Guide to Literary Agents - September, 2009

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 14th installment in this series is with agent Michael Bourret (Dystel & Goderich) and her author, Lisa McMann, for her book, Wake.

Dear Mr. Bourret:

I’m seeking representation for Janie Hannagan: Dream Catcher, a 33,000-word paranormal novel for young adults. I see from your website that you represent YA fiction, and I wonder if this would be a good fit for your list.

For 17-year-old Janie Hannagan, getting sucked into other people’s dreams is growing tiresome. Especially the falling dreams. The naked-but-nobody-notices dreams. And the sex-crazed teenager dreams. Janie’s seen enough fantasy booty to last her half a lifetime.

But then there are the nightmares that leave her blind and paralyzed in fear, even after the dreams are over. Those are the worst. Because one day, someone’s going to notice her freefalling to the floor after somebody’s study hall naptime nightmare, or collapsing outside a resident’s room at the nursing home where she works. Or her worst fear: careening headlong into a tree if she ever drives past that house again.

She can’t tell anybody about it. They’d never believe her. And she can't do anything to stop it. Until she gets to know Cable, a secretive pothead flunkie turned pretty boy. And he accidentally falls into a dream with her on the senior high bus to Stratford.

It’s his own dream.

And it’s a dream he’d rather no one know about.

Especially Janie Hannagan.

My credits include a $10,000 Templeton award for an international short-story contest, and short story contained in Literary Mama: Reading for the Maternally Inclined (Seal Press), Pindeldyboz, Snow Monkey, Gator Springs Gazette and The Binnacle, among others. I’m a former children’s bookstore manager. Now I write full time. Janie’s next story is in the works.

Thanks for your time and consideration. I’ve pasted a few pages below. May I send you the complete manuscript?

Sincerely,

Lisa McMann

Commentary From Michael

It’s not often that a query really gets my attention. It’s even rarer that a query makes me stop what I’m doing and beg the author for the manuscript. When I came across Lisa McMann’s query for Dream Catcher (which would become Wake, from Simon Pulse), I knew I had to have it.

Although the opener wasn’t necessary, the rest of the query was clear, concise and compelling. That first line of description was perfect, and I knew from that one line that the concept was great. From there, the writing really drew me in; it was different, unusual and, as I suspected, reflective of the book.

Between the great writing and the fascinating concept, I was hooked. Less than a week later, Lisa was a client (after I wrestled her away from several other eagar agents), and nearly three years later, she’s a New York Times best-selling author. Her second book, Fade (Wake Book II), hit shelves in February. The third book in the series, Gone, comes out in Feb. 2010.

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

Children's Writing | Successful Queries

Wednesday, September 30, 2009 11:22:03 PM (Eastern Daylight Time, UTC-04:00)

Comments [2]

Tuesday, September 29, 2009

How I Got My Agent: Tabitha Olson
Posted by Chuck

"How I Got My Agent" is a new recurring feature on the GLA blog. I find it fascinating to see the exact road people took that landed them with a rep. Seeing the things people did right vs. what they did wrong (highs and the lows) can help other scribes who are on the same journey. Some tales are of long roads and many setbacks, while others are of good luck and quick signings.

To see the previous installments of this column, click here.

If you have a literary agent and would be interested in writing a short guest column for this GLA blog, e-mail me at literaryagent@fwmedia.com and we'll talk specifics.

This installment of "How I Got
My Agent" is by Tabitha Olson, whose
first book - the young adult title,
Royal Rose (forthcoming). She
also has a blog.

SCBWI NYC

I started planning my YA novel, Royal Rose, in the summer of 2006. It was my third novel (nothing ever happened with the first two) and I managed to write a few chapters before attending the SCBWI NY conference. I’d brought along ten pages of Rose to be critiqued.

My first critique session was with an up-and-coming agent, and she really liked my work. She gave me some pointers, asked a bunch of questions, then asked if it was done yet. When I told her no, she said she’d love to read it when it was. I was thrilled! When I got home, I buckled down to write this story ... but it didn’t go so well.

Rose was so far out of my comfort zone that I had no idea what I was doing. Plus, I was so emotionally invested in this story that I was mentally exhausted after each writing session. It sometimes took days to recover. As a result, it was a year before I had a completed draft. When I sent a query to the agent who’d critiqued it, she said she remembered me (!) and still liked the story - BUT, she was swamped with YA, and didn’t have the time to take on anything new. She referred me to a few other agents and wished me well.

CONTACTING OTHERS

I queried those agents and got a partial request from one of them. I sent it, and she replied back with a revision request, saying the story was weak in certain areas of the craft of writing. At first, I didn’t know what she was talking about. I’d thought my story was strong in those areas. But she was the professional, not me, so it was worth at least some research. It took months to figure out where my storytelling was lacking, but, lo and behold, she was right. I revised the manuscript and sent it to her. She said my changes were better, but not strong enough. I did more research. More reading. LOTS of work. Then I rewrote the whole thing.

I sent it back to her, confident I’d done what she’d asked. And she said I had - BUT (again with the but), she didn’t feel confident that she could make my manuscript stand out with what she knew of the YA Contemporary market at that time, with that particular project. So she passed. On one hand, I was devastated because I'd worked so hard, and it had never occurred to me that she’d say no when I’d done what she’d asked. But on the other, I admired that she knew her limits and didn’t take me on out of some weird obligation. In all honesty, I ended up getting more out of the exchange than she did, and I’m very glad for her insights.

PHASE TWO AND SUCCESS

Even though it felt like it at the time, I was not back at square one. I had a much stronger manuscript and a much better understanding of craft. Plus, I’d proven to myself that I could work my tail off instead of give up. I could definitely bring that to the negotiating table of other agents. I started researching agents through online websites then sent off my query letters. I got a solid request rate, but no offers. The rejections rolled in, and as they piled up it was hard to keep going. I wondered if there was something really wrong with my story, but no one had either the time or the guts to tell me. Regardless, I wasn't going to give up. I loved Rose too much to set it aside. So I took what feedback I got, did more research, and still had that same request rate. I told myself that I would find someone who loved Rose as much as I did.

And I did. Two, actually.

I got a phone call from fabulous Agent #1, saying she loved Rose and wanted to discuss representation if I was willing to make some revisions. She wasn’t asking for an overhaul, but it wasn’t minor, either. And, it made sense. But I was about to leave for an amusement park when she called, and I didn’t want to make any rash decisions, so I asked if I we could talk the next day. She said that was fine, and I floated out the front door. Right after that, I got an e-mail from fabulous Agent #2, asking to schedule a phone call to talk. My brain pretty much imploded. Apparently, I can handle only so much good news in one day.

Over the next few days, I spoke with both agents and both offered me representation. It was obvious that I’d be lucky to work with either one. I ended up going with fabulous Agent #2: Andrea Cascardi at Transatlantic Literary Agency. Not only because of her years of experience in this industry, but also because we really hit it off on the phone. I can’t say enough how excited I am to be working with her, and already have my sleeves rolled up, anticipating the hard work to come. Which I wouldn’t miss for the world!

Want more on this topic?

Do you have a good story about how you snagged a literary agent and want to tell it on this blog? Write to me at literaryagent@fwmedia.com and we'll talk.

See all stories of how agents and writers hooked up here on the blog.

Learn more about children's agent Brenda Bowen.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Children's Writing | How I Got My Agent Columns

Tuesday, September 29, 2009 10:43:07 PM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Monday, September 28, 2009

Middle Grade vs. Young Adult: What's the Difference?
Posted by Chuck

The MigWriters site has an amazing post breaking down the difference between the two children's categories of middle grade and young adult. To define the two, they pull a lot of good info from a variety of different sources - editors, agents (such as Lucienne Diver of The Knight Agency) and writers alike.

It's just a big, fat post tackling tough questions about these categories. If you're a kids reader, this is a post you want to read. Questions they address include the following:

How long is a MG vs YA book?
Who reads MG and YA books?
How old is the protagonist?
What are MG and YA books about?

Simple yet immensely informative.

Want more on this topic?

Agent Jennifer Laughran of Andrea Brown Literary talks juvenile books.

A new agent at Full Circle Literary is looking for kids books.

Examine great high-concept hooks and ideas for kids books.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Children's Writing | Definitions

Monday, September 28, 2009 10:18:57 PM (Eastern Daylight Time, UTC-04:00)

Comments [4]

Sunday, September 27, 2009

Word Count for Novels and Children's Books: The Definitive Post
Posted by Chuck

Word count is something I don't think about too often until I travel to a writers' conference, and then someone asks a simple, innocent question and a firestorm follows. With that in mind, I've tried to put together the definitive post on word count for fiction (novels, young adult, middle grade and even memoir).

The most important thing here is to realize that there are always exceptions to these rules. And man, people love to point out exceptions - and they always will. However, if there is one thing I remember from when my wife dragged me kicking and screaming to He's Just Not That Into You, it's that you cannot count on being the exception; you must count on being the rule. Aiming to be the exception is setting yourself up for disappointment. What writers fail to see is that for every successful exception to the rule (e.g., a first-time 150,000-word novel), there are at least 100 failures if not 300.

Almost always, high word count means that the writer simply did not edit their work down enough. Or - it means they have two or more books combined into one.

"But what about JK Rowling???" asks that man in the back of the room, putting his palms up the air. Well - remember the first Harry Potter book? It wasn't that long. After JK made the publishing house oodles and oodles of money, she could do whatever she wanted. And since most writers haven't earned oddles, they need to stick to the rules and make sure they work gets read. The other thing that will make you an exception is if your writing is absolutely brilliant. But let's face it. Most of our work does not classify as "absolutely brilliant" or we'd all have 16 novels at this point.

ADULT NOVELS: COMMERCIAL & LITERARY

Between 80,000 and 89,999 words is a good range you should be aiming for. This is a 100% safe range for literary, romance, mystery, suspense, thriller and horror. Anything in this word count won't scare off any agent anywhere.

Now, speaking broadly, you can have as few as 71,000 words and as many as 109,000 words. That is the total range. When it dips below 80K, it might be perceived as too short - not giving the reader enough. It seems as though going over 100K is all right, but not by much. I suggest stopping at 109K because just the mental hurdle to jump concerning 110K is just another thing you don't want going against you. And, as agent Rachelle Gardner pointed out when discussing word count, over 110K is defined as "epic or saga." Chances are your cozy mystery or literary novel is not an epic. Rachelle also mentions that passing 100K in word count means it's a more expensive book to produce - hence agents' and editors' aversion to such lengths.

In short:
      80,000 - 89,999:       Totally cool
      90,000 - 99,999:       Generally safe
      70,000 - 79,999:       Might be too short; probably all right
      100,000 - 109,999:    Might be too long; probably all right
      Below 70,000:           Too short
      110,000 or above       Too long

Chick lit falls into this realm, but chick lit books tend to be a bit shorter and faster. 70-75K is not bad at all.

SCI-FI AND FANTASY

Science fiction and fantasy are the big exceptions because these categories tend to run long. It has to do with all the descriptions and world-building in the writing.

With these genres, I would say 100,000 - 115,000 is an excellent range. It's six-figures long, but not real long. The thing is: Writers tend to know that these categories run long so they make them run really long and hurt their chances. There's nothing wrong with keeping it short (say, 105K) in these areas. It shows that you can whittle your work down.

Outside of that, I would say 90K-100K is most likely all right, and 115-124K is probably all right, too. That said, try to keep it in the ideal range.

MIDDLE GRADE

Middle grade is from 20,000 - 45,000, depending on the subject matter and age range. When writing a longer book that is aimed at 12-year-olds (and could maybe be considered "tween"), using the term "upper middle grade" is advisable. With upper middle grade, you can aim for 32,000 - 40,000 words. These are books that resemble young adult in matter and storytelling, but still tend to stick to MG themes and avoid hot-button, YA-acceptable themes such as sex, drugs and rock & roll. You can stray a little over here but not much.

With a simpler middle grade idea (Football Hero or Jenny Jones and the Cupcake Mystery), aim lower. Shoot for 20,000 - 30,000 words.

YOUNG ADULT

Perhaps more than any other, YA is the one category where word count is very flexible.

For starters, 55,000 - 69,999 is a great range.

The word round the agent blogosphere is that these books tend to trending longer, saying that you can top in the 80Ks. However, this progression is still in motion and, personally, I'm not sure about this. I would say you're playing with fire the higher you go. When it gets into the 70s, you may be all right - but you have to have a reason for going that high. Again, higher word counts usually mean that the writer does not know how to edit themselves.

A good reason to have a longer YA novel that tops out at the high end of the scale is if it's science fiction or fantasy. Once again, these categories are expected to be a little longer because of the world-building.

Concerning the low end, below 55K could be all right but I wouldn't drop much below about 47K.

PICTURE BOOKS

The standard is text for 32 pages. That might mean one line per page, or more. 500-600 words is a good number to aim for. When it gets closer to 1,000, editors and agents may shy away.

WESTERNS

I remember reading some Westerns in high school and, if I recall correctly, they weren't terribly long. There wasn't a whole about this on agent and editor sites, but from what I found, these can be anywhere from 50K to 80K. 60,000 is a solid number to aim for.

