BARRY EGAN owns a company that markets themed toilet plungers ("fungers") and other novelty items. He has seven overbearing sisters who ridicule him regularly, and leads a lonely, depressed life punctuated by fits of rage. In the span of one morning, he witnesses a bizarre car accident, picks up an abandoned musical instrument in the street, and encounters LENA, a sweet, somewhat mysterious woman who orchestrated the meeting after hearing about Barry from one of his sisters with whom she works.

Barry calls a phone sex hotline for conversation, and the female operator correctly surmises he’s a weak man with money in the bank. The sex line “supervisor,” DEAN, sends four henchmen from Utah to Southern California, where they quickly threaten and extort Barry, forcing him to take out money from a cash machine. This complicates his budding relationship with Lena, as well as his plan to exploit a loophole in a frequent flier miles promotion where he can amass a million miles by buying large quantities of Healthy Choice pudding and mailing in UPC bar codes. After Lena leaves for Hawaii on a business trip, Barry decides to follow her. Upon meeting her, Barry explains that he is in Hawaii on a business trip by coincidence, but he soon admits that he came to pursue a romantic relationship. She kisses him and the pair retreat to a hotel room for more.

After returning home, the four sex-line henchmen ram their car into Barry's, mildly injuring Lena. Normally not confrontational, an outraged Barry attacks his attackers in the street, and fights them off despite being outnumbered. He awkwardly leaves Lena at the hospital to try and end the harassment, and drives to Utah. When he arrives, Dean meets a changed and powerful Barry who explains “I have so much strength in me you have no idea. I have a love in my life. It makes me stronger than anything you can imagine.” Dean agrees to leave Barry alone.

Returning home, Barry asks forgiveness from Lena for abandoning her at after the accident. He plays a simple song for her on the instrument he found and pledges to use his frequent-flier miles to accompany her on all future trips to Hawaii or wherever she goes. She forgives him, and they embrace; lastly, Lena says "So, here we go."

Want more on this subject?

• Read another great synopsis: Starman.
• How to write a novel synopsis.
• One story? You need 5 versions.
• Confused about formatting? Check out Formatting & Submitting Your Manuscript.
• Read about What Agents Hate: Chapter 1 Pet Peeves.
• Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Thursday, December 31, 2009 12:03:15 AM (Eastern Standard Time, UTC-05:00)    Comments [2]

Buy "Indecent Exposure"

NOT ON THE SAME PAGE

Since my first book was published in 2003, my search for an agent has been a long and tedious one. One of the first obstacles I faced was that I didn’t really know what the job of an agent was and therefore, didn’t have a clue what I was looking for. Of course that led to my first choice not necessarily being the right one (meaning I signed with the first agent who showed any interest in my work). And three years and three additional contracts later, I released that agent. Why? Because we wanted different things from my writing career—and that is a recipe for disaster in an agent/writer relationship.

I continued to get publishing contracts and to write books, all the while knowing there was something or someone missing from taking my career to the next level.

"WHAT ABOUT CHRISTINE?"

One day in 2006, during a routine rant about not having an agent, an editor friend of mine suggested Christine Witthohn of Book Cents Literary Agency. My friend's exact words were, “She’s a new agent, but she’s smart. She knows what she’s doing and how to work for you.” This sounded fantastic so I sent Christine an e-mail and she in turn asked for a proposal. Now, the phone call I received from her about two weeks later was not what I’d been expecting. You see, I thought since I had a referral and because Christine had immediately responded by requesting material, that I was a shoo-in. Not so!

Christine’s exact words were, “You don’t need me.” I was devastated, but had to respect her honesty. Besides, she was so nice to talk to, the fact that she was actually rejecting me stung just a little less. I couldn’t really figure out why she said I didn’t need her because I was convinced I did. But I accepted her decision and tried to move on. This meant the search was still on, and I sent out numerous queries to more agents—some that I’d queried in the past and other new ones. This is a very subjective industry; it all depends on the right editor seeing the right manuscript at the right time. Some, I’m persistent if nothing else.

A FATED CONNECTION

In early 2008 when a very reputable agent expressed interest in my work, I was overjoyed. Again, I was convinced I’d found the right agent. Again I was wrong. What was it about me that I just couldn’t find the right person to represent my work? The funny thing was, after only a couple of months with this agent, I had a feeling I’d once again missed the mark. There was no real connection. And while I thought I’d done a good job of explaining what I wanted, where I wanted my career to go, we still came out on opposite sides. That’s not to say that this agent wasn’t good, they just weren’t the one for me.

At this point I still had the same problem; I was sans agent. There were publishing houses that I would have loved to write for but they would only accept agented submissions. Besides that, the contracts were changing—the language becoming increasingly more technical and I knew I wasn’t getting the best deals for myself. So on this agent search, I researched and researched and sent only material that I thought specific agents would be interested in. Meanwhile, in April 2009, I finally got to meet Christine at the Romantic Times Booklovers Convention. I didn't pitch her; I just wanted to meet her. (Plus, I figured how many times did I want this woman to reject me.)

A little while later, I had another proposal and needed some honest feedback—so I called on Christine again for advice. Again, she responded immediately, which I’d always been impressed by because I know how busy agents are. And her response was more like a friend would to another friend’s messages, rather than an agent to an author, so it was very cool! Two months later, I was signing a Book Cents Literary Agency contract. We finally decided we were right for each other. It had taken three years, but I firmly believe in timing especially in this industry. I also believe in fated connections. From the first time I talked to Christine I think we clicked, and while it took another three years for us to actually work together, it was well worth the wait!
 

Buy "Full House Seduction"

Wednesday, December 30, 2009 11:36:43 PM (Eastern Standard Time, UTC-05:00)    Comments [12]

This is a new recurring column I'm calling "7 Things I've Learned So Far," where writers at any stage of their career can talk about seven things they've learned along their writing journey that they wish they knew at the beginning. This installment is from Jessica Monday, freelancer and aspiring book writer.  
 

1. You just have to write. Sit down at the keyboard, pick up the pen, scribble on a napkin; it’s the hardest thing to do and the only one worthwhile. I have a folder where I toss ideas littered on scraps of envelopes and parking tickets. Writing the words out at the moment captures your mood and gives you an entry point to work with later. If you don’t write it, then you don’t have it.

2. Little ideas can always grow bigger. My book started as an idea for a newspaper feature. I was writing for a small town weekly paper in Wyoming and became interested in the story of a strange murder. A pair of writers, Michael and Kathleen Gear, advised me to try for a book, if, of course, I could find enough material. Over the next year I was like a squirrel collecting interviews and hoarding them away. After that year, I knew I’d accumulated the start of what I’d need to do more than a piece for the paper.

