Guide to Literary Agents - Tuesday, November 18, 2008

1. Rejection letters take you out of submission limbo.
        Familiar with that hell whose name is Waiting? Is the agent reading your submission? Chortling with her cronies over it? Using it as a doorstop or drink coaster? With that rejection letter in hand, you now know where you stand. No more wondering. No more worry. Of course no more hope either. Time to move on. Next.

2. All it takes is one rejection letter to make you an instant life member of a club whose luminaries include Walt Whitman, J.K. Rowling and Dr. Seuss.
        What published writer has never received a rejection letter? These are our badges of determination. Of striving. And on bad days, of lunacy. Take heart. No one’s, and I mean no one’s, first query snags an agent and a book contract. Unless of course you are Madonna, Jamie Lee Curtis or Fergie.

3. Rejection letters strengthen you, build courage, determination and belief in your work.
        Where would you be if you didn’t rail at your most recent rejection letter: “Agent Babe, you are WRONG! I will NOT make my overweight heroine svelte, my gay character straight or turn my borzoi into a chihuahua!”? Rejection letters give you practice taking a hit and moving on. Are you going to let one agent’s (or one dozen’s) opinion make you give up your intention to publish your book? Hell, no.

4. Rejection letters can be stockpiled for future use: wallpaper; bonfire kindling; shredded for an environmentally sound substitute for Styrofoam peanuts.
        Personally, I’m going to turn them into a necklace. My other creative outlet is beaded jewelry. I’ve just found a way to roll paper strips into beads. I plan to make a necklace from paper strips cut from my rejection letters and wear it to my book signings, the National Book Awards Ceremony and Dinner, and the Academy Awards. OK, OK, I’ll start with the signings and take it from there.

5. The good ones (offering constructive criticism) help you develop as a writer.
        And you will get some good ones in amongst the ones who used your manuscript as coffee coasters and doorstops. Thoughtful rejection letters, in addition to being a balm to your weary writer’s soul, afford the opportunity to revisit your work, to consider it through another’s lens. Such letters may lead you in a new direction.Or you might just add them to your stack of kindling. Good rejection letters are a clue that you are on the right track and getting closer. Take heart.

6. Get a few rejection letters beneath your belt and you can blog authoritatively on sites such as absolutewrite.com's Water Cooler.
        There are more web-based communities devoted to the world of submissions than you can shake a keyboard at. At the abovementioned Water Cooler, bloggers share their agent experiences. Which ones don’t follow through? Which ones are reputable? Which ones should be drawn and quartered for asking for a full and then never getting back to you? Rejection letter in hand, you can add your voice to the fray.

7. All it takes is one good one to renew your faith in agents.
        Number Seven is a corrolary to Number Five. There are good agents out there - human beings who love books as much as you do. Why else would they be in the business of trying to link their authors with publishers? Or take home reams of manuscripts to read over the weekend when they could be training for the New York City Marathon instead? A good rejection letter, whose tone is sincere and offers advice, can revive your flagging spirit.

8. Rejection letters keep the USPS in business.
        The Internet has taken a huge toll on the USPS. Mail carriers may go the way of the Maytag man. And then what will happen to the stamp designers? To the workers who assemble all those annoying circulars that come thru the slot as fourth class mail? To the Neiman-Marcus Christmas catalog? Rejection letters might mean you can’t quit your day job but they do help others keep theirs.

9. Rejection letters let you know who your true allies are.
        Are your loved ones sympathetic when a dreaded rejection letter falls through the slot? Do they bring flowers or send sweet e-mails of encouragement? Or do they chide you and say, “NOW will you get serious and put this silliness away?” Rejection letters let you know who you want on your team in this endeavor.

10. The number of rejection letters you receive is proportional to the euphoria that will envelop you when you do get The Call.
        Think about it. If an agent signs you up three queries into your search, you’ll be ecstatic. And perhaps kind of blase. But get that call after slugging it out for a year or so and man will success be sweet. So sweet you can taste it even now, can’t you?

Journalist and essayist Debra Darvick
is the author of This Jewish Life:
Stories of Discovery, Connection and Joy.
Her book, I Love Jewish Faces (a children's
picture book celebrating Jewish diversity) will
be published by the URJ Press in May '09.
Visit her blog at debradarvick.wordpress.com.

