Guide to Literary Agents

Announcing the Best Agent Blogs for 2010
Posted by Chuck

Every year, Writer's Digest compiles its massive "101 Best Websites for Writers" article, and this year's installment just hit newsstands in the May/June issue. (It will be online soon.) With that in mind, I give you my five choices for the best agent blogs on the Internet today. It was tough, and I couldn't list every amazing site; I tried to illuminate some new blogs this year so people can notice all the great resources around. (Lastly, note that the list is alphabetical, not in any ranking.)

1. Chip MacGregor (chipmacgregor.typepad.com)

Chip's blog talks about everything, but his magic lies in his advice regarding the business of marketing and promoting books. He also has an amazing handle on the Christian books market.

2. Dystel & Goderich Literary Management (dglm.blogspot.com)

With many agents at D&G contributing, this newly revamped blog is coming on strong with helpful articles, contests, and other informative pieces.

3. KidLit (kidlit.com)

Children's agent Mary Kole, associate at the Andrea Brown Literary Agency, has jumped into her new blog headfirst, with contests, tips, columns and advice galore. It's a great site for writers of kids books.

4. Nathan Bransford (blog.nathanbransford.com)

An agent as well as an author going through the steps of getting his own deal, Bransford dispenses smart, sensible advice and an optimistic outlook about the future of books, all in a personable, approachable way. Check out his new forum where writers can meet and talk.

5. Rachelle Gardner (cba-ramblings.blogspot.com)

Three years running, this is an amazing blog full of articles about craft, business, inspiration, challenges, and the state of the industry. Rachelle, an agent at Wordserve Literary, is generous with insights and inspiration about what it takes for writers to land representation and get published today.

If you don't have a sub to
Writer's Digest, what are you
waiting for? Get one now!

Breaking In (Writer's Digest)

Friday, April 30, 2010 11:37:30 AM (Eastern Daylight Time, UTC-04:00)

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Thursday, April 29, 2010

How To Publicize Your Book With Courage
Posted by Chuck

When it comes to first-time, do-it-yourself publicity for your book, jumping into the unknown can seem a lot easier said than done. You may find, though, that simply having a great respect and adoration for the book(s) you seek to publicize will enable you to sprout the wings that you need to soar, right off the steep cliff walls of doubt.

Eleanor D. Van Natta founded her own book
publicity service. She is a freelance writer, and
brings to each client and each job over 15
years of sales and marketing experience.
See her website here.

LEAPS OF FAITH

Last fall, an author friend of mine offered me a wonderful opportunity to be her publicist. She was taking a giant leap of faith since I had no publicity experience, no media contacts, and not one clue how to begin. I was just recovering from a string of rejected query letters and didn’t even have a published book of my own. But who says you need to publish your book before learning about the publicity end of things?

What I did have, and I suppose what she saw in me, was an extensive sales background, a love of books, and a powerful drive to promote others. When I accepted her offer and leaped into the great unknown myself, I found that I had wings as well! In two weeks I had this author booked on a show that was her #1 goal as well as the #1 show in her niche. I didn’t have as much at stake or as much invested in her books as she did personally; they were her life’s work. However, I felt so privileged by her faith in me that from the very beginning I treated her books like adopted children of mine, mothering them, nurturing them, and gently raising them up and into the world. I would leave no child behind.

BOOK PUBLICITY TIPS FOR AUTHORS

Getting your book onto a show is like getting that child of yours into the right college and beyond. I have learned a few things over the last several months about sending your babes out into the world:

Target, target, target your shows. Your book must be a good fit to even be considered by the host or the producer.
Hook them quickly. The most important part of your pitch most likely will be your e-mail’s subject line—spend some time and thought on these very few words (“the hook”) that will determine whether the rest of your e-mail/pitch is even read.
Follow up. If you don’t, you may never know if no reply means “no” or simply “didn’t read the e-mail.”
Reveal details about yourself. Don't forget to put somewhere in the pitch where you are located, what time zone you are in, and your availability for interviews (e.g., need advance notice, same-day interviews possible, etc.).
Read, read, read what other people have written about publicity—specifically book publicity, on blogs and in books; you will be amazed at how many great tips and examples are out there—even example pitch letters—mostly free via your local library or the web.
Believe in yourself! The media needs information and guests; why not you?
Start early. its never too early to start learning about publicity and formulating a plan for your book.

DON'T FORGET YOUR PARACHUTE

When you hand over your books—your life’s work, your soul’s dialogue with the world—to a radio or television show, you must believe in them at your very core. I have found that you not only need to love your books as your own children, as beings birthed from your heart and soul, but you need to love yourself even more than your books. Believe in yourself and know that you are valuable, that your books—and what you have to say—are worthy of the publicity. That is your parachute as you leap off the cliffs. No matter how much you read “don’t take it personally,” you will more than likely take it personally when you are “rejected.” If you have sprouted those wings and have a strong belief in yourself and in your book(s), then you will learn to look at those “no’s” as just bringing you closer to the next big “yes.” And the risk you took will all be worth it in the end.

If you need some book
marketing tips, check out
Author 101: Bestselling Book Publicity

Want more on this subject?

The Knight Agency talks book marketing.

Children's agent Sarah Davies talks book marketing.

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!

Guest Columns | Marketing and Sales

Thursday, April 29, 2010 12:25:55 PM (Eastern Daylight Time, UTC-04:00)

Comments [2]

My Adventures in ... Dayton
Posted by Chuck

This month, I attended the Erma Bombeck Writers Workshop in Dayton, Ohio. The conference really is one of a kind. It's an event for humor writers of all kinds and only happens every two years. The conference draws big names, such as Dave Barry in the past, and this year one of its many nice guests was W. Bruce Cameron (8 Simple Rules...).

Because it draws humor writers from all over the country, the conference actually sells out every time. (Amazing in such an economic climate.) Check out this picture of the main ballroom at eating time.

I taught a pair of workshops on getting an agent. I didn't realize it until the day before I spoke, but with my Garden Gnome Attack book coming out in September, I am a published humor book author, which immediately gave me all kinds of street cred at the event. Score. Attendees were nice and, being that it was a humor-loving crowd, jokes were zinging everywhere.

At lunch, I got to sit next to Mo Rocca, formerly correspondent for "The Daily Show." He was in town on behalf of "CBS News Sunday Morning" doing a piece on the conference, as you can see by the pic below. (The piece is tentatively scheduled to air on Mother's Day. How cool is that?) I reminded Mo that we crossed path in Key West when I was on my honeymoon and he was filming something down there. He stared at me like I was crazy.

Would I recommend going to this event in the future? Absolutely. The list of speakers is big-time, and everyone is all smiles over the three days. Presenters give speeches multiple times, so if you miss something the first time, you can catch it on the second go-round. (Smart.) There are no agents or editors at the event, but it does bring the power players of humor book writing and column writing (networking!), so it's well worth it ... that is, if you can sign up in time.

Want more on this subject?

5 articles on making the most of a writers conference.

How to pitch an agent at a conference.

The next Writer's Digest Editors Intensive event is Sept. 11-12, 2010. All attendees receive a critique of 50 pages of their work.

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!