3. Writing takes time. I quit the busy newspaper business under the grand auspice of completing my book. That was a year and three months ago. While I know of famous authors who can churn out books in a few months or even weeks, creative nonfiction has evolved differently for me. Altogether I’ve been working on my book for three years and like Santiago in Ernest Hemingway’s The Old Man and the Sea I see myself as having set my hook in a big fish and being dragged out to sea with it until one of us wins the fight. I was extremely naïve about how long the process would take from inception to something marketable. Not only the research, but the writing itself, agonizing over how to compile all of the information and working on the side to make ends. Writing is not for the faint of heart.

4. We must be persistent. Writing is like any form of exercise. You’re better off if you set a discipline and be prepared to pay dues. Make a time to write, even if it’s a half-hour, and treat it like a set appointment. Write it down on your calendar with a specific time and don’t make excuses to skip. Even if you don’t say it to yourself, when you tuck those few sentences or poem away to be finished later, make the time to finish it. If you want to discover your potential as a writer, don’t quit on yourself. Tell yourself working a little bit is better than nothing (because it is).   

5. Find the power in your own voice. I had an English professor say it doesn’t matter how many times the sunset has been described in human history, how you describe it will be different. No one else sees the world exactly as you do. Give yourself the freedom to write whatever you think and don’t worry about what other people will think. Keep it to yourself until you’re ready to share; do whatever you have to do, but let those expressions unfold because they are unique to you.

6. Locate an inner mentor. Lately I’ve been hearing Richard Pryor’s voice in my head when I lose confidence in my work. His vulgar brazenness makes me laugh when I hear my meanest voice saying, “Oh this is such crap, why would you show this to anyone?” He also reminds me to finish writing. Find the end of a piece and you’ve begun to find yourself as a writer. That doesn’t mean that draft won’t be crap. Making a gorgeous, polished piece is the next step. But you have to write it all out before you can start revising and editing. So even if it takes years to finish what you start, keep writing and keep starting and use a positive voice to boost your self esteem. Start a million times and eventually you will finish one of them; it becomes so unsatisfying to never know the ending.

7. Write for publication. People often write for themselves in journals (which is proven fantastic for mental health and plain fun), but the ultimate goal of an artist is communication with an audience. I fought writing for publications because I worried it would take away from working on my book. Actually I found the other writing focused me because I was exercising my craft and learning more about writing; how to ask better questions, trying technique, reviewing my work and looking for holes. The added bonus is you’ll earn money for your work, which gives you more time to write other things. Practice your craft and you’ll have the best of luck in all your writing. 


Want more on this subject?

• Want to pen a guest column? Write me at literaryagent@fwmedia.com
• See Jessica's guest column on attending a writers conference.
• Read more about the dos and don'ts of pitching agents at conferences.
• Confused about formatting? Check out Formatting & Submitting Your Manuscript.
• Read about What Agents Hate: Chapter 1 Pet Peeves.
• Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Tuesday, December 29, 2009 11:06:43 PM (Eastern Standard Time, UTC-05:00)    Comments [1]

GLA: How did you become an agent?
 
MK: I came to publishing through a passion for writing. Early on, I realized that I wanted to educate myself in what happens "on the other side of the desk," with agents and editors. So I started reading manuscripts for the agents at Andrea Brown, fell in love with it, and, about a year later, officially came aboard. In the meantime, I also worked for the children's editorial group at Chronicle Books to see what happens on the editorial side of things. I like to joke and call myself a "triple threat," because I have the writing, the editorial and the agent perspective. My favorite thing is to take on an incredible manuscript and put in a lot of editorial work with a client to make it even better before going out on submission.

GLA: What's the most recent thing you've sold?
 
MK: I recently sold an amazing author/editor debut picture book to Tricycle Press that's called Buglette, The Messy Sleeper. It comes out Summer 2011. There are some other deals in the works, including another debut author/illustrator project, but they're too fresh to talk about. Stay tuned!

GLA: What draws you to kids writing?  
 
MK: Kids and teens don't read like adults do. Most adults read fiction before bed, to put themselves to sleep. Kids devour books, devour them again and tell all their friends. Personally, I love that sense of excitement and discovery. I try to go about my own life that way. Kids and teens have open minds, they see opportunity all around them and they think big. Also, to the kidlit audience, a book is like a friend, a confidante, something to spark their imaginations ... the books I represent could very well change someone's life. There's no better feeling than that.

GLA: You are building steam with this cool new site - Kid Lit. How did it come about?
 
MK: Since I started out writing, I understand what writers go through and what questions they have. I understand how valuable and gratifying it is to hear from professionals in the industry. Since I can't chat with every writer individually, I keep the blog to reach out, be approachable and provide correct, actionable and inspiring information. A lot of agents and editors seem like shadowy gatekeepers in some ivory tower. I want blog readers (potential future clients, I hope!) to get to know me and my philosophies. I've been getting great submissions as a result, things that are right up my alley.

GLA: You seek historical MG/YA works. Any time periods of special interest? 
 
MK: I've been taken recently by the 19th century, but 20th century history is also very interesting. Historical is best for me if I get to learn about some hidden history or see a part of the US or world where something unique is going on. All historical has to be really strongly justified for me to like it, and it has to have a hook that's fascinating and exciting for modern readers. One bit of advice I like to give writers about historical fiction: even if people spoke or described stuff in an affected way in the days of yore, that's no excuse to write in a dry or stilted style. Dialogue and description still has to be fast-paced, fluid and engaging.

GLA: What do you pray for when tackling the slush pile. Other than "good writing," what, specifically, are you looking for in the kids writing world that's hard to find?

MK: Voice is essential when writing for kids. Any kind of moralizing is an immediate turn-off. The people who succeed at writing for kids and teens respect their readership and acknowledge that this time in a person's life is just as rich, vibrant, smart and complicated as adulthood is. Other than that, personally, I'd love to find a really smart dystopian YA novel, like M.T. Anderson's Feed, anything with a drama or theatre setting and a really strong, realistic boy voice for the YA market. Mysteries are always fascinating to me, too!

GLA: Share your wisdom with us real quick. As someone who doesn't read much fantasy, help me (and other writers, hopefully) understand what kind of fantasy you want to see vs. that which you don't.  On this note, what is the difference between urban fantasy and paranormal?
 
MK: I'm in the same boat as you. High fantasy often goes right over my head. I love fantasy that's set in our world or close to it, which I'd more accurately describe as "magical realism." Something where the fantastical element is one of the only quirks about an otherwise realistic world. I like books that hit too close to home, like they could almost happen to me. I will never end up piloting a ship through the galaxy or butting heads with dragons, but I just might develop the power to pause time one day (a girl can dream!). 
      As for paranormal vs. urban fantasy, the main difference with urban fantasy is a darker side, an edge, some grit. Paranormal can take place in a historical setting or attract younger readers. Urban fantasy usually takes place in a modern setting or the near future, with characters who are getting into more dangerous or sexy situations. The readership is often older teens. There's also usually a strong romance plot. It's a specific slice of the larger paranormal pie.

