, New York, since 2007. She was previously an assistant editor at Three Rivers Press.

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

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

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

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

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

GLA: Do you consider screenplays? Graphic novels?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Want more on this subject?

See all agent interviews on the blog.

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

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

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Pitch Slams: Analyzing the Quick Pitch

Chuck — Tue, 18 Dec 2007 23:11:41 GMT

The Jan./Feb of Writer's Digest has a good article by Susan Breen analyzing large agent pitch slams. And fortunately for us, the article is available online!

The article is definitely worth a look, as the chance to pitch agents is one of the biggest and best draws to writers' conferences around the country. Some larger conferences have a gigantic gathering of agents where writers can pitch numerous agents in a short amount of time. (This is sometimes called agent "speed dating.")

Here's an excerpt from Breen's article:

      "But can a pitch slam really help you land a book deal? It worked for me. I went to the NYC Pitch and Shop Conference in March 2006, and met with an editor from Plume, a division of Penguin. She liked my pitch, read my book and bought it. (The timeline was a little more complicated than that, but not by much.)
      You'd think I'm a big fan of pitch conferences. And I am, but they're not right for everyone and you need to ask yourself some serious questions
before deciding to attend...
      • ARE YOU READY? These conferences aren't for beginners. Don't go if you're still puzzling over how to handle point of view, or if you don't have a polished manuscript...
      • DO YOU HAVE A GOOD PITCH? Can you get across the essence of your book in a few minutes? ...
      • HOW WELL CAN YOU REPRESENT YOURSELF? ...
      • CAN YOU AFFORD TO GO? Some of the biggest names in publishing go to these conferences, and your tuition can buy you the sort of access that would be impossible to get otherwise ... But you're paying a lot of money for that access...
      • CAN YOU HANDLE THE REJECTION? Publishing works at a glacial pace, and it's relatively anonymous. You can rip up that withering rejection letter and throw it away. But at a pitch conference, the response is instantaneous and personal."

See the full article here.

Agent Advice: Taryn Fagerness of the Taryn Fagerness Agency, LLC

Chuck — Wed, 14 Nov 2007 15:19:45 GMT

Note from Chuck: This interview was conducted when Taryn was with Sandra Dijkstra Literary. Taryn formed her own agency in 2009. The information below can still help you, but know that Taryn now specializes in foreign rights and audio rights, etc. She is not taking on new queries or clients except by referral or special request.

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

This installment features literary agent Taryn Fagerness of the Taryn Fagerness Agency, LLC.

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

TF: I most recently sold a book to Simon & Schuster by an amazing woman named Roz Savage called Rowing Across the Atlantic: One Woman's Adventure from Office to Ocean. Roz rowed (yes, rowed) in a high-tech rowboat, but a rowboat nonetheless, from the Canary Islands off the coast of Africa to Antigua. She was alone at sea for 130 days, but she made it. I love this book because Roz isn’t some super athlete; she’s a regular woman who decided to drop everything and do something big, and for her that big thing was the Atlantic. This book was a joy to sell.

GLA: You were just at the La Jolla Writers' Conference and met writers who pitched their work. What are the most common things you saw writers do wrong during an in-person pitch?

TF: Two things: One, some authors didn’t seem to understand their true "hook," or most interesting aspect of their work. One writer I met spoke about his young adult fantasy novel, but it wasn’t until the end of his pitch that he mentioned how his book was inspired by Japanese folklore and myths. How cool! That is what I would have wanted to hear first, until then it sounded like just another young adult fantasy. Two: some authors over-praise their work. Some people told me how wonderful, great, amazing, funny, etc. their projects were. Coming from the author, such statements make me a bit skeptical. Of course the writer thinks his or her own work is amazing, but what is it about your work that makes it so fabulous? Why is it wonderful? I want more concrete information about an author’s work so I can really think about where the book might fit in the market.

GLA: One of your specialties is that you look for nonfiction that has to do with science, nature and the environment. What draws you to the books in these subjects that you do end up taking on?

TF: In books dealing with nature or the environment, I look for a unique perspective. There are a lot of books about global warming and the environment in the works at publishing houses right now, and so I hope to find something that stands out - something original that moves me. A book I wish I’d represented, to give you an idea of what I like, is The World Without Us by Alan Weisman. In science books, I look for weird, quirky, interesting and unique. I love neuroscience and psychology. I sold, for example, a great book called Stuff: Compulsive Hoarding and the Meaning of Things by Randy Frost and Gail Steketee. It’s fascinating and somewhat bizarre.