Writers' Conferences

Thursday, April 29, 2010 10:02:43 AM (Eastern Daylight Time, UTC-04:00)

Comments [4]

Wednesday, April 28, 2010

New Agent Alert: Taylor Martindale of the Sandra Dijkstra Literary 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 Taylor: She is a proud graduate of The College of William and Mary and holds a BA in English, with a minor in Hispanic Studies. She was the copy chief of her college newspaper for three years and does freelance writing for a local paper. Before joining the Sandra Dijkstra Literary Agency in 2009, Taylor was the submissions coordinator at Bliss Literary Agency, Intl.

She is seeking: Young adult fiction—specifically contemporary, paranormal, urban fantasy, and any story with a captivating voice. Taylor is also interested in commercial fiction, women’s fiction, and multicultural fiction. She is looking for engaging and unforgettable characters and stories that stay with you long after you turn the final page.

How to contact: Hard copy submissions only. Send to Sandra Dijkstra Literary Agency, (Attn: Taylor Martindale), PMB 515, 1155 Camino del Mar, PMB 515, Del Mar, CA 92014. Send a query, 1-2 page synopsis, and sample pages (no more than 50, double spaced, single sided, and unbound). Please only submit to one agent at the agency. Include all contact info. Let the agency know if this is a simultaenous submission. (Similarly, be sure to let us know if we have your work exclusively.) Every submission is read, though due to a large number of unsolicited submissions, the agency can only respond when interested. Will respond if interested within 8 weeks.

Want more on this subject?

New agent seeking fiction and nonfiction: George Bick of Doug Grad Literary.

New agent seeking fiction and nonfiction: Myrsini Stephanides of Carol Mann Agency.

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!

Children's Writing | New Agency Alerts | Women's Fiction

Wednesday, April 28, 2010 11:03:34 AM (Eastern Daylight Time, UTC-04:00)

Comments [1]

Tuesday, April 27, 2010

7 Things I've Learned So Far, by Christine Fonseca
Posted by Chuck

This is a 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 writer Christine Fonseca, who writes both adult nonfiction and kids fiction.

School psychologist by day and lover of books
by night, Christine Fonseca started writing
as a way to blend the two. Her upcoming books include
Emotional Intensity in Gifted Students: Helping Kids
Cope with Explosive Feelings (Prufrock Press 2010) and
The Ultimate Guide for Gifted Kids (Prufrock Press, 2011).
She also writes teen fiction. See her website here.

1. It’s all just words. Authors are funny—we get so attached to the words we write. So much so, that we occasionally get hung up on the changes we need to make; changes suggested by critique partners, agents, and editors. We forget that it’s all just words. If something isn’t right, we can change it by simply rearranging the words. For me, figuring out that I didn’t need to feel permanently attached to my words was the most liberating moment I’ve felt over the last 18 months.

2. Authenticity is everything. An authentic voice is what makes our characters believable and our stories resonate with truth. It is also what makes us approachable and “real” online. Being authentic is not always easy. We sometimes get lost in the “noise” of the business aspects of this profession—the trends, the rejection, and the pressures. For me, figuring out my authentic voice as an author has enabled me to figure out how to begin to brand myself as an author. This is something vital in today’s market. Likewise, learning how to be authentic with my characters gives me the ability to bring different voices to each story. And that keeps them fresh.

3. Forge your own path. This has been said before, but there really are many paths towards publication. It is as unique a journey as the person taking it. Comparing yourself to anyone else will only make you distrust your own path. Now, I’m not saying you shouldn’t learn from the road other’s travel—you should. But be sure to tailor what has worked for them to your own journey—without comparisons or self-deprecation. This really is a case where the journey means more than the destination. It is the journey that will shape your future as a writer.

4. This really is that hard. Yep, writing is absolutely the hardest thing I have ever done—by far. And trust me, I have tackled some pretty difficult things in my lifetime. I think it is so hard because it is so personal. We pour a little piece of ourselves into everything we write. Then we hold it up to impossible scrutiny as our critique partners, agents, and editors rip it apart and help us find the best story within our words. Over and over we repeat this process. Over and over we deal with rejection, criticism, and our own personal demons. So, the next time you're angsting over something related to this business, remind yourself that it really is that hard, and give yourself a little break.

5. Perfection is a myth. Have you ever finished your nine millionth revision of your current book only to feel like you have a million more revisions to go? Yeah, me too. I think we get wrapped up in the “myth” of perfection and begin to think we are striving for absolute perfection with our stories before we can pronounce them done. Rather than perfection, I have learned that I am striving for the best story I can write right now. My support system—critique partners, agent, and editors—will tell me what isn’t working, where the story breaks down. And I will fix the problems. But sooner or later, you have to trust that the story is the best it can be and let it go.

6. Critique partners are as essential as air. I wish I had learned this one earlier in my writing career. It would have saved me from a couple of shelved novels. My critique partners are experts at helping me pull out the best story (as discussed above). They speak my language, are brutally honest and offer great suggestions. It took me a long time to find one or two critique partners that “got” what I was going for with my writing. And let me tell you, it has made all the difference in the world. I really can’t imagine sending off my manuscript to my agent or editor without having gone through my partners first.

7. This is a business—treat it as such. Being a writer is a creative endeavor. But being a published author is a business—and should be treated as such. Like any business, my job is to produce a great product and sell it to others. To do this, I must continually hone my craft, learn the marketing aspect of the job, have my finger on the pulse of my customer (in this case the reader) and react in a timely manner to changes in my particular market. Doing these things, treating it is a professional manner, will help ensure a long life in a tough business.

If you don't have an awesome circle of
critique partners like Christine, try James
Scott Bell's Revision and Self-Editing
for help with revisions and rewriting.

Want more on this subject?

Want to pen a guest column? Write me at literaryagent@fwmedia.com

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!

7 Things I've Learned So Far

Tuesday, April 27, 2010 9:39:47 AM (Eastern Daylight Time, UTC-04:00)

Comments [13]

Monday, April 26, 2010

Successful Queries: Agent Michelle Brower and 'The Handbook for Lightning Strike Survivors'
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 34th installment in this series is with agent Michelle Brower (Folio Literary) and her author, Michele Young-Stone, for the literary fiction novel, The Handbook for Lightning Strike Survivors (April 2010).

Dear Ms. Brower:

Please consider representing my novel, The Handbook for Lightning Strike Survivors.

A literary novel, The Handbook... spans nineteen years in the lives of the two main characters (Becca, born into privilege in 1969, and Buckley, born into poverty in 1959), and suggests that people, however disparate, are linked. The 400-page narrative encompasses multiple themes, but ultimately the book is a story of redemption.

Buckley, whose mother is struck dead by lightning, writes a nonfiction handbook, The Handbook for Lightning Strike Survivors, excerpts of which appear throughout the novel. Becca, a repeat lightning strike survivor, buys Buckley’s Handbook through an ad in the back pages of a magazine. Becca and Buckley, destined to collide, meet during a massive electrical storm where there is a surprising reversal of fortune.

Structurally, the novel tells Becca’s story, then Buckley’s—the tension mounting until the two meet.