GLA: You just hosted a query contest on your Kid Lit blog. Looking over all those queries, what advice can you give writers?
 
MK: Make me care. A lot of queries don't tell me what's important to the character, what's at stake, how things go from bad to worse for them. People read to bond with people. Even if you've got a blockbuster plot, the character is still important because they're what will pull me into the other elements of your story. Focus on them. Keep things simple and brief. Also, I'm sure you have lovely children, pets, hobbies, anecdotes, pictures, friends ... but, no offense, unless they're directly related to your project, maybe leave them out of your pitch.

GLA: Describe your dream client.
 
MK: A dream client knows how to write very well, wants to learn about craft and revision, has good habits that keep them productive, shares work with a critique group before giving it to me, and is somewhat savvy about the publishing industry. Even after they have an agent and editor, an informed writer has an edge in today's market. There's no excuse for being blissfully unaware these days. Publishing is a fascinating industry and if you hope to work in it, start making connections, reading blogs, participating. Buy books, read them, go to author events, go to trade shows, meet other writers and authors, attend conferences. There's literally a whole world of opportunity available to you.

GLA: Will you be at any upcoming conferences where writers can meet/pitch you?
 
MK: Yes! I love going to conferences, meeting writers, critiquing manuscripts, giving workshops and hearing pitches. I will be at the SDSU conference in San Diego in January 2010, at the San Francisco Writer's Conference in February 2010, at the Big Sur Conference in March 2010, and that's just the next few months. I constantly update the "Events and Conferences" list on my website, so check there for my most current schedule.

GLA: What's something about you writers would be surprised to know?
 
MK: I'm a passionate traveler. My favorite places on the planet (that I've seen so far) are Ireland, England and Costa Rica. I'd love to get to Japan, Australia and Spain someday, as well as do a road trip across America.

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

MK: Read your butt off, grow a new butt and read it off again. Lather, rinse, repeat. A large chunk of my writing knowledge comes from my aggressive reading load. I read both published, unpublished and soon-to-be-published books. In doing so, I internalize plotting, character arc, tension, pacing, description, dialogue. Plus, for me, it's research. There's no excuse not to be reading voraciously within and outside of your chosen genre or market.

Want more on children's writing?

• Examine Great High-Concept Hooks for Children's Books.
• New children's agent seeking submissions.
• How to write picture books for kids.
• Buy the kids writers' bible: the Children's Writer's & Illustrator's Market.  
• Interview with kids agent Joe Monti of Barry Goldblatt Literary.
• Read a successful young adult query: "Wake" by Lisa McMann.
• Confused about formatting? Check out Formatting & Submitting Your Manuscript.
• Read about What Agents Hate: Chapter 1 Pet Peeves.
• Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Monday, December 28, 2009 2:09:14 AM (Eastern Standard Time, UTC-05:00)    Comments [1]

I've talked about platform before on the blog but it's always a nice refresher to get a different perspective and a reminder of 1) what it is, and 2) why it's important. To do that, I'm turning to a book I'm reading right now: Christina Katz's Get Known Before the Book Deal. Enjoy an excerpt below.

 
What is Platform?
 
The world platform simply describes all the ways you are visible and appealing to your future, potential or actual readership. Platform development is important not only for authors; it's also crucial for aspiring and soon-to-be authors. Your platform includes your Web presence, any public speaking you do, the classes you teach, the media contacts you've established, the articles you've published, and any other means you currently have for making your name and your future books known to a viable readership.
 
Your platform communicates your expertise to others concisely, quickly, and decisively with clarity, confidence and ease. How visible are you? How much influence do you have? How many people know and trust you? If others recognize your expertise on a given topic or a specific audience or both, then that is the measure of your platform success. 
 
Three Key Questions
 
Here are three simple questions I always ask workshop partiocipants about platform. The answers will help clarify where you want to be that all-important one year from now.
 
      1. Who are you known as in the world as a writer now?
      2. How do others see you now?
      3. Who would you like to be known as in one year?
 
It's important not to exaggerate these descriptions. If you're not sure, ask some people who know! Be realistic, and set a reasonable goal for the one-year time frame. Don't try to go from completely unknown to bestseller. That's very unlikely, especially if you don't have a book deal yet. But perhaps from completely unknown to well known in your city, region or state is reasonable.


Want more on this topic?

• Footnotes: 6 articles on building a platform.
• Buy Christina Katz's book on platform, Get Known Before the Book Deal.
  
• Platform and the debut of your book.
  
• Confused about formatting? Check out Formatting & Submitting Your Manuscript.
• Read about What Agents Hate: Chapter 1 Pet Peeves.
• Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Sunday, December 27, 2009 1:48:34 AM (Eastern Standard Time, UTC-05:00)    Comments [1]

You ever see Superman IV? It was the one where Lex Luthor creates a "Nuclear Man" who fights with Superman. Mariel Hemingway is in it and she's awful. The plot is awful. The whole thing is just a terrible drive down Awful Street.

But as awful as it is, I think it has a connection to the world of writing. Let me explain. Perhaps you remember Superman III with Richard Pryor? That one was awful, too. Richard Pryor had no business being in that movie, yet there he was - squeezed into the plot in an attempt to attract box office dollars. Anyway, after the disappointment of Superman III, actor Christopher Reeve wasn't interested in another Superman film. Producers came to him and talked about a fourth installment, but he wasn't biting. Why? Because he knew it would suck (and suck it did). So if he knew Superman IV would suck, and he didn't want to do it in the first place, how on Earth did that movie ever get made?

Two words: Street Smart.

Street Smart was a nice little drama script that Reeve had been trying to get off the ground for years. He loved the project but nobody would finance the picture. The producers who owned the Superman movie rights told Reeve they would bankroll any picture of his choosing in exchange for doing Superman IV. He couldn't resist, and he signed the papers. Street Smart was released in 1987 and kinda came and went without much hurrah. Morgan Freeman played a nasty pimp in it and got his first Oscar nomination. You can see clips of him online, being the man. He totally stole that whole movie. But the point here is not to praise Morgan Freeman and his soothing voice. The point is to show that, like Christopher Reeve in the mid-80s, we writers sometimes do things for love and sometimes we do things for money. And that's normal; that's perfectly fine.

David Morrell, the thriller writer, once told me that only about 250 people in the country make their living soling writing novels. All the other writers must do other writerly tasks to bring in money. They teach; they write press releases; they write radio copy; they pen articles. Think about the movie Jay and Silent Bob Strike Back, when Matt Damon and Ben Affleck (playing themselves) talk to one another about alternating with "a safe movie" and then "an arthouse movie."

And they're pretty much right (in my mind, at least). You have to take on some projects for love - projects that might fail. This usually refers to fiction. And you will need to take on writing that doesn't inspire you but pays the bills. Perhaps that's travel articles for the local paper or running a newsletter of some kind. Just know that it's normal, and we're all doing the same thing.

