As author Bob Mayer wisely put it, writers' first books tend to be blood-lettings.

What that means is writers compose stories about their own lives (memoirs or life stories) - for catharsis, or to just tell their story because they need to tell it. Month by month, I continue to see that everyone wants to write a memoir or life story, even though such things don't sell well and are often written like a diary, not a book. (That said, agents will be hesitant to take on anything that's a tough sell.)

Just today at a book signing in Tennessee, a young writer came up and said she was writing a life story about her uncle and wanted some advice. I wanted to recommend some good memoir and life story books but couldn't think of anything off the top of my head. After we finished talking, I brought the subject up with some other writers and asked for some good recommendations. These are the three they immediately came up with:

      1. The Color of Water, by James McBride
      2. Angela's Ashes, by Frank McCourt
      3. Tuesdays with Morrie, by Mitch Albom

Bottom line: "Personal story is dead," as agent Chip MacGregor said in a previous post. However, if you are determined to write yours, make sure you are reading excellent memoir writing. The three books above seem like a good start.

For more on personal story writing as well as when it might actually be beneficial to self-publish such a book, see this previous post.

Writer Unboxed, a cool site devoted to genre fiction writing, was kind enough to interview me recently, asking plenty of questions about the new 2008 Guide to Literary Agents.

Please check out the full interview here!

2008 Article Excerpt:

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

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

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

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

From the Kleinworks Web site, concerning a change to their queries and submissions policy: 

                  "Note: Due to an overwhelming number of 
                    submissions, Kleinworks Agency cannot 
                    accept unsolicited submissions or queries 
                  at this time. This supersedes any information 
                    that may be posted or listed in writers 
                      guides, on blogs, or on websites."      

Kristin Nelson, literary agent with the Nelson Literary Agency, has posted plenty of good material on her blog in recent weeks. Of note are her posts where she demystifies the agent-writer contract.

She broke the long (and confusing) topic down nicely in a four-post series:

Anatomy of an Agency Agreement: Part 1
Anatomy of an Agency Agreement: Part 2
Anatomy of an Agency Agreement: Part 3
Anatomy of an Agency Agreement: Part 4

Her blog was recently awarded a "Truly Useful Site Award" by Preditors and Editors. Check it out!

"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 Andrea Brown Literary Agency in Palo Alto, Calif. Michelle, who is the agency's New York City-based rep, specializes in children's writing—including young adult (YA) and middle grade (MG) work.

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).

                                         Michelle Andelman