I am a thirty-four year old MFA fiction graduate My screenplay Spotting Normal was a 2003 semi-finalist for the Chesterfield Writers Film Project Award and a 2004 finalist for the CineStory screenwriting award. My story “Cop Drag” was a finalist in the First Annual Lewis Nordan Fiction Contest sponsored by Algonquin Books. My second screenplay, Paint Spain With Bart, was a finalist in the 2006 Screenplay Festival Contest sponsored by InkTip. I am currently halfway through my second novel.

Let me know if I may send you the first 100 pages or the full manuscript.

All Best,

Michele Young-Stone

Commentary from Michelle

Michele’s query absolutely jumped out from the slushpile for me, at first for one reason alone: her title was amazing. For all readers, a title creates a visceral response, and as agents, we want that response to be “I must pick this book up!” In this case, there is what we call a “high concept” aspect to the plot--two separate characters, different in almost every way, are linked together by lightning--and the title conveyed that quickly and with great charm. I knew that if the story and the writing lived up to the promise of the title, I would find a receptive audience for this book among publishers. I always think that a really good book can make up for a bad title that will eventually be changed down the line, and no title is good enough to cover for shoddy writing, but this letter is a good example of how the perfect title can really light up a query.

In reading this letter, I could also tell that this story hit the right beats for book club fiction, and the kind of thing I love to read even if it’s something I’m reading for pleasure. It seemed quirky yet deep, and Michele’s bio showed that she had spent time developing her craft and had been nominated for some awards. I truly became hooked once I started reading the sample pages, and became quickly convinced that there was something special going on here. I knew I had to work with Michele on this book when I got to the ending and cried my eyes out. Happily, editors and now reviewers have agreed with me! The Handbook has been piling up accolades and we are all so excited to see it make its way to bookstores.

This post is an online exclusive complement
to a spotlight on Michele in the May/June 2010
issue of WD. If you don't have a sub to
Writer's Digest, what are you waiting for?
Get one now!

Breaking In (Writer's Digest) | Literary Fiction | Successful Queries

Monday, April 26, 2010 11:49:54 PM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Agent Michael Larsen on Starting Your Career (Part 3)
Posted by Chuck

Anne Lamott begins a chapter of her wonderful book Bird by Bird like this: There’s an old New Yorker cartoon of two men sitting on a couch at a busy cocktail party, having a quiet talk. One man has a beard and looks like a writer. The other seems like a normal person. The writer type is saying to the other: “We’re still pretty far apart. I’m looking for a six-figure advance, and they’re refusing to read the manuscript.” If you find yourself pretty far apart from publishers, perhaps you need to consider using the following building blocks to construct your career as a successful author. (This is Part III of this guest column. Part I is here and Part II is here.)

Michael Larsen and his wife Elizabeth Pomada
founded Larsen-Pomada Literary Agents in
San Francisco. They are AAR members
and have sold books to more than 100
publishers. Michael is the author or co-author
of How to Write a Book Proposal and
Guerrilla Marketing for Writers. He runs
a new agent blog, as well. To see the
nonfiction topics he seeks, click here.

14. Be an authorpreneur: Speaker Sam Horn’s brilliant word which, for me, means:

having the entrepreneurial ability to create something out of nothing: an idea; a book that you can sell in more forms, media and countries than ever ; an international 365/24/7 business; and a career
coming up with ideas that you can sell in as many forms, media, and countries as possible
being responsible for your success
being unique by being creative in writing and promoting your books
being resourceful in meeting challenges
looking at everything you experience and reflexively wondering if there’s a way to use it to enrich your personal or professional life
using speed, creativity and flexibility to compensate for size
embracing and taking advantage of new information, technology, and opportunities created by accelerating change

15. Have courage: Believe in yourself and the value of your books. You will overcome the obstacles that await you.

16. Take the long view: A writing career isn’t one book but ten or twenty, each better and more profitable than the last. So you have to balance and integrate your short- and long-term goals.

17. Grow yourself: You are the most important factor in your success. You have to challenge yourself to improve physically, mentally, spiritually, and professionally. You have to keep learning if you want to keep earning.

You are Needed Now: Creative, resourceful people keep proving that anything is possible, that we are limited only by our ideas and the time and resources we devote to developing them. The world needs all the information, inspiration, help and entertainment you can provide. Enjoy the journey and best of luck!

(This is part three on Michael's thoughts for writers and their career. Part I is here and Part II is here.)

Michael Larsen's book, How to Write a
Book Proposal (now in its third edition) has
sold more than 100,000 copies and
helped countless writers sell their work.

Want more on this subject?

How royalties and advances (money) work.

Don't put all your eggs in one basket with just one book.

You have a contract but no literary agent - what to do.

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!

Contracts and Copyrights and Money | Guest Columns | Marketing and Sales

Monday, April 26, 2010 12:22:53 AM (Eastern Daylight Time, UTC-04:00)

Comments [1]

Sunday, April 25, 2010

Be (Slightly) Afraid of Posting Your Work Online
Posted by Chuck

My co-worker, Jane Friedman, recently wrote a column for Writer Unboxed titled "Stop Being Afraid of Posting Your Work Online." Her column lists reasons why writers should not be afraid of posting material on websites. The column is in response to my usual advice to writers, which is that posting work online is generally a no-no. Essentially, we disagree on the value of it (a delicious little point-counterpoint). But the truth is: This is not a yes/no answer. Both answers are incorrect, but I still lean toward not putting your work online, and I will try and convince you why here.

NONFICTION VS. FICTION

The first huge point to address is that with nonfiction, yes, posting work online is something I/everybody will usually encourage, versus the opposite for fiction. Look at the site you're reading right now: GLA (nonfiction). I am posting content (instruction, interviews, columns) for free. Maybe you're a blogger. If you write columns of any kind, whether about raising your three kids or your struggling life as an artist, you are posting content online for free. This is all well and good. You're building an audience because you have something to sell, or want to sell something in the future. So Michael Larsen was right when he said "test market." He was talking about nonfiction. Blog-to-book deals? Same thing—it's nonfiction, and all is well and good.

But with fiction? I do not recommend putting stuff on your website/blog. (And by the way, when Jane and I talk to writers at conferences or intensives, I'd say 75-90 percent of the audience is fiction/memoir.) Notice how I said "your website/blog." I'm not against you pasting stuff in a small critique forum where people meet to offer feedback on each other's work. But if you post work on your own website, you need to know that--

FACT: WRITERS STEAL STUFF

Fundamentally, one of my biggest points is that you cannot copyright your ideas or concepts, so by putting stuff online, you are vulnerable. I've said it before and I'll say it again: Agents and editors don't steal stuff; writers steal stuff. So if you post your first chapter on your website, what are the chances some agent will come across your blog and say "Brilliant! I want to sign you!" Slim to none. But who will come across your site? Writers you don't know, and you cannot stop them from pilfering some of your ideas.