Saturday, December 26, 2009 1:22:58 AM (Eastern Standard Time, UTC-05:00)    Comments [2]

"Books are the quietest and most constant of friends;
they are the most accessible and wisest of counselors,
and the most patient of teachers." ~Charles W. Eliot

Footnotes is a recurring series on the GLA blog where I pick a subject and provides several interesting articles on said topic. "Best Of" lists abound this time of year and books are no exception. Just in case you’re still looking for that last minute holiday gift or a good book to read, I’ve included links to popular best book lists of 2009. Several authors got it right and are included in multiple lists.

1. Publisher’s Weekly: Their list here.

2. Notable Children’s Books of 2009 by the ALA (American Library Association): Their list here.

3. Stephen King lists his Top Ten List when it comes to books. His list here.

4. The Best Young Adult Books, by LibraryJournal.com. The list here.

5. New York Times Book Review lists their picks. The list here.

6. Good Reads - a more populist site. The list here.

7. A Huge Compilation of Lists: How much time do you have? The massive list here.

Want more on this topic?

• Page 1: How to Start Your Romance Novel.
• Agent Janet Reid provides 20 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 2011 Guide to Literary Agents today!

Thursday, December 24, 2009 3:19:19 PM (Eastern Standard Time, UTC-05:00)    Comments [0]

Whether plot or character comes first when composing a novel is sort of like the chicken and egg thing. It greatly depends on the author’s point of view. Plot and character are so entwined that it’s often hard to even separate the two. Like all elements of a novel-dialogue, exposition, description, pacing-plot and character are woven throughout. I think writing can be compared to weaving, where the threads are blurred within the composition of the overall pattern.

Guest blog by Kathryne Kennedy, author of the
Relics of Merlin series; she is best known
for her historical paranormal romances. She
has also written a fantasy romance and
a new Victorian historical romance,
titled My Unfair Lady. 

After several books I’ve found that, although there are guidelines to writing, there are no hard and fast rules. That’s why the best authors appear to break them. So I would hesitate to give a definitive answer to that question, and can only offer what I personally do as a writer when starting a new novel.

I start with plot. I’m probably breaking the romance guidelines, as romances are known for their character driven stories. But then again, most of my books are a mix of fantasy and romance, so they’re a bit different anyway.

For me, I have to know where I’m going before I create my characters, even if it’s only a general idea of the plot. Once I have my external conflict (plot) I can then create the characters who would suffer the worst internal conflict within the story. So, if I have a storyline where the heroine must leave her village to find her missing father, who is tangled up in all sorts of political intrigue, I will create a character who is not an adventuress at heart. She’d prefer a cozy, quiet life of knitting and cooking and raising babies. The last thing she would want is to leave her peaceful home and go wandering about the dangerous countryside, eventually becoming tangled up in the same intrigues that cost her father his life. Her internal conflict will be so much greater than creating a character who longs for adventure and excitement. And her growth would be much more rewarding and life-altering.

And then this is where it gets interesting. Because once I create the characters, and plunk them into the story, they will take over, sometimes changing the plot drastically from what I’d first envisioned. And I let them. Because isn’t that the magic of writing, when the words aren’t coming from you, but the characters that you’ve created?

My upcoming release, My Unfair Lady, is a Victorian romance, and probably more character driven than any other book I’ve written. Inspired by Shaw’s Pygmalion, I knew the plot would involve a brash American who comes to London and hires an impoverished duke to turn her into a lady. I knew that someone would be trying to kill the duke, and why. And then I created the characters. The heroine’s reasons for wanting her transformation seemed obvious at first, but then I gave her a secret, one that made her want the things she did, without knowing why, at least at first. When I created my hero I gave him a superficially glamorous life, and a boredom with it that would make my heroine seem like a breath of fresh air-that would make his desire to change her conflict with his growing attraction for her just the way she was. And then the magic happened. The internal conflict became so pronounced that it overwhelmed the external conflict, and I let them loose to figure out each other’s secrets. However, the external plot continued to throw them together time and again to give them a chance to do so. And it was pure joy to watch these two characters discover the truth about themselves, and fall in love with each other while doing so.

So should you start with plot or character? That’s all up to you, and the story you envision writing. But if you’re not quite sure, try starting with a general plot outline or idea, and create characters who would hate to be put into the situation you’ve created. And see where the magic takes you.

My Unfair Lady by Kathryne Kennedy,
a Library Journal Editors pick, and
a Starred Review from Publishers Weekly.

Want more on this topic?

• 5 Signs a Literary Agent is a Good Match For You.
• See examples of Successful Queries that agents liked.
• Check out The Writer's Digest Guide to Query Letters.  
• How to Write a Synopsis for a Novel.
  
• Facebook, Twitter and Literary Agents.
• Confused about formatting? Check out Formatting & Submitting Your Manuscript.
  
• Read about What Agents Hate: Chapter 1 Pet Peeves.
• Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Thursday, December 24, 2009 2:59:45 PM (Eastern Standard Time, UTC-05:00)    Comments [6]

She seeks: literary fiction, mystery, women's fiction, historical fiction, thrillers/suspense, short stories, multi-cultural, offbeat/quirky, young adult, middle-grade, and children's literature. Her nonfiction interests are: history, biography, religion, science, drama/music, multi-cultural, memoirs, travel, adventure/true story, pop culture, narrative, photography, film & entertainment, cultural/social issues, and juvenile. 

GLA: How did you become an agent?

KG: I’m an insatiable reader—I’m always on the hunt for the next life-changing read, but as soon as I finish a rare find like that, I think, “yes, wonderful, but I want more!” I think it is important never to be fully satisfied with what’s on the shelves—when you’re complacent, the spark is gone. That drive brought me to agenting, and now I discover and nurture these books professionally. I also get to find other people who cherish these works as much as I do and are willing to fight alongside me to get them in reader’s hands. While books can be intensely personal, turning them into a shared experience is one of the joys of the job. 

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

KG: I’ve been receiving and requesting a lot of young adult and middle grade, but I also want more historical fiction. The key to historical fiction is creating characters and plots that are engrossing no matter what the era, and the historical setting should inform the story and not overwhelm it. I am also looking for historical mysteries and lurid thrillers that aren’t in the terrorist or conspiracy theory mold—in my opinion, you don’t need far-reaching plotlines and global masterminds to deliver excitement.  
      I need more nonfiction that isn’t misery driven or inspirational—I want to learn something new! I’m always interested in well-researched, personal, and enlightening nonfiction, but having a strong writing platform is at the forefront of everyone’s mind, especially since much of marketing and publicity is placed on the shoulders of the author from the beginning.  
      As agents, we are constantly dealing with the conundrum of publishers only throwing marketing dollars into something that is already wildly popular, and authors need to be well aware of this as well. 

