Spent the weekend in Newport News, Va., on the coast, at the CNU Writers Conference.  The moment I landed, it was a joy to feel 65 degree weather for a change.  (Ohio is still in the 40s right now.) 

The conference went very well.  It was held on the campus of Christopher Newport University, a college where every building is made with bright red bricks, giving it a modern colonial feel.  To Virginians, this is nothing notable, but I enjoyed it.

Attendees read a little of their
work aloud at the start of the
conference to get the ball rolling.

I gave one speech on agents and sat on a panel about publishing.  Michelle Andelman was the only agent in attendance and I don't envy her, as she was deluged in pitches and meetings.  I'm betting her brain was mush by the end of Saturday.  Speaking of Michelle, she gave a good presentation on query letters and I will post more about that soon.

The publishing panel, with me,
romance novelist Michelle Willingham,
and romance novelist Marla Cordle.

The conference happens every year, so consider it for 2009 if you're in the area.

"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 Andrea Hurst, principal at Andrea Hurst & Associates Literary Management.

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

AH: Jean-Michel Cousteau and James Fraioli's Code Name: Polar Ice, with illustrator Joe St. Pierre, an interactive illustrated adventure series for children. We sold the book to Gibbs Smith, for publication in 2009.

GLA: Proposals are pretty straightforward in terms of what an author needs to include?  Are there any details or aspects that you look for but writers don't include?
 
AH: I look for a really strong marketing section with a detailed plan on how the author will help sell the book. 
 
GLA: Let's say a professional with a terrific platform contacts you and nicely says "I'm not a writer and I don't exactly know how this works, but here's who I am and here's my idea."  Is this a situation where you contact them and give guidance and tips, or do you believe that everyone should learn how to write a proposal before contacting an agent?
 
AH: If the author has an amazing platform and a great idea, we will work to help educate them on how to write a book proposal.  I also offer tips on my Web site to guide writers while working on their proposal. 

GLA: Considering all the areas of nonfiction you look for, are there any areas where you find the volume of submissions to be mysteriously lacking?  What are you looking for and not getting?
 
AH: I would like to see more health and parenting books by professionals working in the field.  We would also like to receive some cutting-edge business books and proposals dealing with women’s issues, particularly focused on baby boomer issues such as empty nest, menopause, and starting over. 
 
GLA: You rep mostly nonfiction, but do take some fiction, including women's.  What do you look for in a submission?
 
AH: With any fiction submission, I am looking for a writer who has extensive experience in the craft and understands the requirements of the genre.  We look for authors who have taken the time to take classes from experts, read prominent books on writing fiction, or they have worked with a professional editor or critique group to polish the manuscript.  
 
GLA: You accept young adult.  Do you also take other juvenile areas such as tween, middle grade and picture books?  
 
AH: My associate, Judy Mikalonis, accepts limited middle grade, so, YA yes.  Tween yes. Limited middle grade and no picture books.  Writers querying her show know that Judy is looking for a fresh, authentic voice, amazing writing and a transformational message. A big, original hook always helps, but without the authentic voice, amazing writing and transformational message, the hook is irrelevant. YA submissions tend to be 98% unoriginal and a hook is irrelevant without the voice, the writing and the message.  
 
GLA: You work with books such as the "Idiot's Guide To" and the "Everything" books.  Are you actively seeking submissions for these books?
 
AH: Yes, we maintain a database of authors, freelance writers and experts in all areas of nonfiction to package with these guide books.  Anyone interested in writing for a series guide should contact my associate Verna Dreisbach at verna@andreahurst.com.
 
GLA: Best piece of advice regarding something we haven't discussed?
 
AH: I suggest that all writers take the time to learn the business of writing.  The Complete Idiot’s Guide to Getting Published is a quick and thorough way to learn the business from industry professionals.  Go to writers' conferences. Meeting agents and editors in person is an extremely valuable experience.
 
GLA: Will you be at any conferences in the future where writers can meet and pitch you?
 
AH: I will be at the Writer’s Digest Books Writers' Conference in Los Angeles in May.  Check our Web site for all the conferences my associates will be at throughout the year.
 

      Andrea Hurst, President of Andrea Hurst Literary Management, works with both major and regional publishing houses, and her client list includes emerging new voices and New York Times bestselling authors.       
      Andrea represents high-profile adult nonfiction and well crafted fiction. In addition to working in the publishing field for over 20 years, Andrea is a published author, skilled acquisition and development editor, speaker, and literary judge for writers' conferences. She enjoys working with authors who have something worthwhile to share and are driven by their enthusiasm and desire to create books that touch lives and make a difference. 
      To query her, use e-mail queries only. She is now accepting queries for Nonfiction: Prescriptive and Narrative Nonfiction, Parenting, relationships, women’s issues, Personal growth, health & wellness, diet, Business, true crime, animals, Pop culture, humor, cookbooks, gift books, Spirituality, metaphysical, science, psychology, and self-help, Home & Garden; Fiction: Adult commercial fiction, Women’s fiction.

Ever come across a publishing term and wasn't sure what it meant?  (Who hasn't?)

The Buried Editor and I are
pairing up to start a series to
help define some oft-used 
terms in the publishing world.
Here's Volume Three:

Advance - (n.) A payment against future royalties that you are paid in advance of publication. This can be a lot or a little. Of course, if you don't sell many books and earn out your advance, you'll never see another dime for the book.

Agent - (n.) An intermediary that acts on the author's behalf while negotiating with a publisher. Since agents initially approach editors with manuscripts to pitch, they also serve as an important filter for publishing houses that do not accept unsolicited work.

Biweekly/Bimonthly - Referring to something that takes place once every two weeks/months. This is often confused with semi-weekly/semi-monthly, which means the something in question comes out twice every week/month.

Book Doctor - (n.) A freelance editor hired by a writer, agent or book editor who is skilled in analyzing any problems that exist in a book manuscript or proposal, and offering solutions to those problems. Book doctors often give advice on how to improve the work. They charge money for their services and knowledgeable pros are not cheap.

Byline - (n.) an author's name that appears with his or her work on the book or article.  Bylines are craved by writers everywhere

On Spec - Writing a complete assignment before money is assured through a contract.  When you compose an original screenplay not commissioned by anyone, it is known as a "spec screenplay."  If you query a magazine or newspaper with an article idea, they may ask you to write it on spec, meaning they want to see the finished product in its entirety before making a decision to purchase and publish it.

Packager - (n.) A company that produces series of books for publishers. They generally use ghostwriters to write the books and then they pitch the whole series to a publisher who actually publishes the book. Nancy Drew is an example of something produced by a packager (Stratemeyer Syndicate) and then published by a publisher (Grosset & Dunlap).

Royalty - (n.) A percentage of the profits given to the author by the publisher in exchange for the permission to print the authors copyrighted work. These are normally based on the price the publisher gets for the book not the actual retail price. Like an advance, royalty percents can vary in size.

Evidently, this means "knowledge" in Japanese.

See Volumes One and Two here.

Q. Do agents usually hold out for a good deal on a book or do they take the first acceptable offer that comes along?

A. Well, an offer in your pocket is always better than none. Certainly, if an agent feels she can demand more for a book, she should hold out; however, usually the editor who makes the first offer is the most enthusiastic and thoroughly understands the book, and may turn out to be the best editor and in-house advocate for the book. The most money is not necessarily the best deal for the author. That enthusiasm, commitment and support from all divisions within a publishing house often means more than those dollars in your bank account.
      - Laura Langlie, founder of her own agency in Brooklyn; printed from the 2008 edition of GLA.