11/19/2008 10:33:34 AM (Eastern Standard Time, UTC-05:00)

Comments [13]

Tuesday, November 18, 2008

Is It Nonfiction or Fiction?
Posted by Chuck

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

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

11/18/2008 4:16:12 PM (Eastern Standard Time, UTC-05:00)

Comments [0]

If One Agent Says No, Does the Whole Agency Say No?
Posted by Chuck

Q. Many agents make certain stipulations that, rightly or wrongly, one assumes to be common to them all, creating a great deal of confusion for the newcomer.
        These stipulations include: 1) A query must be addressed to an agent by name; they do not like the impersonal dear agent approach. 2) Do not query more than one agent in any one agency at any one time. 3) Finally, many agencies state, and in discursive articles/interviews others indicate that they do not appreciate (some will flatly refuse) simultaneous disclosure to other agents.
        Hence my question is - should one take it that a query can be addressed to any named agent of a multiple-agent agency, and a rejection from that agent should be taken as a rejection from the entire firm? Or, upon rejection from that agent, should one then set about querying the next named agent in the same agency, and so forth?
       - John

A. Complicated question, John. Most agencies will pass material around to fellow agents. If you query an agent about a horror book and she passes, she is definitely likely to consider whether Agent So-and-So in the agency, who also reps horror, would enjoy the project. That stuff happens all the time. Some agency web sites will flat out tell you: "A rejection from one of us is a rejection from all of us." Many others are not so straightforward. When in doubt, I would assume that a rejection from one is a rejection from all. I tell you this because I believe that if an agent thought it had merit but had to pass on it anyway, they will usually go to a colleague and pass on the work.
       That said, if you want to send the query to a second agent after getting a rejection from the first, in theory, you're only wasting postage or a little time to e-mail, but your chances are slim.

11/18/2008 4:04:04 PM (Eastern Standard Time, UTC-05:00)

Comments [0]

Rappaport Agency Opens
Posted by Chuck

Jenny Rappaport recently left L. Perkins Associates to form her own agency: The Rappaport Agency. Her new Web site is up, and she recently held a query contest to kick off the new venture.

Here are some query instructions
from Jenny. See more information
on her Web site.

"Only email queries are currently accepted. Please send your email to queries@rappaportagency.com. Be sure to include the world 'Query' in the subject line, and your contact information in the body of the e-mail.
       Jenny primarily represents science fiction and fantasy, horror, young adult fiction, and romance, along with a few select nonfiction titles. In science fiction and fantasy, her tastes are very broad, but be careful for cliches. There's so much wonderful material out there to explore that every fantasy novel doesn't need the stereotypical elf, dwarf, and farmboy-turned-world savior, all of whom start their adventure in a bar with tavern wenches. Regarding horror, she prefers the darker, psychological side of things, and she very firmly does not like splatterpunk.
        She represents all types of young adult fiction, but her favorites are the ones that fall into the SFF or horror genres. Regarding romance, she is only looking for historical romances and paranormals (contemporary or historical). She also handles a bit of women's fiction, and is always a sucker for a very good historical novel. Literary fiction is difficult to place with us.
        The Rappaport Agency does not represent picture books, most types of nonfiction, or religious fiction."

New Agency Alerts

11/18/2008 3:32:47 PM (Eastern Standard Time, UTC-05:00)

Comments [0]

How Long is a Novella? And How Do You Query Agents For Them?
Posted by Chuck

Q. What is the average length of a novella? And is it'pitched' to literary agents the same way novels are 'pitched'?
        - Gene

A. Novellas generally run 20,000-50,000 words. About 30,000 words is average. While this number of words would be very common when pitching a nonfiction text, such a length reminds me of tennis lessons in my youth. My coach would tell me to stand at the back line to volley or approach the net, but never to float in between the areas, because that was "no man's land."
       That's what a novella feels like to me: "no man's land." Very much too long to be a short story, and very much too short to be a novel.
       Concerning how to pitch it, Gene, my first advice is to expand it into a novel-length work (at least 80,000 words). If that's not a possibility, then you can simply look for the few agents out there who do represent things such as novellas and short story collections, then try them. You would query the same way and the work needs to be finished and polished before you do. The odds of success here are very, very small. My best candid advice is to finish this novella and stick it in a drawer. Then write a few novels, get them published, and gather a moderately loyal readership. When you do, a publisher will release your novella in a small print run and your loyal readers will gobble it up. Everyone wins.

11/18/2008 3:24:01 PM (Eastern Standard Time, UTC-05:00)

Comments [0]

Wednesday, November 12, 2008

Writer’s Digest University Event Announced
Posted by Chuck

There's a new writing event here
in Cincinnati. Check it out!

What: Writer’s Digest University: Editors’ Intensive. Your exclusive chance to learn first-hand from publishing experts!

When: December 13-14, 2008.