GLA: You actively seek kids’ literature. What draws you to this category?
 
KG: There is an infectious enthusiasm in children’s and young adult literature, and I think it is because the desire to inspire readers is much more palpable than it is in adult, which tends to cater to a market instead of creating it anew. Perhaps that’s one of the shortcomings of the way we view books today—we are less zealous about reading into adulthood—and some books can feel more like medicine than magic. 

GLA: Within juvenile lit, do you accept everything from picture books through young adult lit?

KG: I am especially interested in young adult and middle grade, but I do consider picture books as well. Illustrated books are such a specialized market—it requires a completely different skill set to be able to parse out the prose and the artwork—but I welcome the challenge.   

GLA: You are drawn to “surprising protagonists.” Can you give us a few examples of what constitutes such a protagonist to you?

KG: Agents and editors are always trying to find different ways to intelligently express the phrase: “I want something new.” True innovation is difficult, but you can give yourself a head start by building a story around a protagonist that we’ve never heard from before and is unpredictable. Although it is a memoir, David Small’s exploration of his childhood throat cancer in Stitches is a wonderful example of a main character that is inherently interesting. Understanding why characters make the hard choices is also integral to building them into a truthful entity—and if your protagonist isn’t worrying over any difficult choices, that’s a problem. Bolaño’s Savage Detectives is populated with a rogue cast, and trying to figure out why they do the things they do is a mystery unto itself. 

GLA: Talk to us a bit more about your interest in short story projects.

KG: I am absolutely enamored with the short story as a prose form. When done well, short fiction can be transportive, revealing, and deeply satisfying. Because writers have to be much more economical with their words, writers must get to the crux of the issue without padding, and I find short stories much more truthful for this reason. Unfortunately, there are very few places where short stories are published, let alone allowed to flourish, so it can be very frustrating to try to sell. I think we all brace ourselves for the inevitable, “This is great, but what about a novel?” 

GLA: You are not interested in high fantasy, straight science fiction, or paranormal.  Are writers better off not sending you manuscripts with any elements of the fantastic at all, or are there specific subgenres of sci-fi and fantasy that do grab you?

KG: I don’t represent adult speculative fiction, but I love literary fiction with fantastical or dystopian elements. I think it is fascinating to see a glitch or twist in reality taken out to its logical conclusion and the dilemmas this presents for the characters. I am much more open to fantasy and sci-fi in YA and MG, but I have somehow escaped the pull of the vampire or vampire spin-offs, so no dragon slaying angel faeries for me!  
      Regardless of the mind-bending elements, the story must reveal something about humanity itself. I’ve recently become smitten with Patrick Ness’s Chaos Walking trilogy (and especially The Ask and the Answer) because he shows us how sometimes sending people to alien planets can reveal more truths about human nature than you would ever see on Earth.  

GLA: What are your three biggest pet peeves that most commonly crop up in the first chapters of a partial?

KG: 1. I don’t enjoy frequent changes in perspective or the point of view with no delineation between sections. If you are writing in multiple voices, they all must be strong, distinct, and have their own chapters. It’s also frustrating to jump between multiple characters even in third person—with no anchor to the story, it is hard to create that bond with the reader and build momentum. I also don’t like it when a mystery switches to the point of view of the killer—where’s the fun in that?  Also annoying is when a children’s story switches to perspective of the adults.
      2. Nothing happens—no dead bodies, no problems, no momentum, no reason for me to read any further.  
      3. For nonfiction, a vague and ultimately unconvincing proposal. There are so many resources out there for how to write nonfiction proposals that it is maddening when a proposal doesn’t include a beefy marketing section or a competition discussion—including some of these things can be an easy fix, but it is also very revealing if the author hasn’t yet created a marketing game plan. 

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

KG: I prefer e-mail queries (dca[at]doncongdon[dot]com; put "Query for Katie" in the subject line) with the first chapter included in the body of the e-mail (we don’t open email attachments). I think authors lament the fact they have to create a pitch-perfect query letter, but sometimes an inability to convey concisely a project can demonstrate an inherent problem with it. At the same time, queries can sometimes be misleading and fail to demonstrate the writing voice, so it’s immensely helpful to have a chapter, too. Please only query one agent here at the agency. 

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

KG: I’m still putting together a schedule for next year, but I’m planning on the Writer's Digest BEA Pitch Slam on May 24, 2010 (2009 site here) and Thrillerfest.  

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

KG: Read and write every single day, and be evangelical about what you’re reading and loving. No amount of marketing or publicity dollars will ever trump the power of word-of-mouth, and sharing the emotional experience is why we’re all here.
   

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

Monday, December 21, 2009 9:19:36 PM (Eastern Standard Time, UTC-05:00)    Comments [4]

"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.

   

It just goes to show that sometimes a technology-fail can be a blessing. Everything happens for a reason, and when things finally fall into place, it’s the best feeling in the world.

If you want to write books for kids and
teens, get the bible for kids writers:
the 2011 Children's Writer's & Illustrator's Market.

Sunday, December 20, 2009 2:27:52 PM (Eastern Standard Time, UTC-05:00)    Comments [3]

"There's nothing to writing. 
All you do is sit down at
a typewriter and open a vein." 
~ Walter Wellesley "Red" Smith

Footnotes is a recurring series on the GLA blog where I pick a subject and provides several interesting articles on said topic. You never get a second chance to make a first impression that goes for the first page of your manuscript too. Today I’m serving up five articles to help you make that first page count!

1. Agents tell all. Here on Chuck's GLA blog, freelancer Livia Blackburne discusses the 7 reasons why agents stop reading your first pages.

2. Kids must sound like kids. Writer Anne Spollen asks teens why they stop reading. The number one response: "It doesn’t sound like anyone they know."

3. Great examples of openings. Can you guess the book that claims these openings? On the Blue Rose Girl Blog, writer Libby Koponen includes seven openings that have at least one thing in common, they each thrust the reader into the story. Check out part one and two of this post.

4. Secrets from editors at an SCBWI event. Writer Tara Lazar recounts common problems children’s book editors find when they critique first pages.

5. General opening tips. WD editor Jane Friedman discusses the big mistake you want to avoid in your story opening.

Want more on this topic?

• Page 1: How to Start Your Romance Novel.
• Agent Janet Reid provides 20 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 2011 Guide to Literary Agents today!

Sunday, December 20, 2009 2:07:18 PM (Eastern Standard Time, UTC-05:00)    Comments [1]

I was surprised to realize that all men (some women, too?) share a common connection - a common link that bonds us together. Just discussing this subject took an entire lunch this week; feelings ran that deep. And that link is this: Every several years, we must return to our favorite video game and beat it again, in what can best be described as a spiritual experience. It's like a pilgrimage to a holy land, or Vulcans having to mate every seven years. It's just an irresistible draw to do something and scratch an itch. And for me, this tradition will take place this week. I expect it will consume approximately six hours.