MEMOIR

Memoir is the same as a novel and that means you're aiming for 80,000-89,999. However, keep in mind when we talked about how people don't know how to edit their work. This is specially true in memoir, I've found, because people tend to write everything about their life - because it all really happened.

Coming in a bit low (70-79K) is not a terrible thing, as it shows you know how to focus on the most interesting parts of your life and avoid a Bill-Clinton-esque tome-length book. At the same time, you may want to consider the high end of memoir at 99,999. Again, it's a mental thing seeing a six-figure length memoir.

SOME THOUGHTS

You have agents like Nathan Bransford and Kristin Nelson who say that you shouldn't think about word count, but rather you should think about pacing and telling the best story possible - and don't worry about the length. Yes, they're right, but the fact is: Not every agent feels that way and is willing to give a 129,000-word novel a shot. Agents have so many queries that they are looking for reasons to say no. They are looking for mistakes, chinks in the armor, to cut their query stack down by one. And if you adopt the mentality that your book has to be long, then you are giving them ammunition to reject you. Take your chances and hope that excellent writing will see your baby through no matter (and I hope it does indeed break through).

But I believe that we cannot count on being the exception; we must count on being the rule. Thats' the best way to give yourself your best shot at succeeding.

Want more tips and posts?

Query letter tips.

Five signs a literary is a good match for you.

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 2010 Guide to Literary Agents today!

Guest Columns | Word Count

Sunday, September 27, 2009 7:22:58 PM (Eastern Daylight Time, UTC-04:00)

Comments [10]

Saturday, September 26, 2009

Can You Publish a Book if You Live in Another Country?
Posted by Chuck

Q. Can I publish a book in the US even if I don't live there? I am an American living in Argentina, I don't know for how much longer. I've been writing a book for a while but I don't want to get my hopes up of publishing it if I can't do it from here.
- Lindsay

A. I'm going to guess you mean a novel, Lindsay, so let's address that first. You could go ahead with the normal process of submitting to agents and editors, but the key is that you would indeed be back in the country right around when the book gets published so you could go ahead with the normal promotional duties. If you can't guarantee you can do that, then the deal would likely be off. You don't necessarily need to meet an agent face to face, though many writers like to. You'll probably need to meet your editor at least once. And you'll need to download Skype so you can be in contact easily.
If it's a nonfiction book, then you become the all-important center of marketing and platform, and it is unlikely you will have book-selling capabilities living so far away. Living in Argentina will likely scare everyone away.

Want more tips and posts?

Should Canadians seek a Canadian literary agent?

How many agents should you query?

10 Query Letter Tips.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Questions Submitted by Readers

Saturday, September 26, 2009 10:28:08 PM (Eastern Daylight Time, UTC-04:00)

Comments [4]

Friday, September 25, 2009

New Agent Alert: Teresa Kietlinski of Prospect Agency
Posted by Chuck

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

About Teresa: "Teresa Kietlinski joined Prospect Agency in 2009 after thirteen happy years of working in the publishing industry at Disney-Hyperion, Dial Books for Young Readers, Viking Children's Books, William Morrow and Company, and St. Martin's Press. Teresa has designed and art directed hundreds of children's books of all sizes and shapes, and has worked with amazing talents including Kevin Sherry, David Sonam, LeUyen Pham, Boris Kulikov, Kadir Nelson, Brian Karas and Amy Young. She is now very excited to be on the other side of the fence, representing illustrators and authors whose work she really admires."

Seeking: "As an agent, Teresa is particularly interested in artists who both write and illustrate, but she's looking for anyone who will inspire and spark great things in both children and adults. Now what can you do with a pencil or mousepad?"

How to contact: Query only. Website submissions only. Go to SUBMISSIONS online to upload your materials. Please do not send submissions via email or mail. If your full manuscript is requested, please e-mail your work to the requesting agent in Word, RTF, or PDF format. "We ask that you do not submit your manuscript to more than one agent at Prospect Agency simultaneously, but we do not have an exclusive submissions policy and you are free to submit your work to other agencies in addition to Prospect Agency simultaneously. Please submit only one manuscript at a time. Responds in three months or less."

Want more on this topic?

Previously, I blogged about two other agents at Prospect Agenct: Rachel Orr and Becca Stumpf.

The McVeigh Agency is a new agency looking for kids writers.

Interview with kids agent Kelly Sonnack of Andrea Brown Literary.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Children's Writing | New Agency Alerts

Friday, September 25, 2009 2:35:51 PM (Eastern Daylight Time, UTC-04:00)

Comments [2]

Thursday, September 24, 2009

Agent Advice: Matt Bialer of Sanford J. Greenburger Associates
Posted by Chuck

Agent Interview by

contributor Ricki Schultz.

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

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

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

GLA: How did you become an agent?

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

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

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

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

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

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

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

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

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

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

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

GLA: In a query or book proposal?

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

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

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

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

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

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

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

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

Want more on this topic?

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

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

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

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice (Agent Interviews) | Genre Writing | Narrative Nonfiction | Science Fiction and Fantasy | Women's Fiction

Thursday, September 24, 2009 3:45:59 PM (Eastern Daylight Time, UTC-04:00)

Comments [2]

Wednesday, September 23, 2009

10 Hidden Gifts of Rejection Letters
Posted by Chuck

This is a "Blast From the

Past" post. To celebrate the

GLA Blog's 2nd birthday, I am

re-posting some of the best

"older" content that writers

likely missed.

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?

This guest column by
Journalist and essayist Debra Darvick,
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) was
published by the URJ Press in May '09.
Visit her blog at debradarvick.wordpress.com.

Want more on this topic?

Want to write a guest column? E-mail me at literaryagent@fwmedia.com and we'll talk.

Query Letter Tips, by agent Michelle Andelman (Franklin & Siegal).

10 Query Letter Tips.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Guest Columns

Wednesday, September 23, 2009 2:49:57 PM (Eastern Daylight Time, UTC-04:00)

Comments [5]

Tuesday, September 22, 2009

Chris Morehouse Leaves Dunham Literary
Posted by Chuck

I just got word that agent Chris Morehouse of Dunham Literary has stopped agenting. I am going to pull Chris's interview with me off the blog so readers don't query Chris by mistake.

But that said, I wanted to post a few of the Q&A's from that interview that I thought would help writers. Read on for tips on queries, nonfiction and kids writing.

GLA: What are the most common problems you see in queries?

CM: A non-professional looking letter. An author trying to be “funny.” Forgetting to include a SASE. What I do like to see in a query letter is genre and, for juvenile fiction, what age the book targets and word count right up front. A brief synopsis in the writer’s voice (but not from one of the main character’s point of view!) and any type of writing experience and education related to writing. For nonfiction, I recommend that an author have a proposal ready to be sent because it shows that person has researched how the business works. I can always help with an already written proposal but if the author doesn’t know what a proposal is, then he/she hasn’t done their homework.

GLA: Concerning nonfiction, you say you're seeking health, parenting and relationships, among other subjects. There's been a lot of books written in these categories over the years. How can a writer break through with a new title? Is it as simple as a fresh spin on an old idea?

CM: Wow, very tough question!
Of course, the first thing I look for in this type of book is a national platform for the author or, someone who is working very hard to achieve that platform. Right now I have three nonfiction authors who are doing just that through different avenues. One runs a popular parenting website and she works hard every day to continue to make contacts to increase her notoriety. Another is working on obtaining an endorsement for her psychology book from a major name brand and the third, an author of a sports training book, has gained status as a regular columnist in a newspaper with good circulation numbers.
Another important thing for nonfiction authors in these categories to ask themselves is: Can this information be found in magazine articles and on the Internet? If the answer is yes, then there probably isn’t a book there.

GLA: Concerning juvenile fiction, what are you looking for right now and not getting? What do you pray for when talking the slush pile?

CM: When I take a chance on a query and request the first few chapters of a children’s book (MG or YA), the most common reason that I then reject the ms is it is clear that the author did not grasp the need for action in this genre. Combining a distinct writer’s voice with movement that a particular age group can relate to is the diamond in the slush pile that I am looking for. Oh, and appropriate word count helps, A LOT!

Want more on this topic?

Query Letter Tips, by agent Michelle Andelman (Franklin & Siegal).

10 Query Letter Tips.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Random Updates

Tuesday, September 22, 2009 3:00:49 PM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Monday, September 21, 2009

How I Got My Agent: Kate Douglas
Posted by Chuck

This installment of "How I Got
My Agent" is by Kate Douglas, who
writes many romance titles. Demonfire
comes out in March and is her
newest line.

NO THANKS

I wrote romances for many years without an agent, submitting my stories and collecting rejections from some of the best editors in the business. However, many of the publishing houses I was interested in refused to look at unagented material.

Finding an agent had crossed my mind, but I’d heard more horror stories than positive ones, and had no idea who I should query. The truth in the statement, “A bad agent is worse than no agent,” kept me from making a serious search. In the days before the Internet, finding a reputable agent to query wasn’t as simple a process as it has become, but luckily, the competition for agents wasn’t as tough, either.

I finally met one agent at a conference and a few weeks later, queried him by mail. I was rejected, but a friend of mine signed with this particular agent. Her blossoming career immediately went into a black hole from which it’s never truly emerged, and my hesitancy over finding an agent increased. Then in 2001, a friend told me of an agent new to the business who had started out as an editor for Berkley.

DESPERATE IS GOOD

Three things led me to query Jessica Faust, co-founder of BookEnds LLC.: 1) the fact she was in New Jersey, and close to the New York publishing world; 2) she had been an editor at Berkley, which meant she still had contacts with one of the publishers I was interested in; and 3) she was new enough to agenting—so, hopefully, was desperate for clients.

Okay ... so that last one was most important, and luckily I must have been right. When I look at the query letter I sent, it’s filled with all the things Jessica now cautions against including, but she was new and looking for clients and I was optimistic enough to think I had a chance. I also, in spite of my history of rejections, still believed in myself. I never doubted I would one day be published, and Jessica seemed to mirror that same optimism. If she was faking, she was damned good at it, but her positive attitude kept me hopeful.

By this time I was building a successful career writing erotic romance for an online publisher. My agent chose not to represent me with the e-publishers, which worked well for both of us, though she continued submitting my regular romances without much luck. Editors were asking to see more from me, but nothing I sent to Jessica sold. Still, she didn’t drop me, and I didn’t quit trying. I would write my sexy romances for Ellora’s Cave and my “vanilla” romances for Jessica to shop around. The sexy stuff was selling like crazy and the category styled romances continued racking up the rejection notices.

In 2004, a good friend founded Changeling Press and asked for something “over the top” to launch her new company. I created an online serial called Wolf Tales. Every six weeks CP released a new 12,000-word Wolf Tales story, and sales grew like crazy. Readers seemed to love my Chanku shapeshifters, and I was having a blast coming up with a new crisis every few weeks, but by then I’d quit submitting to my agent. I figured NY was a lost cause.

ANOTHER CHANCE

About this time, e-book sales of erotic romances began to have an impact on the NY publishing scene. Readers were demanding the sexy stories in print, and while the e-pubs were scrambling to bring out the books in the relatively new print-on-demand format, NY publishers were sending out feelers to the more successful e-book authors and luring them to their houses with promises of print contracts. My ever-patient agent asked for something erotic. I printed out the first five stories from the Wolf Tales serial for her.

The rest is history. Editor Audrey LaFehr at Kensington Publishing loved the stories, CEO Steve Zacharius authorized the new Aphrodisia imprint, and Wolf Tales launched Kensington’s foray into the erotic romance market. The first book is currently in its ninth print run, the sixteenth story just released and I’m contracted through 2011 for more in the series. I credit all of my success to my agent. I write the books, but I understand the serendipitous nature of this business and I know it takes the right agent getting the right manuscript in front of the right editor at the right time. I’m not sure what Jessica saw in that query I sent to her in 2001, but she hung in there, even though it took until 2005 before we finally saw a contract.

Stubbornness appears to be an important trait—in both authors and agents.

Visit Kate's site.

Want more on this subject?

Read all the "How I Got My Agent" columns. Several of them are by other romance writers.

Want to contribute a column like this? Write to me at literaryagent@fwmedia.com and we'll talk.

See all blog posts relating to romance here.

What Agents Hate: Chapter 1 Pet Peeves.

What Agents Hate: Even More Chapter 1 Pet Peeves.

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

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

Genre Writing | How I Got My Agent Columns | Romance

Monday, September 21, 2009 10:50:13 PM (Eastern Daylight Time, UTC-04:00)

Comments [11]

Why Do Agents Have 30- or 60-Day Cancel Clauses?
Posted by Chuck

I've always wondered the answer to this question, and it was answered over the weekend by an agent at the Writer's Digest Conference: The Business of Getting Published. What I'm talking about are cancellation clauses in agent contracts - meaning, if you want to end the relationship, they ask for one last stretch of time before the separation is official (usually 30 or 60 days).

So, my question was: Why? Let's say a writer calls up and says "I hate you. Let's end this thing, jerk. Commence Operation: Agent Splitsville." Why wouldn't an agent immediately respond, "YOU'RE the jerk, jerk-face! And, by the way, your comb-over is HORRIBLE," and sever their relationship right there?