Photo from: Pendleton Panther

Granted, they will not cut and paste entire paragraphs of your work, but consider this: Perhaps you start your thriller with a cop walking out of an eye doctor appointment. He has sunglasses on and his pupils are all dilated and he has someone about to drive him home ... then he witnesses a murder in the parking lot, but he can't be sure exactly what he saw. Kind of a fun first chapter idea, right? But I can't protect that idea! (In fact, if you like it, go on—take it. It's yours.) Be careful, especially if your entire book is based on a great idea—one that we would call "high concept" or "a great hook." Which leads me to--

FOR THE LOVE OF GOD, PROTECT YOUR HIGH-CONCEPT IDEAS

Let me take you back to a writers conference. I was sitting in a room listening to writers give live pitches to agents while 150 other writers listened in. The writer pitched a project called "The Dude Who Knew Too Much." BAM. Now that is a high-concept idea. We knew from the title alone that it was about a teenager who got involved in spy stuff and was in way over his head. High concept! Funny! $$$$! One of the agents asked, "It is a comedy, right?" Astonishingly, the writer said no. That's when—I kid you not—I heard someone nearby murmur that they were taking that idea. They were going to take the title/concept, but do the story right—making it a fun teen comedy instead of whatever the original writer had in mind. That was my turning point. Since then, I have become an advocate of protecting your ideas and playing it safe.

Let's continue talking about protecting high-concept ideas. Perhaps you have a blog, and in your profile, you want to say that you're a writer. Fine. Maybe you want to mention that you're not just a writer, but a writer of YA paranormal. Fine. But maybe you want to include a one-paragraph pitch of your book (like you would in query letter). So ask yourself: Why? So agents will see it? Agents are busy people; they're not prowling around small writer blogs, of which there are thousands. The people you want to see your idea will not be looking at your blogger profile, so where's the benefit? We already know the downside is theft.

Keep in mind that, once again, this is not a yes/no discussion. Let's say you're writing a YA humor book. If it's like Superbad, the pitch would say it's about "Two best friends that get into wild adventures on one of their last days in high school." This is not a high-concept idea. The charm of that story was all the writing/characters. This pitch is fine to release on the web or fly behind a plane. But what about this new movie coming out called HIGH School, where an honor student tries pot for the first time, only to hear that a drug test for all students is around the corner—so he embarks on a quest to get every student in school to try weed that week, so they all fail the test together. High concept! Protect such an idea, because anyone could simply snatch it right up and beat you to the punch.

WHAT ARE YOU TRYING TO GET OUT OF IT?

Jane kinda touched on this, but simply ask yourself: What is your plan? What do you want to get out of it? If you want thoughts on your fiction, pass your work to other readers ("beta readers") in a writers group. Or possibly put some of it online at a critique site. Don't just paste it on your Wordpress blog and hope you get feedback. You may; you may not—but your writing is out there.

If you want an agent, then query, and write an awesome letter. Don't paste work online and hope they'll come round, because they will not. And yes, people are always happy to point out those special exceptions, such as that one writer who had an agent come by his blog and saw his pitch and signed him. But like I've said before regarding word count, we cannot aim to be a 1-in-100 exception.

Ultimately, I do not advise posting fiction excerpts online just to see what happens. I have seen ideas get taken before, and I always advise writers on the safe side. That's just how I roll. Regardless of your decision, as always, I wish you good luck.

Want more on this subject?

How royalties and advances (money) work.

Don't put all your eggs in one basket with just one book.

You have a contract but no literary agent - what to do.

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!

Contracts and Copyrights and Money | Guest Columns

Sunday, April 25, 2010 2:05:53 PM (Eastern Daylight Time, UTC-04:00)

Comments [15]

Agent Advice: Lisa Bankoff of ICM
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 Lisa Bankoff of ICM (International Creative Management).

She is seeking: literary fiction, some women's fiction, some mainstream fiction, and narrative nonfiction written by journalists.

GLA: How did you become an agent?

LB: I was an assistant at ICM and learned by paying attention and asking questions. I was very motivated and wanted to somehow be part of a book's genesis, an act of creation that still astounds me, one thin page after another adding up to a thing of heft and consequence.

GLA: What’s something recently released that you’re excited about?

LB: A recent novel which has a special place in my heart and has sold very well and yet no one seems to have heard of is Laura Kasischke's In a Perfect World. Two others on the cusp of publication: A Fierce Radiance, by Lauren Belfer (June 2010) and Adrienne McDonnell's debut novel The Doctor and the Diva (July 2010).
And a very special and unique work, nothing else like it, is David Lipsky's road trip with David Foster Wallace, Although Of Course You End Up Becoming Yourself.

GLA: You specialize in literary fiction. What draws you to this unique category?

LB: If by literary we mean writing that's assured, intelligent, distinctive, sometimes playful and wry, and never boring, then the question becomes how could I not be drawn to it?

GLA: I would imagine literary fiction isn’t the easiest thing to sell. Is it getting easier or harder as time goes on?

LB: It's head-banging hard on some days; on other days, it's the one thing editors can't get enough of—and those are the truly great days.

GLA: Two of the first fiction authors I looked up of yours were Elizabeth Berg and Claire Cook. It seems like many/most of their books could be classified as women’s or upmarket fiction. More than just “literary fiction,” do you find yourself gravitating toward upmarket fiction with women protagonists?

LB: What they share is a talent for capturing the voices and concerns of women with whom many readers identify; their characters feel familiar but in a good way. It's fair to say that upmarket fiction with female protagonists finds me; it's not that I'm on the prowl for it.

GLA: Elizabeth Berg had a book picked for Oprah’s Book Club. What was it like getting that news?

LB: I got the call on an otherwise very quiet weekend in the country and it was like a shot of pure adrenaline. Her books were enjoying strong sales up to that point but we knew this would be of a whole different magnitude. And it was.

GLA: Do you represent any of the pop genres such as romance or thrillers?

LB: No.

GLA: Besides fiction, you do seem to look for quality nonfiction. Would you describe your “wants” here as narrative nonfiction only? Or can a writer pitch you something simpler—like a great self-help book?

LB: I'm not the right agent for self-help.

GLA: Three most common mistakes you see in a query letter?

LB: You wouldn't believe how often I receive a query in this vein: "Dear Ms. Bankoff—I know you represent Ann Patchett and therefore believe you'd like my novel about the erotic adventures of a marauding serial killer/rapist/arsonist." Huh? There are a garden variety of other mistakes, many of which result from sloppiness, but that's the one which seems to set my teeth on edge.

GLA: Best way for writers to submit to you?

LB: Last week I sold an astonishing first novel by Jessica Maria Tuccelli whose query letter arrived the old-fashioned way, by snail mail. We had no mutual friends. She did her homework, became familiar with many of the authors I represent, and described her novel in three resoundingly effective paragraphs. I could barely contain myself.

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

LB: I've spoken at the Tennessee Williams Festival in New Orleans a couple of times. The organizers do a brilliant job there. I've got nothing scheduled right now.

If you're writing fiction and want to
make your prose sizzle, check out
The Fire in Fiction by agent Donald Maass.

Want more on this subject?

See all agent interviews here.

Word Count Guidelines for Novels and Children's Books.

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 2010 Guide to Literary Agents today!

Agent Advice (Agent Interviews) | Literary Fiction

Sunday, April 25, 2010 12:57:44 PM (Eastern Daylight Time, UTC-04:00)

Comments [5]

Saturday, April 24, 2010

Formatting & Submitting Your Manuscript: The Awesome Third Edition
Posted by Chuck

This is so cool. Very soon after holding a copy of the new 2010 Guide to Literary Agents in my hand last summer, I got some more good news: my other new book, Formatting & Submitting Your Manuscript, 3rd Ed. is out and available now. Awesomeness.