For me, the game that calls in the night is The Legend of Zelda: A Link to the Past, for Super Nintendo. This is the game that just changed my life growing up; it was that awesome. Who played the game and wouldn't remember the seamless blending of the Light World and Dark World? The Master Sword? Finding the Flute in the Grove? No one, that's who.

And for those who enjoyed systems a bit before my time, let's also give a shout-out to the game that still wakes my father in a cold sweat from time to time - and that game is Dragon's Lair. Yes, I'm talking about that Dragon's Lair game - the one on Laserdisc that was way ahead of its time that you can no longer find anywhere. Man, I think the only reason we even went to the Jersey Shore as youngsters was so that he could find that machine on the boardwalk and play for hours.

So to all those people out there who share their burning of the blood, I salute you.

Saturday, December 19, 2009 1:48:52 PM (Eastern Standard Time, UTC-05:00)    Comments [4]

Me teaching at the conference. I gave
two presentations - one on queries to
agents, and another on nonfiction
book proposals.

Want more on this subject?

• Word Count Guidelines for Novels and Children's Books.
  
• Check out agent Don Maass's popular book, The Fire in Fiction.  
• 20 Tips on Writing a Query Letter
  
• How Money Works: Book Royalties, Advances and Flat Fees.
  
• What are the BEST writers' conferences in the country?
  
• Confused about formatting? Check out Formatting & Submitting Your Manuscript.
  
• Read about What Agents Hate: Chapter 1 Pet Peeves.
• Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Friday, December 18, 2009 2:07:49 PM (Eastern Standard Time, UTC-05:00)    Comments [3]

• Successful Queries: (Literary/Upmarket Fiction) "Last Will of Moira Leahy"
• Successful Queries: (Kids/MG) "Sway"
• Successful Queries: (Crime/Thriller) "A Bad Day for Sorry"
  
• Confused about formatting? Check out Formatting & Submitting Your Manuscript.
  
• Read about What Agents Hate: Chapter 1 Pet Peeves.
• Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Thursday, December 17, 2009 3:52:42 PM (Eastern Standard Time, UTC-05:00)    Comments [1]

• How to Write a Query Letter. 
• What Should You Write in the "Bio Paragraph" of a Query Letter. 
• Why Your Manuscript Can Get Rejected, by Hallie Ephron.
• Confused about formatting? Check out Formatting & Submitting Your Manuscript.
• Read about What Agents Hate: Chapter 1 Pet Peeves.
• Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Thursday, December 17, 2009 3:38:03 PM (Eastern Standard Time, UTC-05:00)    Comments [0]

Holly repped Living the Vida Lola

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

Tuesday, December 15, 2009 11:10:48 AM (Eastern Standard Time, UTC-05:00)    Comments [1]

• New agent: Susan Hawk of The Bent Agency.
• New agent: Mary Kole 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 2011 Guide to Literary Agents today!

Monday, December 14, 2009 1:04:58 PM (Eastern Standard Time, UTC-05:00)    Comments [0]

• Page 1: How to Start Your Romance Novel.
• Agent Janet Reid provides 20 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 2011 Guide to Literary Agents today!

Monday, December 14, 2009 12:51:36 PM (Eastern Standard Time, UTC-05:00)    Comments [1]

And now: a great guest column from picture book writer Jean Reidy, and her thoughts on the Top 10 Picture Book Takeaways from the Rocky Mountain SCBWI Conference. The panel she's writing about was led by kids book editor Allyn Johnston and kids book illustrator Marla Frazee.

Jean Reidy is a freelance writer and
children's author. Her first children's
book, Too Purpley! comes out in Jan.
2010 (Bloomsbury) and will be followed
by Too Pickley! and two other books.

10. Beware of dialogue-heavy picture book manuscripts.

9. The only beef editors and agents have against rhyming picture books is that they're so often poorly written.

8. Manuscripts need to be more perfect than ever before they're ready for submission.

7. While marketing yourself is certainly important, a writer's most important job is to make his/her book amazing.

6. Perfect picture books are like a dance between text and illustrations.

5. Adding just one word - the perfect word - to a picture book text, can carry layers of emotion like wistfulness, uncertainty or imperfection.

4. Picture book pacing is a combination of text on the page, text-free pages, punctuation, page turns, timing and breathing.

3. Even humorous picture books carry an emotional truth and strike an emotional and harmonic chord at the end.

2. Picture book endings should disarm us. They must have a touch of mystery, a touch of magic, and space for the reader to fill in the ending or ponder it.

1. If you ever have a chance to see Allyn Johnston and Marla Frazee present together, don't miss it. You'll leave with inspiration (and laughter!) for a lifetime.

Buy "Too Purpley!"

Want more on this topic?

• How I Got My Agent: Picture book writer Kristyn Crow.
  
• Interview: Kids agent Mary Kole.
  
• 5 articles on writing picture 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 2011 Guide to Literary Agents today!

Sunday, December 13, 2009 3:18:44 PM (Eastern Standard Time, UTC-05:00)    Comments [2]

"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.

A PRO IS NEEDED

When I found out I was going to write a book for Writer’s Digest Books, I was thrilled. I smiled nonstop for about a week. I called family and friends. I did a little happy dance ... and then I sent an e-mail to Jessica Faust at Bookends Literary agency.

I believe in using experts to help me in my life. I have a wonderful tax accountant, who I inundate every year with hopefully-not-too-irritating questions. When my husband and I decided to take out the eighty-foot tree threatening to turn our house into a duplex, we hired a fantastic arborist and let his crew carry their chainsaws up into those top branches. When I knew I would be reading and signing a publishing contract, I wanted another expert on my side. Another one I could trust. Luckily, I knew that Jessica fit those qualifications. How did I know? Because of my critique group, which, yes, does more than critique. We swap writing books, brainstorm projects, and talk about the publishing process.

THE VALUE OF WRITING FRIENDS

One writer in the critique group, Terri Thayer, had been talking about her agent. Terri is the author of two mystery series, both represented by Jessica. Luckily, I found out that Jessica also represents nonfiction. I knew from listening to Terri, and from reading the BookEnds blog, that Jessica was smart and direct—someone I’d be more than happy to work with.

In my e-mail to Jessica, I introduced myself, mentioning both my connection with Terri and the likelihood of a contract from Writer’s Digest Books. Jessica answered quickly, and we set up a time to talk on the phone. In that conversation, we both asked questions; we both talked about our goals. The butterflies in my stomach—the ones that had landed there at the thought of the book and the newer ones that had showed up for this phone call—all settled down. Jessica’s ease and experience relaxed and reassured me. I hung up, confident that I had found my expert. And I did another little happy dance.