Well, here's why: The agent may have work out to publishers! So simple. They don't want to submit your manuscript to editors and then have you cancel right in the middle of a deal. If the work is out to considering editors, agents want to chance to close the deal and get some moolah out of all the work they've invested thus far.

Want more on this subject?

How do royalties and advances work?
Will agents try to scam you with small costs? Find out here.
On this subject, know that advances are getting smaller.
Confused about formatting? Check out Formatting & Submitting Your Manuscript.
Read about What Agents Hate: Chapter 1 Pet Peeves.
Want the most complete database of agents and what genres they're looking for? Buy the 2010 Guide to Literary Agents today!

Contracts and Copyrights and Money

Monday, September 21, 2009 10:31:42 PM (Eastern Daylight Time, UTC-04:00)

Comments [1]

Sunday, September 20, 2009

Recap: New York and The Writer's Digest Conference
Posted by Chuck

Just got back from New York. The first-ever Writer's Digest Conference: The Business of Getting Published went very well (and was, dare I say, a success?). Everyone seemed pleased with the event and I got to meet one-on-one with more than a dozen people to look over queries and first pages.

Mobbing agents.

I moderated two agent panels, and those went very well. A big thanks to the seven participating literary agents. They were apprpriately mobbed after talking (see pic above).

Would you like to hear what the agents had to say? It was all blogged! Every session at the conference was live-blogged by a WD staffer and is online here! You will see about 100 posts for the entire conference and there are about 8 or so about the agent panels. Look at the list of posts on the right side and look for ones starting with "Agents" or "Ask the Agents."

The Writer's Digest staff
hamming it up for a pic.

Want more on this subject?

All the agent panels were live-blogged, so check out what you missed here!

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Writers' Conferences

Sunday, September 20, 2009 11:42:30 PM (Eastern Daylight Time, UTC-04:00)

Comments [2]

Successful Queries: Agent Ellen Pepus and 'The Belly Dancer'
Posted by Chuck

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 13th installment in this series is with agent Ellen Pepus (Signature Literary) and her author, DeAnna Cameron, for her s book, The Belly Dancer.

Dear Ms. Pepus:

In America, belly dancers evoke fascination and condemnation in equal measure, and it has been that way their debut in 1893 at the Chicago World’s Fair. My recently completed novel, The Belly Dancer, centers on the real-life scandal that followed their arrival, set against the backdrop of a city enchanted by the possibilities of the modern age, yet gripped by the Victorian sensibilities of the past.

In The Belly Dancer, Dora Chambers is a young bride from New Orleans who is plotting her way to a life of wealth and privilege in Chicago. When Dora arrives in her new city, her first priority is to be accepted by the inner sanctum of high society—the Fair’s Board of Lady Managers—but that’s challenged when she makes a friend among the Egyptian belly dancers during the course of her Lady Manager duties. Dora is captivated by the unexpected freedom she finds among the gypsy dancers, and it leads her to question her ambitions. She manages an uneasy balance between her allegiance to the Lady Managers and her clandestine friendship with the dancer, until a rival Lady Manager snoops into Dora’s past and discovers a family secret even Dora does not know: The father she never knew was half black. Dora knows the revelation will ruin her chances of ever being socially accepted, yet she draws strength from what she has learned about defying social expectations from the dancers and acknowledges the truth openly, though it means scarifying her good name, safe marriage and hard-won place in society.

Ultimately, she reinvents herself as a belly dancer.

The Belly Dancer explores the power of friendship, the importance of questioning assumptions and the need to define ourselves on our own terms.

I have been a journalist for many years, most recently as the editor of regional lifestyle magazine. I have studied fiction writing through numerous writing workshops, including UCLA and UC Irvine extension courses, and with novelist Lynette Brasfield (Nature Lessons, St. Martin’s Griffin, 2004), who has encouraged me to seek representation. Also, belly dancing (and its history) has been a passion of mine for more than 15 years.

Below I have pasted the opening chapters for your review. May I send you a partial or whole manuscript as well? I look forward to your response. Many thanks for your time and consideration

DeAnna Cameron

Commentary From Ellen

I think this letter works well for a few reasons, most notably the first paragraph. The author immediately grabbed my attention with the first line. The cool idea behind the book (the hook) is there, and the second line tells me what the book is about (and the title, which is fabulous).

Because now I’m intrigued, I want to know what the story is about and the author tells me. This pitch covers all the important points about the story without going into too much detail.

Now I’m curious about the author, and a paragraph offers that information. The author wisely focuses on just the things I want to know—her professional background, writing experience, and the fact that the subject of the book is something she is involved with in her life.

The last paragraph tells me she’s taken the trouble to visit my website, because she’s following my guidelines (to paste the first few pages into the e-mail). All in all, a perfect query letter.

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

Successful Queries

Sunday, September 20, 2009 11:25:40 PM (Eastern Daylight Time, UTC-04:00)

Comments [0]

Cover Band Soap Opera: 'Use Somebody' Debut = Disaster; Redemption Comes at End of Night
Posted by Chuck

We started our last show early - 9 p.m. We were expecting to have not a whole lot of people milling around. What we weren't prepared for was a whopping three dudes in the audience. (It just goes to show you that playing later is always better.)

So, with three dudes in the audience, we decide to premiere "Use Somebody" by Kings of Leon. Let me ask you something: Have you ever seen a cover band stop in the middle of a song? Didn't think so. Well, we started playing the song and this train just came off the rails. I'm talking No Man's Land here. So somewhere near the guitar solo, we just stopped the song and laughed. A look out to the audience revealed ... zero listeners. We drove off the three paying customers. Awesome.

The night goes on and the people start to come in. We're having fun. Gulp. First drink goes down. Gulp. Second one, too. Then we start to discuss playing "Use Somebody" a second time and getting it right. For some reason, our lead singer mentions our idea to the bar owner, who responds by personally asking us NOT to play the song again for fear it will drive away the crowd.

OK, Mr. Bar Owner - we got ya, no problem. Gulp. Third drink. Gulp. Fourth is delicious. Hmmm - starting to rethink plan. We all agree: Yeah, we're letting this baby loose. It's time for round two. So, for our last song, we let "Use Somebody" fly again. It. Was. Awesome. It probably wasn't perfect, but in our mind it was. So what's the moral here? Alcohol solves all ills? Kings of Leon unites the world? Cover band guitarists rock? Just the first two? I'm still working it out.

Cover Band Venting

Sunday, September 20, 2009 11:16:10 PM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Thursday, September 17, 2009

Agent Advice: Lucienne Diver of The Knight Agency
Posted by Chuck

Agent Interview by
contributor Ricki Schultz.

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

This installment features Lucienne Diver of The Knight Agency. Lucienne joined The Knight Agency in 2008, after spending fifteen years at Spectrum Literary Agency. She has sold more than 600 titles to every major publisher and has built a client list of more than 40 authors spanning the commercial fiction genres. Her authors have been honored with the RITA, National Readers' Choice Award, the Golden Heart, and the Romantic Times Reader’s Choice and have appeared on the New York Times and USA Today bestseller lists. She is also a writer, having recently published a YA book, Vamped. See her personal website here: www.luciennediver.com.

She is looking for: fantasy, science fiction, romance, mystery, suspense, erotica, and young adult lit. She does not accept nonfiction. See full submission guidelines here.

Lucienne Diver

GLA: How did you become an agent?

LD: I always knew I wanted to go into publishing, though I was also drawn to forensic anthropology and applied to graduate schools in the field as I was applying for entry level positions in the book world. Originally, I thought I wanted to be an editor. Until I was called in for interviews, I’d never even realized that book agents existed; I’d never really thought about it. However, when I landed my literary assistant job at Spectrum Literary Agency over sixteen years ago, I fell in love. As an agent, I have the freedom to “acquire” anything I fall in love with. I don’t have to worry about the needs of a line, though I do approach my list with the idea of diversity. (I’m an omnivore anyway, and I like to make sure that my authors complement rather than compete with each other.)

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

LD: Just today I did a deal for Japanese language rights to an erotic romance by Jasmine Haynes. I’m also finishing up a UK deal for a young adult series by Chloe Neill that’s already sold in the US. Shortly before that, I did deals for German, Hungarian and Polish language rights to various books in Rachel Caine’s bestselling Morganville Vampires series and sold a new urban fantasy series for her and for Faith Hunter.

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

LD: I represent more than 40 authors, so I’m possibly not looking as actively as I used to be. That said, though, I took on a new author just last week whose urban fantasy novel blew me away. I don’t set out looking for a particular genre or theme, really. As mentioned, I’m a voracious and omnivorous reader. I want something, anything, that will impress me and keep me reading late into the night. I love a strong voice and a really unique, well-paced plot.

GLA: You write some young adult lit (Vamped) and have represented it in the past. Do you still accept submissions in this area?

LD: I represent all kinds of fiction—adult and young adult—though I don’t do early children’s and haven’t done middle-grade (not that I’d close that door if the right project came along).

GLA: In science fiction and fantasy, what are a few topics you feel are overdone?

LD: You know, there are some things out there in abundance, but I love them still. Characters who kick-butt and take names, vampires and shape-shifters and demons, oh my! There are few things so done that you can’t find a new angle and a fresh take on them, though it does become harder the more crowded the field.

GLA: Tell us a little bit more about your interest in romance. Do you accept both category and single titles? As well, are there specific subgenres you prefer over others (i.e., contemporary vs. historical romance)?

LD: I love romance. I’m not looking for a lot of category romance, but I have a couple of authors who do it very wonderfully and successfully. Mostly, I’m interested in single title. I love suspense, paranormal and anything quirky. Books don’t need to have all three of those to catch my interest, but if none of the three are present, chances are I’m not the right agent for the work.

GLA: Staying with romance, is there a difference between the subgenre “erotic romance” and straight-up “erotica”? If so, how does a writer know which she’s written?

LD: The difference to me is that erotic romance is primarily between a couple (or sometimes a threesome) that will have a happily ever after. At its heart, it’s the story of people finding their soulmates and exploring the connection via sex. Erotica doesn’t have to end in a committed coupling. The focus (to me, and I’m sure others’ mileage will vary) is more on the voyage of self-discovery … a character or characters learning what it is that makes him or her happy and comfortable and finding the courage to accept whatever might be revealed. It’s almost that erotica is to romantica as chick-lit is to romance. Does that make sense?

GLA: It does. You also seek mystery and suspense novels. How can a new writer break into this category without producing a run-of-the-mill detective story? What are some untapped subjects you feel would make for fresh and intriguing queries in these areas?

LD: Producing a “run-of-the-mill” story is the surest way not to break in. Again, what distinguishes work that sells for that which doesn’t is frequently voice, the way the tale is told. Of course, you do have to develop a strong story with red herrings, a sufficiently diabolical villain (though very definitely not in the cartoonish way) and a sense of urgency driving the plot. Aside from that, though, there are no real “musts.” Untapped subjects? Hmm….I’d love to see more psychological storylines. I’m as big a fan of psychology as I am forensics. Unless you’ve got a really new angle, I’d leave stalkers, serial killers, organized crime and terrorists behind. Whatever that leaves, there’s still room for it!

GLA: Where are new writers most commonly going wrong in the query letters you see?

LD: Ever since I started taking electronic submissions, I’ve found that many people don’t put the care into query letters that they would have in a hardcopy submission. It’s as if they see an electronic query letter more as an e-mail than a professional introduction to their work. So I’m seeing the disturbing, “Hey, Bob, I’ve got this manuscript I think is right up your alley. Can I send it?” sort of letters. Writers should think of the query as they would a cover letter that goes along with a resume. You wouldn’t dash that off carelessly (or CC it to everyone in the field, another common mistake), so don’t do it with query letters. Also, I see a ton of queries for material I don’t represent, like nonfiction. It’s important for writers to do their homework on agents so they don’t waste their own or the agent’s time.

GLA: How much does a writer’s platform impact whether or not you agree to represent his or her manuscript?

LD: I think platform counts a lot more in nonfiction than in fiction. It’s wonderful, of course, to find that an author has a great starting point for promotion, but what really sells a work to me is the writing itself.

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

LD: October 17th I’ll be doing a three-hour workshop for the Gulf Coast Writers in Ft. Meyers, FL. October 23rd through the 25th I’ll be at the Kiss of Death Writers Retreat in Albuquerque, NM and I’ll be in San Jose for the World Fantasy Convention the week after. Then, I think, I’ll collapse from exhaustion!

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

LD: The best piece of advice I can give is: Don’t ever rush things out the door. You know the saying, “Act in haste, repent at leisure.” This definitely goes for rushing query letters, synopses and/or manuscripts out the door before you’ve revised and polished them to the best of your ability. To borrow on yet another cliché, you may not get a second chance to make a first impression.

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

Want more on this subject?

Interview with agent Jeffrey McGraw (The August Agency).

Agent interview: Michelle Brower of Folio Literary Management.

Interview with agent Phil Lang (Reece Halsey North/Kimberly Cameron).

What Agents Hate: Chapter 1 Pet Peeves.

What Agents Hate: Even More Chapter 1 Pet Peeves.