GLA: If someone has a great idea for a nature book but lacks a good platform, should they send a proposal anyway? Or should they build up a platform and query later?

TF: It would depend on the type of nature book. If a person is writing all about trees, for example, but they’re a professional knitter (i.e., not a botanist) living in Tucson, there’s a problem. Serious, informative nonfiction books must have authors with solid, relevant platforms; it is a fact of publishing. However, I believe a person’s experience can be an excellent platform. For example, we have an author who is working on an interesting book about farming. The book is about his experience. Maybe he doesn’t have his own TV show or a newspaper column, but he does have a great story to tell. The experience and what he learned from that experience is his platform.

GLA: Describe your dream client.

TF: My dream client is someone who recognizes that writing a book is a collaborative effort. These clients trust their agents, ask the right questions, and, as we say, "do the work," meaning they make good revisions, provide useful support material, and put together, with our help, a polished project/proposal. These clients are professionals who understand we are their partners and advocates and that we work very hard on their behalf. They have realistic expectations about the publishing process.

GLA: You take some fiction. Tell us about the genres that interest you and what the book must have to keep your attention.

TF: I look for a spark, something that instantly connects to my mind and/or my heart. I’m particularly drawn to highly original concepts and voices; I like an element of the unexpected in fiction, something odd, interesting or unique. I want to learn something about our world or about myself that I never knew. Above all, I look for great writing, great story and a great ending. Some of my current favorite books (not books I’ve represented) are Life of Pi by Yan Martel, Geek Love by Katherine Dunn, The Time Traveler's Wife by Audrey Niffenegger, and Sharp Objects by Gillian Flynn. I don’t like traditional mysteries, thrillers or romance. I don’t like most war fiction. I do like science fiction and some fantasy, and I am actually hoping to represent more sci-fi, paranormal and speculative fiction.

GLA: A lot of people want to write a memoir but few are good. What do you look for in a memoir?

TF: Memoir is such a tricky genre. Everyone has a story (when I go to writing conferences, memoir writers are usually the overwhelming majority), and, unfortunately, you are right - few are good and many are overly sentimental. I look for two main things: a unique story and great writing. Memoirs should read like novels; they should have suspense, conflict, emotion, character development, dialogue and narrative arc. On top of all that, it’s a tough question to ask about one’s own story, but authors should ask it: Why will people be interested in me?

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

TF: Yes! I will be at the San Diego State Writer’s Conference, Jan. 25-27, 2008.

Want more on this subject?

See all agent interviews here!

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 2011 Guide to Literary Agents today!

How to Pitch an Agent

Chuck — Wed, 31 Oct 2007 15:01:47 GMT

Literary Agent Kristin Nelson of Nelson Literary Agency has recently posted several blog posts regarding how to craft a pitch - i.e., how to sum up your story in a query letter.

Some writers find composing the query and pitch extremely frustrating, even to the point where they would rather write another novel than a query letter. If this is you, do not miss these posts. (If you happen to come upon this post many months after I've written it, just go to her blog home page and look to the right where she has a category of "Blog Pitch" posts.) Here's an example of what she's talking about:

"When writing your pitch paragraph, all you need to do is examine the first 20 or 50 pages of your manuscript. Then zero in on the main catalyst that starts the story forward—the main conflict from which all else in the novel evolves. It’s the catalyst kernel of your story that forms your pitch.
Don’t worry, I’ll show you some examples over the next couple of days but what you need to remember is that your pitch paragraph needs to read like the back cover copy of a novel. Notice that when you read the back cover of a book, it just gives a hint or a teaser of the story and that it also usually focuses on a crucial early event in the novel. That gets the ball rolling."

Pitching an Agent (2008 GLA Article Excerpt)

Chuck — Fri, 28 Sep 2007 14:22:07 GMT

2008 Article Excerpt:

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

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

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

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

Agent Dan Lazar Interview at Writer Unboxed

Chuck — Fri, 28 Sep 2007 14:14:32 GMT

Dan Lazar, an agent at Writers House, gave a great interview to Writer Unboxed today.

See the whole interview here.

Also, Dan wrote an article on pitching for the 2008 Guide to Literary Agents. I'll post a snippet from it here on the blog soon.

Dan Lazar

Want more on this subject?

See all agent interviews here!

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 2011 Guide to Literary Agents today!