When asked if I would helm the third edition of Formatting & Submitting Your Manuscript, 3rd Ed., I said yes immediately. After all, I kept the second edition right next to my desk at work and consulted it all the time—it would be an honor to update it. My only worry was: How can I make this good book better?

My solution: New query examples and new article examples—and lots of ‘em, baby. (See a review of Formatting & Submitting on The Writing Bug
website.)

There’s a reason that this book warranted a third edition. It has more than 100 examples of queries and articles and everything else writing-related. It doesn’t just tell you how to format something, it shows you—with sample queries and submissions that are well constructed, while also showing what to do and what not to do when contacting publishing professionals.

Making submissions look pristine is not an easy task, no matter what you’re writing. Are you confused as to how to format a magazine query or sidebar? I'll show you how to do it. What about formatting a screenplay or a film treatment? I've got examples of those, too. Or what about stage plays, picture books, graphic novels, fiction, book proposals and everything else? Yep—it’s all in here. On top of the examples, this book has hundreds of pages of general submissions tips and info—the dos and don’ts when sending your work to editors and agents.

It all adds up to giving writers the best shot of getting their work read and published—whether you want to call it getting ahead of the curve, to the head of the class, or just to the front of line.

Maybe you’re ready to submit but want to make your work perfect, or maybe you’re just starting out and don’t know whether that idea is a novel or a screenplay. Either way, this is a book that can truly assist you in your writing journey. What's so cool about this book is that no matter what you’re composing, Formatting & Submitting Your Manuscript, 3rd Ed. can help you do it right. After all, it helped me; why not you, too?

Want more on this subject?

If you like what you're reading, sign up for e-mail notifications by putting your e-mail in the box on the upper left corner of this page.

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!

Formatting | My Writing Life

Saturday, April 24, 2010 9:50:35 PM (Eastern Daylight Time, UTC-04:00)

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WD's Chuck and Zac Play 'Losing My Religion' as We Rock Out for Journalism
Posted by Chuck

A few months back, Zac Petit and I played some music for the Cincinnati chapter of the Society of Professional Journalists (SPJ) at their annual party. The video is below. I must warn you that is not complete (only about two minutes of the song are there), and ...

... I sing.

Yes—you've been warned. Listen at your own risk. I am a musician, not a singer, so temper your expectations now, but this may be the only recorded time ever that I post video of me singing lead for anything anywhere. And enjoy Zac's mad skill on the guitar. That's me playing piano on the left. And our drummer was Cincy-based freelancer Liz Wu, who is also very talented.

Cover Band Venting

Saturday, April 24, 2010 2:31:42 PM (Eastern Daylight Time, UTC-04:00)

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Friday, April 23, 2010

How I Got My Agent: James L. Rubart
Posted by Chuck

"How I Got My Agent" is a 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.

"YOU GOTTA MEET CHIP"

Before I headed out to my first writing conference in the spring of ’06, an acquaintance said, “Chip MacGregor will be there. He’s an editor and he's wired in the industry. You’ve gotta meet him! Get your manuscript in front of him if you can.”

Included in the conference fee was the chance to submit a manuscript to two pros, editors or agents. So a week before the conference, I sent the first twenty pages of Rooms and a synopsis to Chip. I spotted Chip on Friday afternoon, the first day of the conference, holding court in front of the coffee shop’s large fireplace. A group of five aspiring writers huddled around him and peppered him with questions. And they told him how badly Time Warner (now Hachette) needed their books. Late that evening, as I chatted with three writers I’d just met, Chip approached our table and slid into the chair directly across from me. (He and one of my new friends are old buds.)

Intros were made, and within moments, Chip slung a sarcastic remark my way. (Please understand: Chip can’t help himself. He has a great sense of humor and a lighting quick wit.) I was intimidated and nervous, but figured “Why not?” and slung a playful barb of my own back across the table. Chip’s eyes lit up as if to say, “I like this! Someone that’s willing to volley with me.” We end up poking fun at each other for the next hour and a half, finding out along the way we have a ton in common—like sleight of hand being a long-time hobby, and a love of Cannon Beach, Oregon (where my novel is set).

Rooms (order the book here) is a suspense novel
and James L. Rubart's debut. It was released
in April 2010 by B&H Books.
See James's author website here.

A REJECTION - BUT A NEW FRIEND, AS WELL

Late Saturday morning, I got my critique back from Chip. Rejected! He said Rooms was an interesting character study but not a fit for Time Warner because allegories don’t sell. But hey, I wasn’t going to let my dream being shredded into microscopic pieces keep us from being friends, so I went to his workshop Saturday afternoon and chatted some more. On Saturday night, Chip and I hung out again, both of us doing card tricks for a bunch of fellow conference-goers.

Then came Sunday night. Chip and I hung out for the third night in a row, going to dinner with three other writers. By the time the conference ends, I thought, “Cool, I’ve got a friend in the publishing biz.” I didn’t imagine us ever working together. Because of his rejection, I figured any chance with Chip was over.

WHAT DO YOU DO WHEN THREE AGENTS SAY YES?

I'll skip ahead to July of ’06, when I found myself in the surreal position of having three agents interested in repping me. I needed advice. Who to call? Yep, Chip of course. He was gracious and gave solid counsel about the pros and cons of each agent. Around that time—in a moment of self-candor—I admitted that my writing, while good enough to attract serious attention, still wasn't quite where it needed to be. I attended an intense three-day writing workshop and started re-editing my manuscript. It's also around this time that I got word Chip had left Time Warner and started his own agency.

It wasn't long until we touched base again. Chip called me as my dad and I strolled in Lincoln Park next to the waters of Puget Sound. “So what’s going on in your writing world?” he asked.
     “Well," I said. “I’ve got this agent and this agent and this agent interested in me, and I went to this writing clinic where I learned a ton and I’m in the middle of reworking Rooms.”
     “Ah, you don’t want to go with any of them. Send me some chapters.”
     After a few minutes, the light dawns. He’s talking about signing me. I struggle to believe it. Ten days later (it felt like ten months), Chip replied and offered representation. Wow.

Oh yeah, and if you're wondering about Chip’s rejection note from that first conference? Of course I still have it. I even read it to him the other day. Gotta keep the barbs coming, you know?

This post is an online exclusive complement
to a spotlight on Kristin in the May/June 2010
issue of WD. If you don't have a sub to
Writer's Digest, what are you waiting for?
Get one now!

Breaking In (Writer's Digest) | How I Got My Agent Columns

Friday, April 23, 2010 10:29:11 AM (Eastern Daylight Time, UTC-04:00)

Comments [4]

Thursday, April 22, 2010

New Agent Alert: Amy Boggs of the Donald Maass Literary 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 Amy: Amy Boggs joined the Donald Maass Literary Agency in 2009. She worked previously for the Beth Vesel Literary Agency and is a graduate of Vassar College.

She is seeking: fantasy and science fiction, especially urban fantasy, paranormal romance, steampunk, YA/children's, and alternate history. Historical fiction, multi-cultural fiction, Westerns, and works that challenge their genre are also welcome.