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

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

Agent Advice (Agent Interviews) | Children's Writing | Genre Writing | Romance | Science Fiction and Fantasy

Thursday, September 17, 2009 11:16:01 AM (Eastern Daylight Time, UTC-04:00)

Comments [3]

How Many Agents Should You Query? Is There a ''Right'' Number?
Posted by Chuck

How many agents should you query? This is a question I myself am facing right now, as I search for Agent #2 for my middle grade novel. This is a complicated matter, and there is no "correct" answer; however, let me tell what I'm doing right now and why—and I hope that will help you on your journey.

When I first started to query kids agents a month ago, my plan was to target very few reps—people I had met in my travels, who were awesome reps to handle the book. So that's what I did. All was well. Then three things all happened quickly that made me rethink my strategy:

        1. I got my first rejection. The rejection listed a few compliments about the book but ended with "I didn't connect with your main character as I hoped as I would."
        2. A recent guest column on this blog quoted an agent saying that securing a rep is a "numbers game." This is something that Janet Reid has said before, too.
         3. Agent Nathan Bransford announced his book sale. In his column, Nathan details the process he went through to publication. He says he had to contact 10 agents before one agreed to take him on as a writer.

What does it all mean? It means that if you're writing fiction, someone has to really fall in love with the story to take it on. Especially now in a recession, they really have to love it. I mean—come on—super-blogger Nathan Bransford with his awesome platform has to go through TEN agents to find one who will rep his middle grade book, a supposedly growing category of books? Insane.

All this made me rethink my strategy. I couldn't just contact two or three agents. So I contacted several more, but not a lot by any means. I've always said that the fewer agents you query, the more that you have done your research. Secretly, I was an advocate for contacting only a few, targeted agents. But no more. If you're writing fiction, you have to cast a medium net at least, and whether you query all at once or over several "rounds" is up to you. You have to find someone who falls in love with your story—and that ain't easy.

Want more on this subject?

To follow up or not follow up?

Should you mention your age in a query?

Protocol concerning agents and e-mail attachments.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

My Writing Life | Queries and Synopses and Proposals

Thursday, September 17, 2009 11:01:28 AM (Eastern Daylight Time, UTC-04:00)

Comments [5]

Cover Band Soap Opera: Trip Down Memory Lane; Were You a Band Geek Too?
Posted by Chuck

I'm lucky to have my rock cover band because it gives me an outlet for music in my life. But the cover band is just the latest outlet. It all started with, you guessed it, high school band. Marching band, concert band, jazz band - you name it.

Were you a bando, too? If you were, you do know that we are like fraternal brethren - kinda like cops, right? OK, just checking. I went to a high school football game on Friday and this cool band did their thing at halftime. I was awash with memories. Band is a year-round thing, and it dominated my life for almost six years. Six. Glorious. Years.

Lower brass rocks the house.
And to answer your question,
yes, I can only read bass clef.

Cover Band Venting

Thursday, September 17, 2009 10:42:29 AM (Eastern Daylight Time, UTC-04:00)

Comments [7]

Wednesday, September 16, 2009

5 Quick Tips for Writer/Agent Negotiations
Posted by Chuck

Guest column
by Howard G. Zaharoff

Just because you're excited someone wants to represent you doesn't mean you should let them take advantage of you. Beware of these red flags when negotiating contracts with agents.

        1. Watch for red flags. Reputable agents don’t charge reading fees or require other upfront payments, they don’t sell (or at least, don’t brag about sales) to vanity presses, and they will readily identify other authors and projects they’ve represented.
        2. Beware of excessive commissions. The norm is now 15 percent for book sales, though it can be up to 20–25 percent for foreign sales (for which the agent works with a subagent) and 10–20 percent for movie, TV and theatrical sales.
        3. Avoid commissions on speaking fees. Most reputable agents will not try to horn in on these, and they really aren’t entitled to, unless they were directly responsible for getting you the engagement.
        4. Keep control over expenses. Ideally your agent will not charge for onesie-twosie copies or standard postage, but only for unusual expenses—long-distance charges, major copying, courier services—and will work within spending limits (nothing over a fixed amount, say $100–$250, without your approval).
        5. Insist on timely payment. Ideally, you’ll get paid your 85 percent directly by the publisher, though many agents insist on collecting the entire amount first. (This is fairly standard but poses risks, especially if the agent goes bankrupt—so some writers push for “split accounting,” which requires the publisher to pay them directly.) Although most publishers still report and pay royalties semi-annually, typically within three months after the semi-annual period ends (so the royalty for a book sold in January arrives in late September!), your agent should pay you promptly upon receiving the funds—ideally within 10 days, but no longer than 30.

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

Guest Columns | Scams

Wednesday, September 16, 2009 10:28:08 AM (Eastern Daylight Time, UTC-04:00)

Comments [2]

Tuesday, September 15, 2009

What's In a Pitch? Examining 'The Undomestic Goddess'
Posted by Chuck

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 2010 Guide to Literary Agents today!

Pitching | What's In a Pitch | Women's Fiction

Tuesday, September 15, 2009 9:56:38 PM (Eastern Daylight Time, UTC-04:00)

Comments [5]

Agent Ted Malawer Joins Upstart Crow Literary
Posted by Chuck

Literary agent Ted Malawer has joined Upstart Crow Literary. Ted was previously with Firebrand Literary, but with Firebrand's recent closure, he will join four other former Firebranders in forming Upstart Crow. He specializes in children's fiction.

The Upstart Crow agency webpage is not completely updated yet, so I will post some info about Ted below.

For YA: "I am really looking for books that walk the line between commercial and literary. I like high concept novels with great 'hooks,' unique premises, and great humor. I also enjoy lyrical fiction, as long as it has an authentic and compelling voice. I'm a huge fan of mysteries, smart historicals, and urban fantasy about original topics (no vampires, please). I'm not so much into the snarky 'chick lit' voice, but great writing trumps everything..."

For middle grade: "I am drawn to unique coming-of-age stories. I like stories that make me laugh, but if you can make me cry, even better. I like projects with fantastical/supernatural elements, too, and action/adventure plots. I love fun and exciting chapter books, especially with multicultural characters."

How to contact: ted@upstartcrowliterary.com; "submit a QUERY and TWENTY PAGES of your manuscript. Please put your query and sample in the body of the email, we will not open attachments. If your submission is received by our system, an automated response will be emailed to you. We will respond to most queries within two weeks to a month. Unfortunately, due to the overwhelming number of submissions received, personal responses are only very rarely possible. But if we are interested, we will request your full manuscript."

Thanks for the tip:
Writer Nancy Parish

Want more on this subject?

See my post on the formation of Upstart Crow Literary.

Upstart Crow founder Michael Stearns interviewed by editor Alice Pope.

Check out our online course: Focus on Writing Fiction for Children's.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Children's Writing | Random Updates

Tuesday, September 15, 2009 9:38:43 PM (Eastern Daylight Time, UTC-04:00)

Comments [4]

Monday, September 14, 2009

Agent Advice: Natanya Wheeler of Nancy Yost Literary
Posted by Chuck

"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 Natanya Wheeler of the Nancy Yost Literary Agency. Previously, Natanya was an agent at Lowenstein-Yost Associates.

She seeks: literary fiction that touches on current events or multicultural issues; family sagas; dark and edgy thrillers with a great new hook, moody mysteries and cozy mysteries. She loves to find new writers and does not shy away from debut talent. For nonfiction, Natanya would love to find authors with strong platforms who write in the areas of nature, especially birds, women’s issues, alternative lifestyles, green living and food.

Natanya Wheeler

GLA: When did you first fall in love with books?

NW: Oh! Can't remember. Always?

GLA: How did you become an agent?

NW: I just really wanted to work with books and it seemed like a creative and fun job. And it is!

GLA: Tell us about this move to Nancy Yost Literary.

NW: We share office space with Liza Dawson Associates and the Laura Dail Literary Agency - it's a wonderfully cooperative and sunny atmosphere.

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

NW: The working title is Bingo's Run (Spiegel & Grau) by James A. Levine. The story follows the extraordinary life of a young drug runner in a Kibera slum.

GLA: You seek genre categories – thrillers and mysteries. The standard advice is not to query for more than one book (e.g., a trilogy, or series). Do you agree with this personally?

NW: When an author sends me a query with a whole bunch of books listed, it feels very unfocused. If the book is the first in a proposed series, of course I would like to know that. But yeah, just one book at a time.

GLA: What draws you to a good thriller or mystery? Strong protagonists? Dark themes? A killer hook? All of the above?

NW: I like some psychology with my mysteries and thrillers. If the author gets me inside of the head of the protagonist or the antagonist, I'm definitely going to keep reading. A killer hook is great and all, but I find myself more drawn to a conflicted protagonist trying to right some wrong.
I don't have many pet peeves really - it's kind of a joy reading the slush and discovering the wealth of creativity in the world. I actually love it. I'll admit though if a query is about a bunch of beautiful models, beautiful blondes or beautiful brunettes getting serial-killed, I'm going to stop reading. This is one I see a lot. Unless it's central to the plot, I kind of feel like this is a book, not a TV show, not a movie - so why not make it a little deeper? I really do get this one a lot. Let's not kill all the beauty in the world.

GLA: With literary fiction, do you put much stock in the query or synopsis? Is it all about the writing in that category?

NW: It's definitely all about the writing, which is why I really prefer to get a sample of the writing. Actually, I prefer a sample of the writing for all fiction queries.

GLA: Besides just general “good writing,” what’s something specific you’re always looking for but never getting. What do you pray for when tackling the slush pile?

NW: I just look to be lost in the voice of the writer, no doubts, no hesitations, just completely drawn into the author's world. I think I am finding what I'm looking for, on the whole. I'm really looking for unique and standout voices in fiction - and by definition, that's not going to be an everyday occurrence in the slush. Would I love to find more? Yes! That's why I keep reading.

GLA: When we crossed paths at a conference last year, you told everyone that you enjoyed birdwatching. Are you on the lookout for books in this subject area?

NW: I would love to find a book about vultures a la John McPhee. To me, it seems like a fascinating subject. Vultures have a lot of historical and cultural significance from ancient society to the present. Some cultures view the bird as a charm, while others revile it. Does it all go back to how that culture deals with death? Plus they have some fascinating, albeit kind of gross, science. Vultures!

GLA: There have been a lot of “green living” books in the past few years – and there’s always a decent number of food books. How does a submission catch your eye in these areas? Is it as simple as a good platform and the ability to sell books? Or maybe a fresh take on an old subject? Something you’ve never seen before?

NW: With food books, I'd say something I've never seen before and absolutely top notch writing. For green living, it's definitely about the platform and ability to sell books. I think you're right - there have been tons of green living books and we might be reaching market saturation in that area.

GLA: If you were teaching a class on nonfiction writing & submitting, what is the first thing you wish every author would be educated about?

NW: Learn how to write a nonfiction proposal. It makes my job so much easier!

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

NW: Please visit our website, where you can find submission guidelines. My e-mail is on there, so feel free to query me through e-mail. However, I have found that I tend to respond better to paper submissions. Just a personal preference.

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

NW: I'll be at the SoCal Writer's Conference San Diego in February.

GLA: What’s something surprising writers would be interested to hear about you, apart from your ornithology interests?

NW: I once rode my bicycle across the U.S., not perfectly dipping a toe in each ocean, but close. I also rode my bike from Paris to Barcelona, in a zigzag like fashion. Fun! Even with all that, riding a bicycle in Manhattan scares me - a lot.

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

NW: Oh, this is going to sound flaky, but listen to your inner voice. Don't write for the market or what trends may say the market is. Write a book that challenges and satisfies you.
Also, don't quit your day job. Not just yet. Establishing a writing career is a process, not a one-shot deal. There's a fine line between realistic expectations and cynicism. So let's all quit the cynicism because what is cynicism but intellectual laziness? Publishing is not dead! It's just having a few growing pains.
Which is to say - you have time! I love books. You love books. Lots of people love books. It's all going to be okay. Oh, and the last piece of advice is that you should always do what your agent tells you to do.

Want more on this subject?

Interview with agent Jeffrey McGraw (The August Agency).

Agent interview: Michelle Brower of Folio Literary Management.

Interview with agent Phil Lang (Reece Halsey North/Kimberly Cameron).

What Agents Hate: Chapter 1 Pet Peeves.

What Agents Hate: Even More Chapter 1 Pet Peeves.

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

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

Agent Advice (Agent Interviews) | Dog Stuff | Literary Fiction | Nonfiction

Monday, September 14, 2009 7:26:46 PM (Eastern Daylight Time, UTC-04:00)

Comments [0]

Sunday, September 13, 2009

How I Got My Agent: Robert Hicks
Posted by Chuck

This installment of "How I Got
My Agent" is by Robert Hicks,
who broke on to the scene with
his extremely successful novel,
Widow of the South. His next book,
A Separate Country, comes out this month.

CARRIE'S STORY

I am the son of an optimist. Every night, after he had said our prayers and just before he turned out the light and left our room, my dad would stand at the door and repeat his seemingly tired mantra to my brother and me, as he whispered, "Never forget, all things are possible."