HOW I KNEW

This makes my path to representation sound like a few snaps of my fingers—fast and easy. My decision to contact Jessica, though, and my choice to sign with her were based on the research I’ve done over the past few years—reading Jessica’s and other agents' blog, talking with agents and editors at conferences, and listening to my critique partners and writing community. Had I planned on the opportunity to write this book? Frankly, no. I was educating myself so that I’d be ready, when the time came, to publish my fiction. The Writing & Critique Group Survival Guide came about as a wonderfully unexpected surprise. Luckily, because I’d been paying attention, I was able to move quickly, to know what and who I wanted, and to act on that goal.

Jessica negotiated my contract. She thought of things that would never have occurred to me. She explained the legal language and answered all my questions. She took care of everything I needed her to. And me? I got to concentrate on the part I wanted to be doing. I got to write.

Buy "The Writing & Critique
Group Survival Guide"

Want more on this topic?

• Want to pen a guest column? Write me at literaryagent@fwmedia.com.
• See all posted stories of writers finding their agents.
• Confused about formatting? Check out Formatting & Submitting Your Manuscript.
• Read about What Agents Hate: Chapter 1 Pet Peeves.
• Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Sunday, December 13, 2009 3:01:03 PM (Eastern Standard Time, UTC-05:00)    Comments [0]

Just look at little Graham's popped collar!

And that white-on-white Yankees cap flipped to the side.

He's ridiculous, and he was the hit of a recent party themed "Hot Chicks & Douchebags" (after the successful humor book). What a lovable clown...

Sunday, December 13, 2009 11:51:19 AM (Eastern Standard Time, UTC-05:00)    Comments [3]

I was kind of "off the grid" Friday (planning a party - see next post blog entry), which explains why I didn't post this earlier. Friday was named "Unofficial Agent Appreciation Day," so I wanted to post a quick something recognizing my agent, Sorche Fairbank.

That's Sorche in the middle. I was
surprised to learn I have taken so
few pics of her. I took this one in NYC.

Why is Sorche cool? Three reasons immediately pop to mind.

1. She guides my projects and makes them better. She's always throwing out ideas on how to make funny ideas funnier, and make good ideas great. In fact, knowing that she was full of ideas was the reason I was impressed with her when we first met in 2006. She doesn't just bark orders - she provides suggestions, and offers helpful advice.

2. She doesn't immediately forget about a project and move on. She stays with something - giving marketing ideas, or ideas on follow-up books. She's a fan of finding a good idea and milking it for all we can.

3. She's whipsmart at contracts. Negotiating contracts is one of an agent's most key responsibilities, and Sorche is a whiz kid in making a contract better. I'm not a big fan of poring over minutiae, so thankfully, she is very good at it.

So what about you? Have you thanked your agent today?

Saturday, December 12, 2009 1:01:30 PM (Eastern Standard Time, UTC-05:00)    Comments [1]

It's no secret that the publishing industry is hurting a bit money-wise. It's up to all of us to do our little part, and there's no better time than Christmas. Send out e-mails and ask friends and family what books they want for the holidays. Then suggest some for yourself as possible gifts. Heck, they're gonna get ya something anyway, so it might as well be a book you want!

Some of the gifts I'm looking forward to this Christmas are The Dirt (the story of Motley Crue), Malcolm Gladwell's Outliers, and a subscription to The Week, which is my favorite magazine (well ... except for Writer's Digest, of course .

And speaking of Writer's Digest, let me throw out some of my favorite WD items that make for great gifts. These are my "Editor's Picks" for the holidays:

Chuck's Holiday Gift Picks:

1. A subscription to the magazine. In May, WD featured a conversation with Stephen King and Jerry Jenkins. With the January issue, we celebrate 90 years with 90 tips of advice from over the years. What else do I have to say? The magazine has it all - craft, business, markets, conferences, interviews, contests and everything else. If you're going for bundle value, a mag subscription is included in the VIP Program along with a sub to WritersMarket.com and a whole bunch of other stuff.

2. Formatting & Submitting Your Manuscript. Yes, I'm biased because this is my book, but let me tell you a story about it real quick. At the last conference I spoke at (South Carolina Writers' Workshop), this book sold out quicker than any other book at the Barnes & Noble table - and I'm not just talking about my books. It was the first empty spot out of any books. This is the third edition of the book, and people seem to love it because it's a one-stop resource for writing and submitting anything at all, be it short stories or novels or screenplays or whatever.  

3. Getting Started in Writing: An Online Class. This was the first class I ever taught for Writers Online Workshops. Although I know longer personally instruct it, I recall this one, in particular, was a lot of fun and got people fired up to write. It's designed to challenge you in several ways so you can figure out what you enjoy and where your strengths lie.

4. Handbook of Magazine Article Writing. This was probably the first book I ever read on writing outside of assigned textbooks in school. There's a reason it's sold more than 100,000 copies - it's good! If you're interested in freelancing for magazines, this is your book.

Saturday, December 12, 2009 1:21:42 AM (Eastern Standard Time, UTC-05:00)    Comments [0]

• Word Count Guidelines for Novels and Children's Books.
  
• Check out agent Don Maass's popular book, The Fire in Fiction.  
• 20 Tips on Writing a Query Letter
  
• How Money Works: Book Royalties, Advances and Flat Fees.
  
• What are the BEST writers' conferences in the country?
  
• Confused about formatting? Check out Formatting & Submitting Your Manuscript.
  
• Read about What Agents Hate: Chapter 1 Pet Peeves.
• Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Friday, December 11, 2009 10:18:49 AM (Eastern Standard Time, UTC-05:00)    Comments [1]

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 22nd installment in this series is with agent Kristin Nelson (Nelson Literary) and her author, Courtney Milan, for her book, Proof by Seduction, a historical romance.

Buy "Proof of Seduction"

• Successful Queries: (Literary/Upmarket Fiction) "Last Will of Moira Leahy"
• Successful Queries: (Kids/MG) "Sway"
• Successful Queries: (Crime/Thriller) "A Bad Day for Sorry"
  
• Confused about formatting? Check out Formatting & Submitting Your Manuscript.
  
• Read about What Agents Hate: Chapter 1 Pet Peeves.
• Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Thursday, December 10, 2009 11:27:33 AM (Eastern Standard Time, UTC-05:00)    Comments [3]

I always tell people that if they're confused as to how a novel synopsis
should look, simply go to Wikipedia. Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis. A lot of them are too long; a lot of them are poorly written; but some are good, and you will get a sense of how they work. Or—you could just let find good ones for you and edit them a bit.
 
This time it's Eternal Sunshine of the Spotless Mind, my first real attempt at a "literary fiction" story. A lot of the magic of this story is in the dialogue and character interaction, but those are tough things to show in a synopsis. But don't be worried—the point of a synopsis is just to show the framework and front-to-back vision of the story. Agents want to see that your Act II isn't murky, or that your story doesn't have an ending. Also, I realize that Dr. Howard's real name is actually Dr. Howard Mierzwiak, but we're trying to keep things simple here.