How to contact: Allow four weeks to hear back for a submission. E-queries can be sent to aboggs[at]maassagency[dot]com and should say "Query" in the subject line. No attachments. Paste your query, synopsis and the first five pages of your manuscript into the body of your e-mail. If she likes the sound of your novel, Amy will request more.

Want more on this subject?

New agent seeking fiction and nonfiction: George Bick of Doug Grad Literary.

New agent seeking fiction and nonfiction: Myrsini Stephanides of Carol Mann Agency.

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!

New Agency Alerts | Science Fiction and Fantasy

Thursday, April 22, 2010 10:12:38 AM (Eastern Daylight Time, UTC-04:00)

Comments [0]

7 Things I've Learned So Far, by Traci Borum
Posted by Chuck

This is a 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 writer Traci Borum.

Traci Borum teaches Creative Writing at
the college level. She's written for Today's
Christian Woman magazine, as well as the
New Texas Journal. Currently, she's working
on a women's fiction series and
also runs a writing blog.

1. Never give up. Rejection is gut-wrenching—we all know that. The odds against unpublished authors are staggering. I read somewhere that literary agents can receive upwards of 400 query letters per week. Then why even try? Because the odds decrease to 0% if you don’t. If I don’t submit query letters, it’s a guarantee: I have zero chance of getting published. So, be tenacious. Let nothing stop you. Keep writing, and put yourself out there.

2. Know Your Weaknesses. Even best-selling authors have trouble with verb tenses or wordy prose. In order to improve as writers, it’s a must that we learn to recognize our individual weaknesses. Years ago, my creative writing teacher took the time to circle all the passive verbs in my story. Until that moment, I had no idea that passive voice was a weakness of mine. But when I recognized it, the light bulb came on, and I set my mind to correcting that weakness. Sure, I still gravitate toward too much passive voice. But now, I can recognize it and correct it.

3. "Just Do It." That classic phrase from 80s Nike commercials has been turned into an eye-rolling cliche. But it so perfectly describes the self-disciplined mentality writers must have. No excuses; just do it. Jack London once said: "You can't wait for inspiration. You have to go after it with a club." I’ve found three particular "clubs" that help me: 1) set specific writing goals and stick to them; 2) browse over yesterday’s work to get re-inspired; 3) give myself a reward as incentive. Whatever it takes. Just do it.

4. Don’t be a one-hit wonder. For me, a specific sort of panic sets in each time I finish a novel. It's the irrational feeling that I'll never write another book again. One powerful antidote to counteract that sort of panic is to have an ongoing brainstorming "file"—a rich reserve of ideas, plots, characters. Whether kept on your hard drive or in a notebook, every writer should have one. That way, the well won't ever run dry.

5. Realize that not everyone will "get it"—and that’s OK. Over the years, I’ve come to realize that only a select few people seem to “get” my passion for writing. Everyone else‘s eyes seem to glaze over with disinterest. Or, worse, they look upon me with judgment, and wonder why I would devote so many hours to a silly hobby. But I’ve learned to shrug my shoulders and not allow them to bring me down. In fact, quite the opposite. I press on in spite of them. Many times, their lack of support has given me just the incentive I needed to finish a novel, or to get more queries out there. And, thankfully, I have plenty of people in my life who do “get it.” And they’re all the support system I need.

6. "A sentence must earn the right to live." That quote came from an editor (unknown) who lectured at a writers’ conference I attended years ago. It’s one of the most valuable pieces of advice I’ve ever heard.

7. If you’re bored, the reader will be, too. Sometimes when I’m writing a scene, I try too hard. I force a scene to work when I know it won‘t. For example, in my last novel, I wanted something important to occur at a birthday party. It was a child's party, and I had the cake, the party games, even a clown. But I was bored stiff as I wrote it. There was no spark, no energy. So, I listened to my "inner editor" and kept working on it until it was no longer boring. Mission accomplished!

Want more on this subject?

Want to pen a guest column? Write me at literaryagent@fwmedia.com

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!

7 Things I've Learned So Far

Thursday, April 22, 2010 9:55:44 AM (Eastern Daylight Time, UTC-04:00)

Comments [2]

Wednesday, April 21, 2010

Agent Advice: Kelly Mortimer of Mortimer Literary 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 Kelly Mortimer of Mortimer Literary Agency. The founder and president of the Christian Media Association, she has received the 2008 American Christian Fiction Writers “Agent of the Year” award as well as a spot in 2008’s Top Five on the Publisher’s Marketplace list of “Top 100 Dealmakers” in the romance category. She also has a Web site for writers called Perils of Publishing and a Yahoo group that follows her agency.

She is seeking: contemporary romance, contemporary inspirational romance, mainstream fiction, paranormal, comedy, thrillers/suspense, young adult, and has eclectic tastes in nonfiction. She is not looking for: chick lit, middle-grade, children’s books, picture books, cozy mysteries, erotica or romantica, fantasy, novellas, poetry, sci-fi, or historical westerns.

GLA: How did you become an agent?

KM: I was a writer, and my editing partner kept buggin’ me. She thought I’d make a great agent. Then I got a nudge from The Big Dude Upstairs. Actually, He whomped on my head for nine months, and I finally said, “If You insist…”

GLA: You have described yourself as “the Extreme Agent” and “the un-agent,” and the tagline on your agency website is: “Diabolically Diligent. Maniacally Moral. Defiantly Different.” Can you tell us what you mean? What sets you apart from other agents—other than your masterful use of alliteration?

KM: I’m extreme because I’m fearless. Inside, I’m on fire. There’s no one I won’t walk up and talk to, no risk I won’t take if the reward can be great, and nothing I see as impossible. I’m the un-agent, as I haven’t forgotten the client hires me and I work for the client; it isn’t the other way around.
     My three-sentence tagline explains who I am. By diligent, I mean I answer e-mails and calls right away. When a client sends me work, I edit it and send it out right away. My clients get a monthly report showing them where their work is, and how many times I’ve followed up. When I can’t get to something in a timely fashion, I explain and apologize. Moral means what I do has to be moral as well as legal. I’d rather hack off my arm than cheat someone. Defiantly different means I’m vocal about my views, and my views aren't always the popular ones. What makes me different? Many things, I think.
     1) I only sign pre-published writers (I hate the term “unpublished”), or those not pubbed at a traditional house in the last three years. That doesn't mean I’m looking for newbie writers—I can only mentor so many. I sign writers who are just shy of ready—or are ready, but can’t get a break.
     2) I keep a short list of around 15 active clients.
     3) I’m not in this for the money. When I sign a client, I don’t worry about how soon I can get them published and collect my commission. I make sure their best work goes out, even if it takes longer to make it cleaner.

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

KM: The last two books I sold were for a writer who’s been with me since July ’07, Kelly Ann Riley. I told her to keep writing, and I’d keep editing/submitting, and if we hung in there, we’d get published. She won RWA’s Golden Heart Award in 2009, and I later sold that manuscript, titled Firestorm, to Steeple Hill Love Inspired for their romantic suspense line. I also got her a deal with another publisher, Guideposts, to write for their mystery series. So, now she has contracts with two houses.