I tell you this because it is at the bedrock of why I decided, in my mid-forties, after many years as a music publisher in Nashville, that I would write a novel about Carrie McGavock and the Battle of Franklin, though I had never taken a creative writing course or written as much as a sentence of fiction, unless, of course, you count tax returns. I also tell you that because it is now hard to remember all the struggle and frustration that led me from there to here. Truth is, though there were years of struggle and frustration, for the most part, they seem to have vanished from my memory.

Unlike most of you reading this, I had given up any and all aspirations of being a novelist sometime after eighth grade. Yet, twelve years ago, I found myself trying to figure out how this little house-museum, Carnton (in Franklin, TN), where my story takes place, was going to survive after me. We had never received any public funding, and what private funding came our way mostly came through my solicitations. The day was going to come when I wouldn't be around - and then what?

WILL SOMEONE PLEASE WRITE THIS?

I spent several years trying to get others interested in writing the story themselves. I wasn't looking for a ghostwriter, but rather someone willing to take on my story and put his or her name on it. I pitched my non-novel that I wasn't really writing to just about anyone who might listen. Problem was, few really were listening.

That is until I spoke, via a cold call, to a wonderfully kind, nonfiction editor named P.J. Dempsey. She listened to my story and told me that I should call Jeff Kleinman, a literary agent in DC who seemed to have a passion for lost causes. Now, this may not seem like much encouragement, but beggars can't be choosers and it was direction - and direction meant momentum (and for that I will forever thank P.J.). Within minutes, I called Jeff's office and somehow - this part neither of us have ever figured out - my call went straight to him. Sounding both a bit confused and annoyed, he gave me a chance to lay out Carrie's story, and before I had finished, he seemed genuinely moved.

WRITING THE BOOK

Over the next couple of years, though we had never met face-to-face, Jeff stayed in touch and slowly convinced me that if this was my story, I needed to try to be the author. I soon realized that trying to write was far harder than simply pitching a story. I guess that's why bars are filled with more folks who will gladly pitch you a yarn than with published authors.

Finally, with the first third of the book more or less completed, I sent what I had to Jeff. He not only offered me representation - he told me that the "partial" I sent him was good enough that he could sell it without the rest of the novel. (Only later did I learn that this is exceptionally rare. New writers should finish their entire novel before contacting an agent. But, again, I didn't know what I was doing at the time.)

I remember the moment, weeks later, when I heard that Jeff had sold Widow of the South. I was awash in thought. So rarely in our lives is the end result as we envisioned it. So rarely are we given the chance to live out our dreams. All that has happened began with that optimist who stood at the door and whispered to my brother and me to never forget. He always told us that we make our own luck, but everything in life is a gift. I think he was right on both counts. I have been living way over in the gift column of life for a long time now. As I remember it all as a gift, I'm really not sure I have anything of value for those of you who are struggling other than my profound belief that all things really are possible, despite all the "no's" that come our way in life.

Robert Hicks

Want more on this subject?

Read all the "How I Got My Agent" columns.

Want to contribute a column like this? Write to me at literaryagent@fwmedia.com and we'll talk.

What Agents Hate: Chapter 1 Pet Peeves.

What Agents Hate: Even More Chapter 1 Pet Peeves.

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

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

How I Got My Agent Columns

Sunday, September 13, 2009 11:41:56 PM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Identify the Literary Agent of Any Book
Posted by Chuck

If you want to know who agented a particular book, there are a variety of ways how to discover the individual literary rep who made the deal. Here are three ideas for starters:

1. Simply check the book's acknowledgements. Sometimes, it will be as simple as a writer saying, "And a special thanks to my agent, Randy Masterson."

2. Use search engines. Try Googling the book's title (or author) and the word "agent," and see what you come up with.
Also, lots of times, authors will have their representation listed online. So if you want to know who the agent was for Joe Smith's book, The Neptune Paradox, find Joe Smith's official Web site. Check the bottom of the home page, and then the "Contact" page. The site may say, "Joe is represented by Randy Masterson Literary Agency, 245 Manhattan Road, New York, NY."

3. Worse case scenario, you can call the publisher. If you see that Knopf published the book, for example, call Knopf's main line and speak to the operator. Ask for the editorial department; better yet, if you can, explain your goal and request to speak with the editor who worked on The Neptune Paradox. The operator will say, "Oh, that's Judy Smith. I'll transfer you." You won't talk to Judy, but rather her assistant. No matter. Ask the assistant if Judy did indeed edit The Neptune Paradox. When the assistant confirms Judy's involvement, kindly request to know who the book's acting literary agent was. She'll be happy to tell you.

Want more on this subject?

How many agents should you query?

Why can't I get past the query?

Some query letter tips for writers.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Sunday, September 13, 2009 11:16:39 PM (Eastern Daylight Time, UTC-04:00)

Comments [1]

Saturday, September 12, 2009

Conference Spotlight: Writer's Digest Conference: The Business of Getting Published (Sept. 18-20)
Posted by Chuck

This latest conference spotlight is shining some illumination on our own upcoming WD conference, which is called "The Business of Getting Published." It's all going down in the Big Apple this September.

DETAILS

This is the first-ever conference of its kind - an event in the heart of it all examining how to market, promote and sell your work. The conference lasts three days, from Friday, Sept. 18 through Sunday, Sept. 20. The event is at the New York Marriott Marquis, in Times Square, New York City.

This unique writers' conference is designed to guide any author through the new dynamics of today's publishing world. With emphasis on platform, networking and social media, this innovative event features the industry's top forward-thinking speakers, leading sessions on topics relevant to the current and future state of the publishing world.

WHO WILL BE THERE?

Chris Brogan, social media guru, is the keynote speaker
Kassia Krozser, editor/publisher of BookSquare.com
David Mathison, whose online sales success is the new business model;
Mike Shatzkin, the industry's top publishing consultant
Seth Harwood and Scott Sigler, whose own podcasts and videocasts have made them super stars in the business
Christina Katz, author of Writer Mama and expert on author platform
and many more, plus the editors of Writer's Digest!

In addition, I myself will be moderating two panels of literary agents - one where agents discuss how they discover talent in the media and writing world; and one where agents discuss the transition from DIY publishers to traditional publishers.

A complete list of speakers and events can be found online.

WHAT ELSE?

Attendees of the event will take over the Bowery Poetry Club at 8 p.m., on Friday, Sept. 18, for the First Annual Writer’s Digest Poetry Slam. Presented by the publisher of Poet’s Market, the evening will feature three rounds of original poetry. Participants will vie to win prizes and ultimately to be chosen as the evening’s Slam Champion.

Plus, each attendee gets a 15-minute personal appointment with an editorial professional to discuss their query letter, book proposal or self-published book.

Here are some of the topics for the weekend:

Do You Have a Meaningful Marketing Platform?
Effective Marketing and Promotion for Fiction Writers
Blog Hogs, Social Twitters and Online Tools for Authors
E-Books, Kindles and the Digitalization of the Industry
Working With an Independent Editor - Do You Really Need One?

Times Square!

Marketing and Sales | Platform | Writers' Conferences

Saturday, September 12, 2009 2:11:53 PM (Eastern Daylight Time, UTC-04:00)

Comments [0]

Friday, September 11, 2009

Successful Queries: Agent Elisabeth Weed and 'The Department of Lost & Found'
Posted by Chuck

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 12th installment in this series is with agent Elisabeth Weed (Weed Literary) and her author, Allison Winn Scotch, for her women's fiction book, The Department of Lost & Found.

Dear Ms. Weed:

Natalie Miller had a plan. She had a goddamn plan. Top of her class at Dartmouth. Even better at Yale Law. Youngest aide ever to the powerful Senator Claire Dupris. Higher, faster, stronger. This? Was all part of the plan. True, she was so busy ascending the political ladder that she rarely had time to sniff around her mediocre relationship with Ned, who fit the three Bs to the max: basic, blond and boring, and she definitely didn't have time to mourn her mangled relationship with Jake, her budding rock star ex-boyfriend.

The lump in her right breast that Ned discovers during brain-numbingly bland morning sex? That? Was most definitely not part of the plan. And Stage IIIA breast cancer? Never once had Natalie jotted this down on her to-do list for conquering the world. When her (tiny-penised) boyfriend has the audacity to dump her on the day after her diagnosis, Natalie's entire world dissolves into a tornado of upheaval, and she's left with nothing but her diary to her ex-boyfriends, her mornings lingering over the Price is Right, her burnt out stubs of pot which carry her past the chemo pain, and finally, the weight of her life choices - the ones in which she might drown if she doesn't find a buoy.

The Department of Lost and Found is a story of hope, of resolve, of digging deeper than you thought possible until you find the strength not to crumble, and ultimately, of making your own luck, even when you've been dealt an unsteady hand.

I'm a freelance writer and have contributed to, among others, American Baby, American Way, Arthritis Today, Bride's, Cooking Light, Fitness, Glamour, InStyle Weddings, Lifetime Television, Men's Edge, Men's Fitness, Men's Health, Parenting, Parents, Prevention, Redbook, Self, Shape, Sly, Stuff, USA Weekend, Weight Watchers, Woman's Day, Women's Health, and ivillage.com, msn.com, and women.com. I also ghostwrote The Knot Book of Wedding Flowers.

If you are interested, I'd love to send you the completed manuscript. Thanks so much! Looking forward to speaking with you soon.

Allison

Commentary From Elisabeth:

Allison's query grabbed me right off the bat. The opening sentence reads like great jacket copy and I immediately know who our protagonist is and what the conflict for her will be. And, it's funny, without being silly. I also really loved the third paragraph because it tells me where this book will land: up-market women's fiction. A great place to be these days!

The other thing that jumped out for me was Allison's previous credentials. While being able to write nonfiction does not necessarily translate over to fiction, it showed me that she was someone worth paying more attention to. And her magazine contacts helped when it came time to publicize the book. That said, I would have asked to see the book without that last paragraph, but it did indicate to me that she was someone who was serious about writing.

I ended up requesting the book and reading the first 100 pages that very night, e-mailing Allison that I loved what I'd read and was planning on finishing the next day. (This of course before I had a baby. My response time has sadly slowed a bit in the last year.) I signed her up, and, if memory serves, we sent the novel out within a month and sold it at auction.

Her latest novel, Time of My Life, just came out in paperback and explores all of our lingering what-ifs by sending her protagonist back to redo her life. If you are looking for a great book, I highly recommend it. (And of course I am not at all biased!) But for the sake of Chuck’s fabulous blog, it is exactly the kind of fiction I would love to sell more of, so if you have something in this vein, please be in touch.

Time of My Life is
available in paperback.

Want more on this subject?

See all installments in the "Successful Queries" series.

How to establish a connection with an agent.

Query guru Wendy Burt-Thomas talks tips.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Successful Queries | Women's Fiction

Friday, September 11, 2009 1:46:33 PM (Eastern Daylight Time, UTC-04:00)

Comments [1]

What Agents Hate: Part II (Author 101 Series)
Posted by Chuck

See Part I of this series here.

When writers try to get an agent, they are asked to run a difficult course, and run it under a microscope. Although the level of scrutiny that writers receive is huge, it is definitely surmountable. Read the following items that agents dislike and alter your approaches accordingly. Agents hate the following items:

5. Not telling agents a project's history.

Some authors don't reveal that the book has already gone to twenty publishers. In these cases, an agent may spend time reading, editing, or developing the project and then unknowingly submit it to editors who have already passed on it.
Don't be afraid to tell an agent that your book has been rejected. Agents frequently take on projects that have been shopped. They may work on them editorially, fixing them up. Writers should also inform their agents about all changes or revisions they've made since the book was rejected.

These tips excerpted from
Author 101: Bestselling
Secrets from Top Agents,
by Rick Frishman and Robyn
Freedman Spizman.

6. Writers who don't contact their agents when problems arise.

Frequently, when problems crop up, writers become frustratred and dissatisfied. However, had they contacted their agent, the agent might have explained the situation and helped them find ways to resolve it. Agents can provide creative second opinions. They usually have extensive experience in publishing, and frequently they are accomplished editors. They can also be a writer's best advisor.

7. Writers who say, "There is no competition for this book."

Rarely does a book have no competition. It's okay to say, "There is no product in the market precisely like this," and then point out how your book differs from its competition. List the closest or most analogous books and state how yours differs and is better. When writers claim that their books are without competitors, it tells agents that the writers didn't do the hard, basic research to identify and distinguish the closest books. It also makes them think that the writers won't do the necessary research to write a solid book.

8. Writers who call their agent too much.

Agents are busy; if you call them constantly, you'll drive them crazy. So limit your calls, create an agenda for the calls you make, and while it's nice to schmooze and talk now and then, keep in mind that they are running busy operations.
Many agents who are sole proprietors don't have staffs, so they do most office tasks themselves. Find out when it will be convenient for them to speak with you, and schedule a phone conference at a time that will work for you both.

Want more on this subject?

See part I of this excerpt series here.

What Agents Hate: Chapter 1 Pet Peeves.

What Agents Hate: Even More Chapter 1 Pet Peeves.