Where: Writer’s Digest Headquarters at F+W Media, Inc., 4700 E. Galbraith Road, Cincinnati, OH 45236.

Cost: Single Admission is $199.

More info: For the first time ever, Writer’s Digest is opening its doors for a brand-new publishing event. That’s right—you’re invited to the heart of WD Headquarters to take part in exclusive panel discussions and manuscript critiques featuring these editors:

Jane Friedman, Publisher & Editorial Director, Writer’s Digest
Chuck Sambuchino, Editor, Guide to Literary Agents
Alice Pope, Editor, Children’s Writer’s & Illustrator’s Market
Joe Stollenwerk, Director, WritersOnlineWorkshops.com

During a full-day’s worth of workshops, they’ll give you the insider tips you need to publish your work in today’s competitive market. You’ll learn how to:
        1. Research and identify the right agent
        2. Write a killer one-page query for your novel or book
        3. Write a bulletproof nonfiction book proposal
        4. Avoid sabotaging your career and move faster down the publishing path
        5. Break into the toughest markets and get responses from busy editors and agents

Best of all, you’ll meet one-on-one with a WD editor who will provide a critique of either your query letter and proposal package (up to 50 pages), or the first 50 pages of your manuscript—plus offer a customized list of best-bet markets for selling your work!

Due to the personalized nature of this event, space is limited to only 50 attendees. You will be assigned a 30-minute time slot for discussing your manuscript or proposal with a WD editor. You must submit the material you would like us to review no later than December 8.

Writers' Conferences

11/12/2008 4:37:21 PM (Eastern Standard Time, UTC-05:00)

Comments [2]

Monday, November 10, 2008

Is It Safe To E-Mail Material?
Posted by Chuck

This is a response to a recent post
(below) about copyright and
protecting your work.

Q: I am puzzled. You state in your coverage of copyright that a writer should not put text of a manuscript online as it could lead to the lifting (paraphrasing here) of the material by another writer. These days, so many publishers and agents ask that writers do just that: send the first five pages or more in the body of an e-mail. This certainly can lead to this very thing, although I am not the suspicious type. It does happen, doesn't it? Then why are writers asked to put their ideas in jeopardy of this is the case?
      - Sylvia

A: You sound suspicious for not being the suspicious type.
      Regarding my advice to not put portions of your work online, I'm not talking about e-mail. I'm talking about placing chunks of text (chapters, usually) online on your Web site. Sending your work in an e-mail, or as an attachment, to an agent or editor is quite safe. Like I said before, agents and editors don't steal work; writers steal work.
      Putting part of a novel or short story online for no one in particular to see is usually a mistake, because very little good can come from it.

Contracts and Copyrights and Money

11/10/2008 11:14:58 PM (Eastern Standard Time, UTC-05:00)

Comments [3]

Thursday, November 06, 2008

Appleseeds Management Closes
Posted by Chuck

Appleseeds Management, a California-based literary and talent agency, is no longer in business. I got a letter from the founder, S. James Foiles, saying so.

Take note if they were on your "To Query" list.

Random Updates

11/6/2008 4:22:41 PM (Eastern Standard Time, UTC-05:00)

Comments [0]