GLA: You won American Christian Fiction Writers “Agent of the Year” award in 2008, and you represent several inspirational writers. Would you say you specialize in Christian literature? As well, what draws you to it?

KM: I’m a Jesus-lovin’ woman. Big time. I also have a heart for Jewish people. God draws me to certain writers, and God brings certain writers to me. I think the manuscripts some inspirational writers write are harder to sell. They may need more help than secular writers. I wanna help those who need it most. I wanna give back. In the first half of my life, I charged up a huge debt there was no way I could pay. (Dropped outta high school, ran away from home, and was a drug addict). Then Jesus comes along and says, “Hey, Kel—walk away. I’ve already paid that debt for you. You can still make something of yourself. I want you to help a truckload of people. I’ll give you what you need to succeed. Trust Me.” I trusted Him. No rehab, no AA, no patches required. I’m one stubborn broad. I never fail, because I don’t quit until I succeed. I have God in my corner. By the time I hit my 30s [long gone now…bummer], I’d earned multiple degrees with honors and changed my life. I have a goal for my second half: when I get to Heaven, I want God to say, “Ya done good, Kel. It ain’t about how you started the race, it’s about how you finished it.”

GLA: Inspirational and secular romance can be polar opposites in terms of subject matter, yet one of the areas you seek is contemporary inspirational romance. Can you help define for writers what this is and give a few examples of what you’re looking for here?

KM: People have a misconception that romance novels are all about sex. They aren't; they’re about romance. Secular romances and inspirational romances have a lot of things in common: they deal with emotional attraction, they have characters who fall in love, and they always have a happy ending. There are also differences. Secular romances build more sexual tension and describe the “hot-and-bothered” stuff to different degrees while inspirational romances concentrate on the emotional reasons men and women fall in love—they don't address physical attraction. The characters need marriage to “seal the deal,” and writers haveta close the door on the love scenes. To me, that doesn't detract from the romance; it adds mystery to it. So, if you're writin’ romance for the secular market, I want the love scenes as fiery as possible—short of erotica, which is a sub-genre I don’t rep—and if you write inspirational romance, I want writing that’s squeaky-clean when it comes to sex, although there are exceptions.

GLA: Concerning your interest in young adult literature, what are you looking for right now and not getting?

KM: I’m lovin’ all kinds of young adult right now. I don’t need historical/classic fantasy YA; I have enough irons in the fire there. I’d love to see contemporary stuff: paranormal, suspense, comedy, drama. I like third-person point of view better than first. I get a lot of first-person submissions.

GLA: If a new writer asked you how to build his platform, what would you suggest?

KM: Pray. Okay, more than that. Here are some things editors look for in a platform:

A great hook. An interesting hook holds some weight. Find an angle that’ll perk an editor’s interest.
A national radio or TV appearance pumps the jam. No, it isn’t impossible to get on a show. Believe it or not, producers need to fill tons of TV minutes and are always hunting for interesting guests for their shows.
Get something published. Submit articles to magazines and newspapers. You can start with local publications, and then expand. Writing credits show someone thought enough of your work to publish it.
Have a strong presence in online communities like Facebook, Twitter, Myspace, ShoutLife, etc. If you have thousands of “fans” or “friends” and a ton of people are following your tweets, they are all potential buyers of your book.
Ask high-profile authors to endorse your work and sing your praises. [No, publishers won’t consider your mother high profile.]
If you don’t know any such authors, start networking. It’s never too early to meet people who can help you in the future. Hook up with a local writers’ group and attend the meetings. Remember this mantra: Contacts, contacts, contacts = Contracts, contracts, contracts.
Create a blog and drive traffic to it. You need a mountain of hits. [We’re talkin’ Everest, here.] Write on interesting topics. Also, ask well-known writers, agents, and editors to guest blog, and then promote the heck out of it. E-mail everyone you know [and ask them to e-mail everyone they know]. Post announcements on every loop that will let you do so.
Plan a blog tour. It’s like a book signing tour, except you “tour” prominent writers’ blogs.
Be willing to place a Facebook ad. One of my clients did and doubled her sales.
Put up an eye-catching website, and give people a reason to come back. (Excerpts, articles, contests, etc.)

GLA: You have eclectic tastes when it comes to nonfiction; however, you specify that, when dealing with nonfiction book proposals, you prefer conservative writers with purpose and platform (though you also specify you believe everyone deserves representation). Can you talk to us a little more about that?

KM: I list an extensive amount of nonfiction topics because I have an extensive list of interests. When it comes to politics, I prefer conservative topics. I like purpose and platform, meaning I favor proposals that have a higher purpose—possibly to teach, inform, or help others—but, I also like interesting topics, whether they have a purpose or not. I need proposals with a strong platform because editors require one. For areas other than politics, proposals don’t need to have a conservative point of view.

GLA: How hands-on are you in terms of editing? How much input do you expect to have with your clients’ work?

KM: I do what I call “triple-threat editing.” When I sign a new client, I give their manuscript/proposal a content, line, and proof edit. My purpose is to sell my clients’ work, not edit it; yet, the cleaner the manuscript, the better the chance I have to sell it.

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

KM: I have a schedule on my website.

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

KM: “Rise, and rise again; until lambs become lions.” [From Ridley Scott’s 2010 film starring Russell Crowe: Robin Hood.]

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 Steve Laube, agent who seeks Christian works.

Tips from Cecil Murphey, author of 90 Minutes in Heaven.

Interview with Rachelle Gardner, agent who seeks Christian works.

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!

Agent Advice (Agent Interviews) | Christian Agents | Platform | Romance

Wednesday, April 21, 2010 9:59:59 AM (Eastern Daylight Time, UTC-04:00)

Comments [1]

Tuesday, April 20, 2010

10 Questions to Ask an Agent Before You Sign
Posted by Chuck

You have spent considerable time trying to create the best impression on potential literary agents. You have done so well that an agent has contacted you—congratulations! The tables are now turned. It is time for the agent to impress you. Your objective is to hire an agent you can trust with your money, your work, and your future. It's all part of finding your perfect match.

Felice Prager is a freelance writer and multisensory
educational therapist from Scottsdale, Ariz. Hundreds
of her essays have been published locally, nationally,
and internationally in print and on the Internet. She
is the author of Quiz It: Arizona, from Arthur
McAllister Publishers. See her website here.

Authors are often so excited about finding representation that they sign an agreement without knowing if the agent is an ideal match. In addition to agreement-specific issues regarding money and terms, there are other questions you should ask before you sign anything. These are your interview questions to which there are no "correct" answers. The purpose of the questions is to obtain information that will help you decide whether the agent is a good fit for you and your work.

10 Questions:

1. How long have you been an agent? Tell me about your path to becoming an agent.

2. Are you a writer yourself? (Writing experience can give an agent a better perspective. However, if they're immersed in numerous projects of their own, it can possibly mean that the agent isn't totally focused on getting your book published.)

3. How many other clients do you represent? Will this stay approximately the same? (Some agents have short lists and like to keep it that way so they can focus on each client. Others sign many writers in hopes of placing as many books as possible.)