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

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

Excerpts | Guest Columns

Friday, September 11, 2009 1:32:27 PM (Eastern Daylight Time, UTC-04:00)

Comments [0]

Thursday, September 10, 2009

Do You Need a Conservative Literary Agent For Conservative Books? A Liberal Literary Agent for Liberal Books?
Posted by Chuck

Someone found my GLA blog searching for "conservative literary agents." So, I started to wonder about the question, "Do you need a conservative literary agent to publish a conservative-minded book?" - such as, let's say, Why Liberals Will Ruin This Country or whatever. Would an agent need their beliefs to line up with the book's message? Or is an agent partisan-blind to a nonfiction book that fulfills the big three: 1) has a good idea, 2) proves that markets exist for the book, and 3) has a platform and credentials?

Well, I had no idea what the answer was, so I enlisted three pros: Ted Weinstein, founder of Ted Weinstein Literary; Sharlene Martin, founder of Martin Literary Management and author of Publish Your Nonfiction Book; and John Willig, founder of Literary Services, Inc. Here is what they had to say:

Ted Weinstein Says:

"That's an interesting question, and one without a single answer. I suspect many agents prefer to work only with political authors whose views are at least in the same quadrant as their own. Some, though, including myself, are open to and enjoy the chance to work with clients whose views challenge us and are no less effective at selling those books to the right editor and publisher. I have represented a number of liberal, conservative and libertarian authors writing on a range of interesting topics, and sold their books to a mix of publishers.
"As always, the best way for an author to see if an agent might be right for them, regardless of their political views, is to read the good directories/guides to agents (including your own) and then visit any prospective agent's website to get a more thorough understanding of their work with other clients."

Sharlene Martin Says:

"I believe that in order to be 100% committed and passionate about selling my clients’ work, it’s important for me to be aligned philosophically with their book. It’s so much easier to fight for a sale for something you truly believe in than something you don’t. So, to answer your question, without giving up my political affliations (*smile*), my answer is yes—I personally need to embrace the viewpoint of my client’s work. It makes it easier for me."

John Willig Says:

"As is so often the case in publishing, there really is not a definitive answer. It can certainly vary from one agent to the next especially considering the topic. There's a broader and critical issue at work here and that is whether your agent (regardless of interests/religious or political persuasions) can effectively reach and knows the editors for your topic and presentation. While he/she may not entirely agree with your perspective, they still could be your best advocate to publishers in that specific genre. So again it can really vary from agent to agent on taking on the topic but it is the writer who must be assured that the agent can effectively represent the project to publishers; thus, they should be doing their homework regarding the agent's expertise in specific categories.
"Sure it's a big plus if the agent is 'aligned' with your topic and passion and if he/she has the knowledge of the market, publishers and editors then the writer is working (initially) in the best of worlds."

Want more on this subject?

Interview with nonfiction agent Ted Weinstein.

Interview with nonfiction agent John Willig.

Nonfiction words of wisdom.

What is an author platform?

Author Billy Coffey discusses how platform led him to sign with an agent.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Guest Columns | Nonfiction

Thursday, September 10, 2009 9:44:49 PM (Eastern Daylight Time, UTC-04:00)

Comments [0]

Should You Query About a Trilogy or Series?
Posted by Chuck

Q: I've heard that agents don't like trilogies from debut writers. Is that right?

A: I think all agents love trilogies. What you want to be wary about is pitching trilogies upfront. I've heard a few agents say they don't mind getting pitched a series, but I've heard more say that you need to pitch one book at a time. That said, I always advise you pitch one book at a time because, that way, you will never get in trouble.
Cause here's the thing: If you propose Book #1 and they like it, they'll start an e-mail dialogue with you or call or on the phone. One of the first questions they will ask, I promise you, will be, "So - what else are you working on or writing?" Of course they will ask this! It's a natural thing to inquire about and they are, naturally, very interested in your career path. And that’s when you say, "Well, I'm halfway through the second book in that series and I've got some outlines for other projects…"

Want more on this subject?

How many agents should you query?

To follow up or not follow up?

Should you mention your age in a query?

Concerning agents and e-mail attachments.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Queries and Synopses and Proposals | Questions Submitted by Readers

Thursday, September 10, 2009 1:24:42 PM (Eastern Daylight Time, UTC-04:00)

Comments [2]

Wednesday, September 09, 2009

Successful Queries: Agent Barbara Poelle and 'A Bad Day For Sorry'
Posted by Chuck

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 11th installment in this series is with agent Barbara Poelle (Irene Goodman Literary) and her author, Sophie Littlefield, for her crime book, A Bad Day For Sorry.

A Bad Day for Sorry

Dear Ms. Poelle:

I am seeking representaton for my 75,000-word thriller, A Bad Day for Sorry.

Three years ago, rural Missouri housewife Stella Hardesty stopped her wife-beating husband in his tracks for good. After being acquitted of his murder, Stella launched a career helping other abused women put an end to their problems. When Stella's on the job, abusive husbands and boyfriends disappear - sometimes to the far side of town, and sometimes forever.

When young mother Chrissy Shaw asks Stella for help with her no-good husband, it seems like a straightforward case. Until Roy Dean Shaw disappears with Chrissy's 2-year-old son from a previous relationship. Now Stella and Chrissy must battle two-bit crooks and deadly Kansas City mafia to get the boy back - all the while staying one step ahead of the law.

I have written professionally for 10 years, publishing articles in computing, parenting, and women's magazines, and most recently working as a copywriter and editor for C&T Publishing. My short story, "Anything for You," was a runner-up for the Crime Writers' Association's 2007 Fish-Knife Award. Other short stories will appear in upcoming issues of Thuglit and Pulp Pusher.

Thank you for taking the time to consider my work. My first 10 pages and synopsis follow. Upon your request, I would be happy to provide the complete manuscript.

Sincerely,
Sophie Littlefield

Commentary From Barbara

This query is an interesting one for me as far as, at first glance, it isn't terribly extraordinary. But when broken down, you can see why the request for further materials was a no-brainer. First, I like the simple opening line explaining the genre and word count. I know exactly what I'm getting and I am absolutely on the hunt for thrillers, and very public about it, so she's got me pegged already.

The pitch begins and it taps into the synopsis - and at this point, I realized what appeared to be a standard straightforward query holds a wildly unique and extremely concise plot, as well as an original female protagonist. Now she has me. That is why I am using this query as an example. In the end, it should be the plot that gets me, not the mechanics of the query itself.

The next paragraph is a real corker, and not for the reasons you may think. The articles are excellent, and I could certainly request a full list of publications, but it was her technical writing experience juxtaposed against her publications in Thuglit and Pulp Pusher that flicked the light from yellow to green. Here you have someone who clearly works within the realm of proper narrative and technical execution at her day job, but is also in forums where gritty, pulpy stories are ripe with violence and sass. At this point, I had to take a peek. (The first 10 pages were attached, and they were very, very, very good.) After I read the full, I told Sophie I would "get into a monkey knife fight" to represent her.

In the end, what works here is the concise query telling me the hook, the book and the cook. It opens introducing the hook: A formerly abused housewife "helps" other women in need. The book: a brief two-paragraph look at the story. And the cook: Littlefield and her writing credits.

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

Genre Writing | Successful Queries

Wednesday, September 09, 2009 4:39:44 PM (Eastern Daylight Time, UTC-04:00)

Comments [2]

7 Reasons Why Your Work May Be Rejected, by Hallie Ephron
Posted by Chuck

This is a "Blast From the

Past" post. To celebrate the

GLA Blog's 2nd birthday, I am

re-posting some of the best

"older" content that writers

likely missed.

At Killer Nashville, a trio of extremely knowledgeable publishing pros held a panel on the most common reasons why a manuscript is rejected by an agent. Below you'll find part one of this post series.

Keep in mind that the panelists were discussing why a manuscript will be rejected, not a novel synopsis or query letter. They were talking about problems within the writing.

Writer Hallie Ephron

Author of several mystery novels
Book reviewer for the Boston Globe
Author: Writing and Selling Your Mystery Novel (WD Books)
www.hallieephron.com

Hallie's 7 reasons why your
manuscript can be rejected:

1. Profligate use of adverbs. For instance, saying "She looked at me and smiled happily." That's telling, not showing. Instead of using adverbs, use action to show the characters' feelings and emotions.

2. Predictability—using the same plot as others. For example, a cliche mystery plot opening hook is this: A P.I. picks up his office phone and his ex-wife is on the line. She's in trouble, but can’t say why. They agree to meet later at a bar or parking lot, but she never shows because she’s been murdered.
"I want twists. Surprise me in the first chapter and I'll keep reading."

3. Too many killers. A recent manuscript she read revealed six people were actually complicit in the book's murder. It’s convoluted, confusing, and shows that the author had to pull six rabbits out of a hat at the end to wow us. This problem is likely because of earlier problems in Act II—a.k.a "the muddy middle."

4. Point of view that’s out of control. If you’re in a character’s head, stay there until the scene is over.

5. Prologues that don’t work—where writers have a boring opening, so they simply pluck out an exciting scene from the middle, put it at the beginning, and call it the prologue.

6. A plot with no spine. When the scenes seem to jump around—you’re here, you’re there, now you’re there—the book has no backbone. "You have to get me to care about the main plot for me to keep reading."

7. Getting stuck to an outline. "Don’t let your plot trap your characters." If you write an outline and, in the middle of the story, the protagonist is supposed to run into a burning building, that’s fine. But as you begin the flesh out your protagonist and write the book, you may craft a character who wouldn’t realistically run into a burning building—perhaps he’s too smart, or too cowardly or whatever.

Her final tips: "Surprise me. Make me laugh. Make me care about your characters. Don’t let the frustration get you down. We all go through the 'It’s a piece of sh*t' stage."

Want more on this subject?

Agents tell how to start a story right.

10 Query Letter Tips.

Check out Hallie's book, Writing and Selling the Mystery Novel.

I'm hosting a webinar on "How to Land a Literary Agent," Oct. 8, 2009.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Contracts and Copyrights and Money | Guest Columns

Wednesday, September 09, 2009 4:19:18 PM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Tuesday, September 08, 2009

Stacia Decker Finds a New Home at Donald Maass Literary
Posted by Chuck

Word round the campfire is that agent Stacia Decker has joined the Donald Maass Literary Agency. Stacia was an editor for a while, then joined Firebrand Literary earlier this year. Firebrand kind of abruptly closed in summer 2009, and three agents formed Upstart Crow Literary while Stacia moved over to Donald Maass.

Stacia Decker

Fiction areas of interest: She represents mystery, suspense, noir, and crime fiction and is looking for a strong voice, dark humor, fast-paced plotting, and unpredictable violence.

How to contact: E-mail her at sdecker@maassagency.com with the query letter and first 5 pages pasted into the body of the e-mail. "If we like the sound of your novel, we will request sample chapters and a synopsis. If we like your sample chapters, we will request the whole manuscript. If we like the whole manuscript, you will hear from us! No reading fees or expenses are charged at any time. To answer your query letter, up to four weeks. To read your sample chapters and outline, about the same. To read your whole manuscript, overnight to a few months. (If we request it, please check with us.)"

Want more on this subject?

See my article about Upstart Crow Literary forming.

Agent Donald Maass explains your tools for character building.

Like genre writing? Check out this online class, Essentials of Mystery Writing.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Genre Writing | Random Updates

Tuesday, September 08, 2009 8:47:14 PM (Eastern Daylight Time, UTC-04:00)

Comments [0]

What If an Agency Refers You to an Editor?
Posted by Chuck

Q: An agency wants to represent me but also wants me to pay $90 to have my memoir "polished" by someone they approve. I have read "grab the first agent" but also "do not pay any reading fees".
- Warren

A: Eek. Sounds dicey, Warren - I would get away.
      My first question is: What agency is it? A simple Google search, or a search in my book and its competing books/websites will tell you if it's reputable or not, and if it has good sales. But my guess is: It does not good sales and is not reputable (though I cannot be sure).
      You should never be paying upfront money like this. If a manuscript needs editing, you will most commonly just get a rejection letter. Or the agent may be nice enough to say "Strong story, but this needs editing and more work." However, a big red flag is when an agent mentions money or personally refers you to an editor. Is there a kickback in place? Who know. What happens is: You get your work "polished" by this editor, whatever the hell that really means, and then you still have no guarantees. You lost $90, and your manuscript may or may not be better, but you still have no guarantees. The agent will just say no.

Want more on this subject?

Talking money: How royalties and advances work.

Will agents try to scam you with costs?

What is a book auction?

Got a burning question about publishing? Send it to me at literaryagent@fwmedia.com and I may answer it on this blog.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Contracts and Copyrights and Money | Questions Submitted by Readers | Scams

Tuesday, September 08, 2009 8:39:47 PM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Monday, September 07, 2009

Agent Advice: Emily Forland of The Wendy Weil Agency
Posted by Chuck

Agent Interview by
contributor Ricki Schultz.

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

This installment features Emily Forland of The Wendy Weil Agency, Inc. Emily is in her twelfth year at The Wendy Weil Agency, Inc. In addition to representing her own list of authors, she also handles the agency's foreign rights. Originally from Texas, she has a B.A. in English from the University of Chicago, an MFA in Poetry from Sarah Lawrence College, and an MFA in Graphic Design from the School of Visual Arts in New York.