Wednesday, November 05, 2008

Networking at Writers' Conferences
Posted by Chuck

Guest Blog Column
by Hanish "Han" Vance

Many fledgling writers understand the value of manuscript reviews and taking classes at a professional writers’ conference, but few understand the true potential impact of networking outside of the traditional formats. If you have a big salesperson personality and tend to meet people easily, networking will be a natural for you. If you're a bit shy and reserved, think of outward communication as part of your job: Bite the bullet and take the initiative to speak to those around you. The majority of those in attendance are aspiring writers like yourself; who more perfect to understand you? A few established writers and industry professionals will be sprinkled in amongst the masses. Guess what? They are normal people with some time to spare and valuable information to willingly dispense. Do not limit this special career opportunity by staying in your shell.
        Study the conference presenter roster beforehand for an overview of who’s who in attendance in the professional ranks. Breaks are a regularly scheduled part of the conference routine. Instead of hanging around your hotel room or quietly reading by yourself during breaks, think of yourself as on the clock. You are working to promote your future products. Have copies of your manuscript synopsis ready to distribute and be yourself, albeit a version of yourself who is visibly willing to make contacts by meeting new people. Position yourself in a well-traveled area and start introducing yourself.
        At my first writers’ conference (the amazing Harriette Austin Writers’ Conference in Athens, Ga.), I made sure that I was a visible presence in the atrium during all breaks and ended up meeting several key contacts there. As a result, I was able to choose between a select few of those contacts for the best possible professional editor for my memoir manuscript. I wanted to meet various lecturers from my classes, so I was regularly in the atrium where I knew they would pass through. I met everyone on my list and a few new writer colleagues along the way. It was a matter of location, location, location.
        At my second writers’ conference, many of the industry professionals I had briefly met or taken classes from the previous year were again in attendance. I may have learned more from hanging around those folks on breaks then I did from all my classes and my manuscript review. They welcomed me as a fellow smoker in the outside smoking section, and I asked questions and took notes. I don't really smoke, but that day I did. After realizing the value of the information I was getting for free on the first break, I walked to the convenience store and purchased some mini-cigars, which I smoked without inhaling on the rest of the breaks. My throat hurt a little, but it was well worth it. The point being: You need to be where speakers and attendees are. That's what you're there for. If the night is wrapping up and you're exhausted from a long day, you'd still be a fool to turn down an invitation to go out to a bar for drinks with other writers and professionals. Deals are made in the literary word over drinks in the bar around the corner.
        A break in the conference schedule before dinner was a chance for me to informally bond with the agent who had reviewed my manuscript. The lunch and dinner allowed me to connect with fellow writers, including a special writer friend who for a time called herself my muse. And finally, the late night poetry slam allowed me to showcase my versatility in the world of words while again making a lasting impression on contacts.
        Do not expect long interactions with any individual. Instead, spread yourself around as much as possible and collect the gems of industry wisdom as they come, and remember to write them down. Save and re-read your notes once you are back in the lab trying to create and sell that masterpiece. Above all, get contact information from any key individuals and keep it for when the time is right to use it. In any industry, networking can be the key to ultimate success.

       - Hanish "Han" Vance is a Georgia-based writer and blogger.

Writers' Conferences

11/5/2008 3:12:00 PM (Eastern Standard Time, UTC-05:00)

Comments [5]

Tuesday, November 04, 2008

New Agent Alert: Amberly Finarelli of Andrea Hurst Literary
Posted by Chuck

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

Nonfiction:

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

Fiction:

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

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

Children's Writing | New Agency Alerts | Nonfiction

11/4/2008 2:21:06 PM (Eastern Standard Time, UTC-05:00)

Comments [1]

Friday, October 31, 2008

Let's Talk Copyright
Posted by Chuck

A few people were talking copyright today, so I figured I would blog about the subject, as it's something that writers are very interested in. (Not surpringly, no one wants to get their work stolen.) Here are some common copyright Q&As.

Q. If you mail yourself a copy of your manuscript and then never open the package, is that the equivalent of an official copyright?

A. No. What you're talking about is called "poor man's copyright." I don't know who first perpetuated this myth, but it is indeed a myth.

Q. Are there different kinds of copyright?

A. Two kinds, basically. To put this simply, there is the "guaranteed copyright" you get whenever you write anything down, and there is the official copyright (think of it as a "super copyright") you get when you register with the national office in DC. The difference between the two is that having a "super copyright" (which will cost you approx. $45/work) will allow you to sue for more money and damages should you ever have to sue.

Q. Should I include the copyright symbol on my work?

A. If you're submitting to agents and editors, no. They know that the material is owned by you, so including the mark is the sign of an amateur. However, if you are giving your work to fellow writers or putting it online, yes yes yes.
Agents and editors don't steal work; writers steal work.

Q. In general, what can I do to protect myself?

A. Don't put your work online unless there is a good reason to do so. If you post a short story online so people can get a taste of your skill and voice, you are letting your idea out there. People cannot cut and paste paragraphs of your work, that's for sure, but they can take your concept or idea and give their own spin on it.

Contracts and Copyrights and Money

10/31/2008 4:23:56 PM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Tuesday, October 28, 2008

Looking for Agent/Editor Feedback
Posted by Chuck

Here at Writer’s Digest Books, we’re in the process of updating our popular title, Formatting & Submitting Your Manuscript, and are looking for insight from agents/editors on how the industry is changing. Here are a few things we’re interested in knowing.

How have queries and submissions changed for you in recent years? Do you request different information? Do you accept email queries? If so, do you prefer electronic or paper queries? How important is format and formality in electronic communication?
What are your pet peeves and turnoffs?
What are your dos and don'ts for writers?
Have you changed how you select authors? How many of your authors are found through queries, and how many through other means? Do you want to hear about an author's platform?
What recent changes in your market do you want writers to know about?

Writers are also welcome to comment and offer tips.

10/28/2008 10:22:49 AM (Eastern Daylight Time, UTC-04:00)

Comments [2]

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