Besides this literary fiction synopsis, I've also posted examples of a young adult story (Bill & Ted), a middle-grade adventure (Flight of the Navigator), a thriller (Proof of Life), women's fiction (Peggy Sue Got Married), science fiction (Starman), fantasy (Dragonslayer), mainstream fiction (Witness), and historical/epic (Gladiator). You can see all posted synopsis examples by clicking on the "Synopsis Writing" category on the left-hand side of this page.

Wednesday, December 09, 2009 10:52:16 AM (Eastern Standard Time, UTC-05:00)    Comments [1]

• 5 Signs a Literary Agent is a Good Match For You.
• See examples of Successful Queries that agents liked.
• Confused about formatting? Check out Formatting & Submitting Your Manuscript.
• Read about What Agents Hate: Chapter 1 Pet Peeves.
• Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Monday, December 07, 2009 9:52:43 AM (Eastern Standard Time, UTC-05:00)    Comments [0]

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 Natalie: Natalie is the submissions manager at the agency. She also handles foreign tax and permission requests. She started as an intern at the Sandra Dijkstra Literary Agency. After graduating from the University of California, San Diego with a B.A. in Literature/Writing, Natalie started as a columnist at the San Diego Union Tribune writing book reviews and author profiles. She recently returned to work full time at the agency, and currently still contributes freelance for the Books department at the Tribune.

She is seeking: "historical and narrative nonfiction (including memoir, biography, and popular science/culture) and literary and creative fiction in these areas: historical, young adult/teen, women’s, romance (contemporary and historical), cross-cultural, and select paranormal. She is looking for hard-working, talented new authors with a fresh, unique voice and hook."

How to contact: For fiction, send a query/cover letter, a 1-2 page synopsis, and a sample of your manuscript (no more than the first 50 pages, double-spaced, single-sided, and unbound). For nonfiction, send a proposal (an overview, a detailed chapter outline, author bio, 1-2 sample chapters, and a brief analysis of readership and similar titles). Hard copy (snail mail) submissions only. No e-queries. Send submissions to Sandra Dijkstra Literary Agency, PMB 515, 1155 Camino del Mar, PMB 515, Del Mar, CA 92014. Only responds to submissions if interested, so include no SASE or materials that need returned. Responds in 8 weeks or fewer if interested.

Want more on this topic?

• New agent: Susan Hawk of The Bent Agency.
• New agent: Mary Kole 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 2011 Guide to Literary Agents today!

Sunday, December 06, 2009 2:07:05 AM (Eastern Standard Time, UTC-05:00)    Comments [5]

"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.

REJECTIONS WERE ONLY THE BEGINNING

After writing three or four books that got stuffed in a drawer, I finally put together something that I thought an agent might like—a young adult novel. I began the querying process sooner than I should have. I’d barely finished the book when I started researching how to get an agent, how to write a query letter, and what an agent actually does. Everything I read told me that this would be a hideously long process, so I started sending out queries before I had completely finished editing the manuscript. I figured it would take months, or possibly even years, before anyone decided to take a chance on me—if they ever did.

Well...

After learning how to write a query letter from a very useful book titled Writer’s Market and researching agents online, I compiled a list of agents that I felt I might have a shot with. I started with the easiest submissions first—the ones who asked for only a query letter, and the ones who accepted e-mail submissions. I was meticulous about following their instructions, having learned from Writer’s Market and a variety of other resources that if I gave them something they didn’t ask for, I would be presenting myself as incapable of following simple directions. This would be an understandable turnoff to any agent, and the chances of them even bothering to take a look at my work would be slim at best. 

After I sent out roughly twenty queries, I waited. And while I waited, I continued to edit my manuscript. And then the rejections started to arrive. No requests for partials; no invites to send more pages. Nothing. I was tempted to lose heart, but I’d read so much about the querying process that I knew to expect rejection. I figured that if J.K. Rowling, Stephen King, and Stephenie Meyer could deal with the rejections they’d gotten before hitting it big, then so could I. So I continued to wait, and I continued to receive rejection slips in the mail—if the agent bothered to respond to me at all.

SEND THE WHOLE THING?

Then, one day in mid-January—only a matter of weeks after I had sent out my first query—I opened my e-mail to discover that Alanna Ramirez, an agent with Trident Media Group, wanted to read my manuscript. Not the first chapter, not the first fifty pages; the whole thing. I spent the next forty-eight hours frantically finishing the edits I had been working on (this is why I say that I queried too early). In those 48 hours of controlled panic/excitement, I was actually finishing the story (yes, the first draft of the ending is what my agent saw, and I cringe about that every day) and I was also tweaking some rather sticky plot points that I had added in a hurry. I sent it to her with high hopes and taut nerves.

After a few days, I received another e-mail from Alanna, complimenting my work and asking if we could speak on the phone later that day. I was so thrilled, stunned, nervous, etc., that when she called me that afternoon, I could barely bring myself to answer. Of course I was hoping she would offer me representation, but I knew that she still might not; maybe she was just calling to encourage me and tell me what I could do better with the book.

Fortunately, I wasn’t disappointed—she did offer to represent me, on the condition that I would beef up the story (it was too short at the time). We’ve been working together ever since, improving my novel and submitting to editors.

Want more on this topic?

• Want to pen a guest column? Write me at literaryagent@fwmedia.com.
• See all posted stories of writers finding their agents.
• Confused about formatting? Check out Formatting & Submitting Your Manuscript.
• Read about What Agents Hate: Chapter 1 Pet Peeves.
• Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Sunday, December 06, 2009 1:42:05 AM (Eastern Standard Time, UTC-05:00)    Comments [0]

• Confused about formatting? Check out Formatting & Submitting Your Manuscript.
• Read about What Agents Hate: Chapter 1 Pet Peeves.
• Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Friday, December 04, 2009 12:39:54 PM (Eastern Standard Time, UTC-05:00)    Comments [3]

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 21st installment in this series is with agent Mollie Glick (Foundry Literary + Media) and her author, Doreen Orion, for her book, Queen of the Road: The True Tale of 47 States, 22,000 Miles, 200 Shoes, 2 Cats, 1 Poodle, a Husband, and a Bus with a Will of Its Own.

Visit Doreen's website.

• Successful Queries: (Fiction) "Hotel on the Corner of Bitter and Sweet" 
• Successful Queries: (Kids/YA) "Wake" 
• Successful Queries: (Nonfiction) "Peaches & Daddy"
  
• Confused about formatting? Check out Formatting & Submitting Your Manuscript.
  
• Read about What Agents Hate: Chapter 1 Pet Peeves.
• Want the most complete database of agents and what genres they're looking for? Buy the 2011 Guide to Literary Agents today!

Thursday, December 03, 2009 10:57:06 AM (Eastern Standard Time, UTC-05:00)    Comments [3]