She seeks: The Wendy Weil Agency, Inc. represents fiction and nonfiction for the trade market. We work with literary and commercial fiction, mystery/thriller, memoir, narrative nonfiction, journalism, history, current affairs, books on health, science, popular culture, lifestyle, and art history. We do not handle screenplays or textbooks. See full submission guidelines here.

Emily Forland

GLA: How did you become an agent?

EF: By accident. I needed a summer job after my first MFA year at Sarah Lawrence College. I met Wendy Weil and became an intern, which means I spent a summer reading manuscripts at the agency, answering the phone, and dragging packages to the mail truck. This was just after Wendy had been profiled in Poets & Writers sounding like herself, an approachable agent who champions writers. This resulted in a huge flood of submissions and it was my job to go through those manuscripts. Out of that unwieldy stack, I hit upon one that stood out, and that became an Oprah Pick, Mother of Pearl by Melinda Haynes. It was tremendously exciting to watch that happen. I got hooked. It was supposed to be a summer job, but it is 12 years later, and I am still here.
      I like writers, and I like working with writers. I think having a bit of a writing background makes me empathize with the vulnerability of writers and what they go through in putting their work out into the world.
      Also, lunch is a nice thing.

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

EF: In fiction, a transfixing debut called Stiltsville by Iowa MFA grad Susanna Daniel. A love song to Miami, this episodic novel follows the life of a marriage, starting in the 1960s and ending in the 90s. It will be published by Jennifer Barth at HarperCollins next summer.
      Nonfiction: Playwrights at Work, by Rosemarie Tichler and Barry Jay Kaplan, a lively collection of interviews with great American playwrights of the day, to Northwestern University Press.

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

EF: I’m looking for a distinctive voice. That can mean a lot of things, but I look at every submission wanting to be gobsmacked on the first page (and those that follow!) by original, compelling, well-crafted sentences. I like character-driven stories. Humor helps, though it isn’t a requirement.

GLA: Within commercial fiction, can you tell us about two or three manuscripts you recently agreed to represent and what grabbed you about each to the point where you knew you had to represent them?

EF: I guess I tend to be most interested in commercial fiction with literary qualities.
      I took on a novel that made me laugh out loud on pretty much every page, at the same time that every sentence is so polished as to almost be some kind of perfect haiku. The structure is idiosyncratic, and the subject is an extremely timely take on the spiritual estrangement of contemporary culture. I was wowed by the writer’s originality and craft.
      One novel is set on a hardscrabble subsistence farm in the Australian outback during World War II, beautifully and slyly told in the salty first person narration of the main character, a farmwife named Gin Toad. It is extremely accomplished.
      Another novel follows an immigrant Russian family with three daughters of marriageable age. The writer’s approach is playful and original. She pokes fun at her characters, but she handles them with real affection. The dialogue is fizzy and hilarious. That dialogue got me. It jumps off the page.

GLA: Specifically within the thriller genre, do you prefer any particular subgenres, such as legal, psychological, or supernatural thrillers, etc.?

EF: I like a psychological novel. I have a knee-jerk reaction against the fantastical and supernatural (my own limitation) that I can get past when the story is grounded in strong writing.

GLA: Where do you notice most nonfiction book proposals fall short?

EF: Voice again. I want a proposal to be thorough, meticulously researched, well-organized, etc., but it also needs to be a compelling argument for the subsidized existence of this particular book. And the most convincing way for an author to demonstrate that is by being good company on the page. Also, there is that whole thing about platform (groan).

GLA: One area of nonfiction you seek is journalism. With the Internet pushing us toward an increasingly paperless society, many see the world of journalism as changing. Do you think printed newspapers and magazines will be obsolete one day? What should a journalism proposal look like in order to stay current with the times as well as catch your attention?

EF: I like paper and the tactile nature of books and magazines and newsprint. That said, I do read most of my news online. It is hard to deny that the magazine and newspaper business is heading that way. Ultimately, though, I suppose the story is what’s important and the medium of delivery is secondary.
      Because of the way a publishing timeline usually works, a journalism book proposal should anticipate where the news is going and what we’ll be interested in a couple of years. The writer needs a solid platform, an area of expertise, to have done the research, and to convey it in a lively manner that convinces me I’m interested in a subject I didn’t necessarily previously know I wanted to read about. I once heard a nonfiction editor say that a journalistic book should either be the first book on a subject, or the last (definitive) book on a subject.

GLA: Is there a particular angle to explore or avenue to attempt for writers without celebrity status who wish to break into memoir?

EF: It depends on what you mean by ordinary people. If you mean a non-celebrity, yes definitely. But if you mean a common experience written in unextraordinary prose, probably not. What makes a successful memoir is a distinctive story, or else a distinctive take on a common life experience, combined with highly readable prose. And I’ve found that you really need both. Both the story and the voice. It doesn’t work when you have just half.
      An example of a memoir that really worked is Jennifer Traig’s Devil in the Details (Little Brown). It tells about the author’s girlhood as an obsessive-compulsive religious fanatic. Books had been written about OCD, but at that time nobody had written about the disorder called scrupulosity. And Jenny’s writing is sympathetic, smart, and FUNNY. She has the distance on this period in her life to render it an insightful and very enjoyable reading experience.
      Another was Margaret Sartor’s Miss American Pie (Bloomsbury), which, through compelling, moving, and sometimes unintentionally humorous diary excerpts, traces the author’s evolving girlhood, which was rife with romantic, identity, and spiritual crises in 1970s Louisiana. The authenticity of her voice crackles on the page.

GLA: Would you say your MFA in Graphic Design influences your acceptance of art pieces? For example, are you more interested in graphic design books? As well, what topics are you drawn to most in this category? Least?

EF: I am a visual person with an affinity for visual texts (art and design books, picture books, graphic novels, etc.) but have represented very few. Art books can be expensive to produce and challenging to get published, but I am always open to being wowed by a project.

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

EF: In terms of submitting material, we always talk about the importance of writers putting their best foot (feet?) forward. Because we’re all (editors and agents) inundated with reading, we don’t usually have time to see potential in work and nurture it until it becomes a polished finished piece (which isn’t to say that there isn’t some editing, and there are always exceptions). It is always a good idea for writers to ask another trusted reader to take a look before sending out their materials. It is to authors’ advantage to make sure their work is far along when it is goes out into the world for consideration.
      In terms of writing, I once heard Tony Hillerman give a talk at the Taos Writers Conference and he spoke about how each person is the world’s expert on their own life experience (whether it be following the crime beat as a news reporter in the Southwest, or something else). He talked about the breakthrough in his own writing when he decided to mine the territory in which he was the world’s smartest. I guess that’s not new advice, but I thought it was a good way of thinking about it.

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

Want more on this subject?

Check out all the agents I've interviewed here.

Want to query Emily? Check out How to Write a Query Letter to an Agent.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Monday, September 07, 2009 5:42:47 PM (Eastern Daylight Time, UTC-04:00)

Comments [1]

What's In a Pitch? Examining 'Alibi Junior High'
Posted by Chuck

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 2010 Guide to Literary Agents today!

Children's Writing | Pitching | What's In a Pitch

Monday, September 07, 2009 5:14:02 PM (Eastern Daylight Time, UTC-04:00)

Comments [2]

How to Pitch a Literary Agent In Person
Posted by Chuck

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 2010 Guide to Literary Agents today!

Pitching | Questions Submitted by Readers

Monday, September 07, 2009 4:56:28 PM (Eastern Daylight Time, UTC-04:00)

Comments [0]

Sunday, September 06, 2009

How I Got My Agent: Greg Gutierrez
Posted by Chuck

This installment of "How I Got
My Agent" is by Greg Gutierrez,
who writes short pieces about
surfing as well as novels.

ZEN AND THE ART OF SURFING

The night of my high school graduation, I had the last fistfight I would ever share with my father. This relationship would be the underlying gist of my first novel. I hopped on a flight to Oahu in search of waves, and to find myself. The drinking age then was 18 and in bars I told girls I wrote for Surfer magazine. In reality, I worked at a shady visitor’s information booth where I gave tourists a case of pineapples if they attended a seminar on timeshare condos. It took a few years, but my writing did appear in magazines. An early break came in 1998, when The Surfer’s Journal ran 5 stories from my collection, Zen and the Art of Surfing, in one issue. Later, through a grant from the Julian Paz Foundation, Zen and the Art of Surfing was published in paperback and is now in its eighth printing.

I have taught high school English for the last decade. Four and a half years ago, I started writing a novel. Two long years later, I was finished. I called the book Mammoth Lakes.

THE SDSU WRITERS CONFERENCE

In 2007, I went to the San Diego State University’s Writer’s Conference where I hoped to be discovered. It was a turning point for my writing. I received vital feedback from editor Toni Plummer (loved my character’s names and suggested I shorten my chapters so that each one read like a short story) and the following agents: Betsy Amster (told me my work was too violent for her, but that I’d find an agent), Loretta Barrett ("show me, don’t tell me"), Jennifer De la Fuente ("keep it under 100,000 words"), Elizabeth Evans ("the first sentence is the most important, have tension on every page"), Jud Laghi ("stick with it, it’s a number’s game"), Judith Riven ("lean and clean, no extra words, no clichés"), and my favorite, Sally van Haitsma (I still hit her up with industry questions and she always answers me with insight and kindness). My book wasn’t nearly ready and I spent two years cutting out 30,000 words and rewriting it top to bottom including the title, which became Mammoth Mountain.

About a year ago, while still fine tuning my book, I began to send out queries in groups of ten. Eventually, I sent out fifty with no success. Then, after over four years of working on the book, I figured out how to put its essence into one sentence. "What happens when a lost man finds Christ, only to lose his soul?" I opened my query with this sentence and contacted ten more agents. Boom! I had two requests for full manuscripts and two requests for partials. I got a call from Benee Knauer, Victoria Sanders’ editorial director. She enthusiastically requested a two-week exclusive read. “I wouldn’t have it any other way!” I told her (not filling her in that my book was being read). Two weeks later, Victoria herself called to tell me even though she was only halfway through the book, she wanted to sign me.

I was excited, but nervous. What if she finished it and decided she didn’t like it? Would she change her mind? I was cursed with my writer’s imagination and self-doubts. It all became real a few days later when the contract arrived in the mail.

REWRITING AND SUBMITTING

We spent about four months polishing the manuscript. It’s three weeks since Victoria submitted it to editors. For me, waiting to hear whether a major house wants it has been more agonizing than looking for an agent. I’m trying to lose myself working on my second novel.

My advice to writers is to read your entire novel in one or two sittings before you send it out. This is how an agent will read it and some mistakes may be easier to see. Then, send out lots of queries, making sure each one is better than the previous one. Don’t give up; someone is going to fall in love with your book.

Zen and the Art
of Surfing

Want more on this subject?

See all "How I Got My Agent" columns here.

Interested in writing a column about how you signed with your rep? E-mail me at literaryagent@fwmedia.com and we'll talk.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

How I Got My Agent Columns | Short Stories

Sunday, September 06, 2009 10:10:57 PM (Eastern Daylight Time, UTC-04:00)

Comments [14]

Saturday, September 05, 2009

What Agents Hate (Author 101 Series)
Posted by Chuck

1. Inquiries that show writers have not done their homework.

This complaint usually fell into two categories: 1) submissions that are not the type of books an agency accepts, and 2) submissions that are not specifically addressed.
      Do your homework. Save everyone time and effort by checking the guidebooks and agents' websites to learn what types of books they represent.
      Submissions that are not specifically addressed are generally sent to "Dear Agent," the agency, or "To Whom it May Concern." These submissions look like form letters. Address all correspondence to a particular individual and make sure thay you spell that person's and the agency's name correctly.

2. Authors who insist that they receive unrealistically high advances.

Agents are experts at evaluating what books are worth, and since they receive a percentage of the proceeds, they try to squeeze out top dollar. Coming with demands of a "minimum advance figure" is a clear signal that you will be difficult to work with.

These tips excerpted from
Author 101: Bestselling
Secrets from Top Agents,
by Rick Frishman and Robyn
Freedman Spizman.

3. Authors who try to be all things to all people.

Agents and editors prefer tightly focused books. They told us that a writer's audience actually expands the tighter the focus of the book is. An author cannot be all things to all people. For instance, a writer may think that the market for her children's book is ages four to 14, but four-year-olds want different books than 14-year-olds do. A diet book aimed at young adults, for example, could sell better that a book that tries to appeal to all ages of dieters.

4. Control freaks

Agents do not like to work with clients who are not willing to change proposals, manuscripts or strategies that can improve a book or its ability to sell. The best authors are those who are willing to listen and are open to their agents' advice. Although agents aren't the end all and be all, they are knowledgable professionals, and selling books is their business. They have experience and can bring a certain perspective to a project that authors may not have.

Want more on this subject?

Want more on"What Agents Hate"? See a list of their pet peeves here, with Part I and Part II blog posts.

See 10 Things NOT to Do in a Query.

Check out the book Author 101: Bestselling Secrets from Top Agents.

See an example of a Mind-Boggling Horrible Query Letter.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Excerpts | Guest Columns

Saturday, September 05, 2009 3:41:21 PM (Eastern Daylight Time, UTC-04:00)

Comments [0]

Cover Band Soap Opera: I'm Reminded of 'Like a Virgin' Scene in Reservoir Dogs
Posted by Chuck

My cover band had back to back awesome shows these last two nights. Thursday was great because the Bengals won, and the crowd was in a festive mood because of that. And Friday was fun, too. The new drummer is getting acquainted, and all is well.

So here it is, Saturday afternoon, and I sit down with my acoustic to strum a little Jack & Diane when ... I can't.

My fingertips hurt. Wait - WHA?

You talk to anyone who's learning to play the guitar and they all say the same damn thing. "My fingertips are killing me! How do you press down on the strings so hard?" I just say "Stop whining and keep playing because you'll have callouses soon." But here I am, the day after two shows, and my fingertips are killing me.

Remember Mr. Brown's explanation of "Like a Virgin" in Reservoir Dogs? Well I feel like that right now. It shouldn't hurt, but it does. And I feel like a guitar virgin, and I'm 13 years old again.

Cover Band Venting

Saturday, September 05, 2009 2:05:37 PM (Eastern Daylight Time, UTC-04:00)

Comments [2]

Friday, September 04, 2009

Is It More Difficult to Get Young Adult Published Right Now?
Posted by Chuck

Q. Why is it so hard to break into the young adult industry right now? I would think that after JK Rowling and Stephenie Meyer's books being released, that there would be agents that would love to get more young adult novels published. And even an agent told me specifically that even though I'm a good writer (I write young adult books) that it is really hard to get into that industry right now. So I wanted to know why.
- Larissa

A. I'm not sure who told you this, Larissa, but the fact is: the children's market (specifically, young adult and middle grade novels) is one of the only sections of the publishing industry that is doing well. A while back, an agent summed up the recession by saying something like this (paraphrasing here): "When the economy was good, somebody would walk into a bookstore and get a book for themselves and one for their kid, too. Now that times are tight, they skip the book for themselves, but still get the book for their kid." And, look, agent Susanna Einstein just said in her GLA blog interview that "the children’s/YA market is flourishing and expanding in terms of subject matter, kinds of books, and sales."
This could just be a simple misunderstanding between you and the agent. First of all, speaking generally it is really hard to get books published. They may have been speaking about the industry as a whole. OR - perhaps they believed you wrote picture books, which falls under the children's category, and is a very, very tough nut to crack.

Want more on this subject?

Got a burning question about agents, writing or publishing? Send it to me at literaryagent@fwmedia.com.

Interested in that interview with agent Susanna Einstein? See it here.

Like interviews with children's agents? Check out Caryn Wiseman of Andrea Brown Literary.

Like interviews with children's agents? Check out Jessica Regel of Jean V. Naggar Literary.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Children's Writing | Questions Submitted by Readers

Friday, September 04, 2009 10:50:12 PM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Thursday, September 03, 2009

Make the Most Out of a Writers' Conference
Posted by Chuck

Literary agent Chip MacGregor (MacGregor Literary) has posted an article from the 2010 Guide to Literary Agents on his blog. The article is all about how to Make the Most Out of a Writers' Conference.

Here's Part I
Here's Part II

I hope you find the article helpful. If you're headed out to a conference soon and are confused are what to expect and/or how to maximize your experience, check out the article, and if you're feeling saucy, check out the entire 2010 GLA.

The crowd from one such conference,
Muse & the Marketplace 2009

Here's an excerpt:

WHO WILL YOU MEET?

Perhaps the most valuable aspect of a conference is writers' ability to meet the power players and decision makers in the publishing world. In addition, they can make contacts and form partnerships with their fellow writers. Here are three different types of people you will meet.

Peers and writers
This is where the schmoozing comes in. Besides classes and presentations, there are usually dinners as well as meet-and-greet opportunities, not to mention simply banding together at night and hitting the hotel lobby or nearby bar to relax and talk. Perhaps you didn't even know the regional writers' group in charge existed, and may be able get involved with the organization.

Agents
Perhaps the biggest draw, agents attend conferences for a specific reason: to find potential clients. They are bombarded with pitches and request writing samples from those attendees who dazzle them with a good idea or pitch. Short of an excellent referral, conferences are the best way to snag an agent, so take advantage of meeting one. (I found my literary agent at a conference. Trust me: They work.)

Want more on this subject?

Check out this guest column by Han Vance 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 2010 Guide to Literary Agents today!

Excerpts | Writers' Conferences

Thursday, September 03, 2009 6:55:53 PM (Eastern Daylight Time, UTC-04:00)

Comments [1]

Wednesday, September 02, 2009

Agent Advice: Joe Monti of Barry Goldblatt Literary (Part II)
Posted by Chuck

Agent Interview by
contributor Ricki Schultz.

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

This installment is part II of II, and features Joe Monti of Barry Goldblatt Literary. Joe has been in the business for more than twenty years. He started as a bookseller, became the children's fiction buyer at Barnes & Noble, worked at Houghton Mifflin, and recently at Little, Brown Books for Young Readers as their editorial director of Paperbacks.

He seeks: children's and young adult and takes a special interest in multicultural and boy-centric books. As well, he represents graphic novels, picture books, and some adult genre fiction, with particular regard to fantasy and science fiction.

Joe Monti

GLA: Do you notice any trends in what you tend to represent? Subgenres or elements that particularly sucker you into accepting them?

JM: There’s a lot of paranormal or urban fantasy out there—too much that’s not innovative or challenging to the reader to either transport or help to lift the veil of possibility in the mundane world we live in. I’ve been a reader and fan of this sort of fiction for decades now, and you really need to stand out to impress me. Fortunately, I’ve found some. I am a sucker for that well-done magical realist and urban fantasy novel because it just opens up the world of possibility.
      And then there’s the middle grade novel aimed at a male reader. As I mentioned above, I’m desperately looking for books that would attract that kind of reader, but the male coming of age experience is one I hope to help bring to light more often. (In fact, give me a searching for a father figure themed novel, and I’m yours.)

GLA: Tell us a little bit more about your interest in graphic novels and picture books.

JM: Picture books can be difficult. Right now I’m only looking to represent writer/artists. It’s not any easy market to break into, and then succeed within, and I feel that being able to represent a whole package to an editor makes for a stronger proposal and opportunity for acquisition. That said, I think the picture book market is secretly more vibrant than it seems at first glance, and that makes the possibility of a new artist succeeding more possible than not. But here, it’s the smart picture book, like Jon J. Muth’s, that I think tends to rise to the top most often, from obscurity.
      The same actually goes for graphic novels, or more accurately, sequential artists and cartoonists. Although I am far more open to representing a writer who does not illustrate his graphic novels, I’m particularly interested in writer/artists. One client, Mike Cavallaro, who was nominated for an Eisner for his Parade (With Fireworks) has done illustrations only in addition to his own work. (His forthcoming YA urban fantasy graphic novel, Foiled, written by incomparable Jane Yolen is an example.) Then there’s Charles Vess, who has done all of the above and more.
      And I am very excited about the changes in the graphic novel world, the expansion of it to a general readership through the bookstores, and then particularly in children’s literature. While YA graphic novels are still in their infancy, largely because some of the range of topics that are explored, and explored so well in fiction, when illustrated raises the target audience to an adult section placement. I think several publishers, like First Second and Henry Holt, are publishing smart works for the YA category. Paul Pope’s forthcoming THB is dream come true!
      And then for the younger reader there have been some tremendous successes, the best of course being Jeff Smith’s Bone series. But I’m very interested in finding writer/artists who can create for a six- to 10-year-old readership as I think the demand is there; but the supply is scant, so it’s hard to see it.

GLA: You represent some adult genre fiction as well. Can you be a bit more specific about what you’re looking for (or not looking for) here?

JM: Right now I’m mostly looking for genre writers of fantasy and science fiction. Specifically, in the genre world, I’m looking for challenging works that do not tread on the same ground the genre has gone through the past few decades. In many ways, I think the adult fantasy and science fiction world has lost some of its vibrancy and innovative hubris. There’s been a lot of self-reverential works out the last decade or so, but the opportunity and demand for fresh works is rewarded when they arise. I’m tempted to give a list of some favorite writers here from Bradbury, de Lint, Beagle, Sturgeon, Le Guin, Herbert, and Zelazny to Buckell, Bacigalupi, Stephenson, Blaylock and Gibson, but then I’d only scratch the surface.

GLA: Name three things that make you stop reading every time they crop up in a manuscript.

JM: Not following our submission guidelines.
Reading a cliché within the first paragraph. (They usually crop up within three sentences.)
Poor dialogue.

GLA: What is the number one mistake you see in queries?

JM: "I see you represent Author X, my book is just like/similar to Author X’s, so I know you’ll love it."

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

JM: I will be attending the Rutger’s One-On-One Plus Conference in October 2009; others are slated for later in 2010.

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

JM: Don’t hold back from your passion. Too many folks get caught up in what the marketplace is supposedly looking for, and they lose sight of what they’re trying to write. That and read your drafts (Note the plural usage!) aloud for imperfections of language and cadence. It’s an old horse, but not done enough because it may take you days to finish—but the results are astounding.

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

Want more on this subject?

Along with Joe, another new agent at BG Literary is Beth Fleisher, who I profiled before.

See all children's related posts and agent info here.

Need to write your query to Joe and want some guidance? Check out The Writer's Digest Guide to Query Letters.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice (Agent Interviews) | Children's Writing | Genre Writing | Graphic Novels | Science Fiction and Fantasy

Wednesday, September 02, 2009 8:43:53 PM (Eastern Daylight Time, UTC-04:00)

Comments [4]

Five Signs a Literary Agent is a Good Match For You
Posted by Chuck

This guest column
by Rose Jensen. She
welcomes your feedback at
Rose.Jensen28(at)yahoo.com.
Read her article on Essential Tips
and Tools for Writers of the Future.

So you’ve got a great book and you want to get it published. You could try to simply market it, sell it and negotiate it on your own, but many new to the business simply don’t feel comfortable doing that on their own. That means that it’s time to find an agent but you don’t just want any agent, you want the right one. How can you know if a literary agent is really a good fit for you and the kind of work that you produce? Here are a five signs that things will work out between the two of you.

Photo from The Pena Picasan

      1. He or she commonly works with books like yours. Finding someone who is actually interested in the kind of work that you’re producing is essential. If you’ve managed to get an agent that commonly works with material in your genre, then you’re on the right track. He or she will have more enthusiasm and know more about what it takes to get your work in the spotlight than someone who doesn’t really focus on the type of work that you do.
      2. He or she pushes you. The best agents shouldn’t just let you be lazy and do what you want. While there should be a balance of power, they should push you to work harder, get more done and actively market your work if you’re not already doing that on your own. There should be a great give and take between the two of you, allowing you to maximize your potential.
      3. He or she is excited about your work. Someone who is not really excited about the things that you’re creating isn’t likely to do too much to make sure that they ever see the light of day. In fact, they may languish on a desk somewhere for months. If your agent seems genuinely enthusiastic about finding a publisher and marketing your book, then you’ve found a keeper.
      4. He or she is there when you need them. If you’re new to the game, you likely have numerous questions about how the whole process works, what you need to do and the kind of deals you should be willing to make. Your agent should be there to help guide you through the process, though hand-holding can’t always be expected. Find an agent who isn’t always mysteriously “out of the office” when you call and you might have a long future of working together.
      5. You actually get along. It might seem pretty basic, but some people assume that because it is a business relationship that they don’t need to actually like their agent. While it isn’t a necessity, this person is someone who is going to be representing your work and who will be tied to it for years to come—it’s much better to have that be someone you actually like and want around rather than someone you merely tolerate.

Want more on this subject?

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Guest Columns

Wednesday, September 02, 2009 8:37:34 PM (Eastern Daylight Time, UTC-04:00)

Comments [4]

Do You Really Need a Literary Agent? Go It Alone?
Posted by Chuck

Q. What do you think about self-agenting and querying directly to publishers?
- Rose

A. It's an option, Rose, sure.
First of all, let's address the question "Do you need an agent?" To answer that, think about the book you're writing. Is it "small in scope, small in sales"? For example, let's say you want to write a book about the history of Rhode Island's involvement in the Civil War. How many copies is that really going to sell? How much money will really be made? Not many and not much, I would suppose. A small book like this can be shopped straight to an academic publisher or university press. In fact, an agent may not want to take on anything like this because their 15% commission would not be worth the time they put into it. If you're writing nonfiction, I'd say there is about a 40 percent chance you don't need an agent. But with fiction, you need one like 90+ percent of the time.

This dude likes to go it alone, too.

Now, if you're making a conscious decision to go it on your own, you will need to be prepared for some things. Publishing house contracts are designed for their benefit, not yours. (Being an editor, I'm not just talking out of my butt here.) So are you knowledgeable in contracts? Can you negotiate without getting angry or emotional? Do you know a good entertainment or contract attorney? Also, know that there are plenty of publishing houses out there (usually bigger ones) that will not deal with unagented writers or unsolicited submissions. But then again, plenty of houses do deal with writers, so you will have options. Just be careful.

Want more on this subject?

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Questions Submitted by Readers

Wednesday, September 02, 2009 8:07:54 PM (Eastern Daylight Time, UTC-04:00)

Comments [1]

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