4. Will you be handling my work, or will there be someone else on your staff with whom I will work?

5. Can you tell me about a few recent sales you've made? (Though an agent's track record is important, new agents can make up for lack of experience through enthusiasm, time, and hard work. Also, keep in mind that you can track agents' sales on sites such as Publishers Marketplace, so you may be able to skip this question.)

6. What publishers do you have in mind for my project?

7. How frequently do you update authors? Do you have a preference for our communication? Will you keep me abreast of where and when my work was submitted—and the outcome? (Don't enter into a relationship with someone whose communication style will leave you frustrated. A good way to determine this is to ask the agent to describe the ideal client. Is this you?)

8. How close is my book to being ready for submission? Do you foresee much editing and rewriting before it's submitted? Will you be working with me on this?

9. What co-agents do you work with for foreign rights, film rights and other subrights? Is there someone in-house who specializes in this? Can you tell me about some recent successes selling subrights of a project?

10. Why do you want to represent me? (This will give you a great sense on what they like about you and the project.)

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!

Contracts and Copyrights and Money | Guest Columns

Tuesday, April 20, 2010 10:14:00 AM (Eastern Daylight Time, UTC-04:00)

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Agent Michael Larsen on Starting Your Career (Part 2)
Posted by Chuck

Anne Lamott begins a chapter of her wonderful book Bird by Bird like this: There’s an old New Yorker cartoon of two men sitting on a couch at a busy cocktail party, having a quiet talk. One man has a beard and looks like a writer. The other seems like a normal person. The writer type is saying to the other: “We’re still pretty far apart. I’m looking for a six-figure advance, and they’re refusing to read the manuscript.” If you find yourself pretty far apart from publishers, perhaps you need to consider using the following building blocks to construct your career as a successful author. (This is Part II of this guest column. Part I is here.)

7. Build communities: You can’t get your books right or make them succeed by yourself. Get the help you need by helping people and asking them to help you.

8. Develop your craft as a marketer:

Build your platform: your continuing visibility, online and off, with the readers for your books.
Build the communities you need to succeed.
Test-market your work: Maximize the value of your book by proving it will sell before trying to get it published.

9. Promote your work: Whether Random House publishes your books or you do, you will be the person most responsible for promoting them. Regard promotion as an essential part of your mission to spread your message.

10. Be passionate about your books: You want all of the people you meet to be as passionate about your work as you are. You are the well from which they will draw.

11. Make Mistakes: Jame Joyce said that “Mistakes are the portals of discovery.” As long as you learn from your mistakes, you will make fewer of them. Eliminate failure as an option, and success is inevitable.

12. Staying committed to your writing and your career: No one will know or care as much about your books as you do. So you must be relentless but professional about writing and promoting them, and about building your presence in the industry and in your field.

13. Put your life in the service of your readers: The better you serve them, the more they’ll help you achieve your goals. If you want people to keep buying your books, establish and maintain a relationship with them. You have more ways to do that than ever.

(This is part two on Michael's thoughts for writers and their career. More coming soon. Part I is here.)

Want more on this subject?

How royalties and advances (money) work.

Don't put all your eggs in one basket with just one book.

You have a contract but no literary agent - what to do.

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!

Guest Columns | Platform

Tuesday, April 20, 2010 9:37:39 AM (Eastern Daylight Time, UTC-04:00)

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Monday, April 19, 2010

Successful Queries: Agent Ginger Clark and 'A Match Made in High School'
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 33rd installment in this series is with agent Ginger Clark (Curtis Brown) and her author, Kristin Walker, for the YA novel, A Match Made in High School (Feb. 2010, Razorbill).

Dear Ms. Clark:

When everyone in the senior class gets paired up for a mandatory course in marriage education, Fiona Sheehan has to survive being pseudo-married to Todd Harding, the most popular jerk in school. In the meantime, she needs to figure out how to 1) forgive her best friend's betrayal, 2) fake being a robot-turkey cheerleader, and 3) decide if she's really falling in love with the fat kid.

Using plenty of humor and the brash voice of a geeky main character, my young adult novel, A Match Made in High School (62,000 words), taps into the growing debate over the need for marriage education in high schools. According to the article, "Marriage Education in High School," published out of Brigham Young University, every one of Utah's high schools has a course called "Adult Roles and Responsibility," and Florida has passed a bill to make marriage education mandatory in high school. Other states are following suit. I think A Match Made in High School speaks to this issue; however, I was careful to avoid preaching any kind of message in my manuscript.

You can get a more thorough sense of my writing through my website www.kristin-walker.com. My work has appeared or is forthcoming in Ladybug, Wee Ones (November/December, 2006), Chicken Soup for the Mother of Preschooler's Soul (2006) and Chicken Soup for the Sister's Soul 2 (2006).

May I send the novel to you? I'd like to mention that this is a simultaneous query. Thank you so much for your time and attention.

All the best,

Kristin Walker

Commentary from Ginger

Here’s what grabbed me about Kristin’s query:

This is the platonic ideal of queries—it's short; it conveys the voice of the book without being gimmicky (particularly important when dealing with children’s books); it’s informative; and it’s also free of any glaring typos. And Kristin spelled my name correctly!

The query was less than 250 words, and yet it conveyed to me the A, B, C and D plots, who the protagonist was, and what kind of book this was. Fiona is a senior in high school (so, 17/18 years old)—and that makes this YA or teen. This has a romantic comedy style plot, so that is how I would be pitching this. After reading the query, I wanted to know more about the best friend’s betrayal. Friendship between teen girls can be both very fulfilling and fraught with complications, and I personally enjoy any novels that explore it. Note that Kristin conveyed all that in just two sentences. And she didn’t weigh us down with character names, or specific details.

In the second paragraph, Kristin discusses what inspired her to write the book, and how it could be positioned when it comes to any publicity surrounding it. I liked the fact that she had done her homework and was thinking that far ahead into the process (but without grasping at straws—“My book is about a show choir and I think kids who watch ‘Glee’ will love it” is a stretch). I also liked the subject itself, personally. I’m married, and I’ve been with my husband since we were close to Fiona’s age. Marriage is such a complicated and intensely polarizing issue nowadays that I wanted to see how Fiona would react to this mandatory marriage class. Lastly, Kristin’s credits indicated she was professional, and probably someone who revised well and without much crying or tears.

What Kristin does so well (Razorbill’s buying a second novel from her partially because of this) is that she has the teen voice down. While there are no direct quotes from the book in this query, you can tell from the use of “pseudo-married,” “a robot-turkey cheerleader,” and “falling in love with the fat kid,” that Kristin has got an ear for teen voice. That’s something very hard to come by, but if you don’t have it down, teens aren’t going to trust you as a writer.

This post is an online exclusive complement
to a spotlight on Kristin in the May/June 2010
issue of WD. If you don't have a sub to
Writer's Digest, what are you waiting for?
Get one now!

Breaking In (Writer's Digest) | Children's Writing | Successful Queries

Monday, April 19, 2010 10:17:42 AM (Eastern Daylight Time, UTC-04:00)

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Sunday, April 18, 2010

How to Collaborate With a Co-Writer
Posted by Chuck

Writing a book can be a chore. Many thousands of words are required, and only so many of them can be "the" or "very." It should come as no surprise that, faced with such a task, an author might decide to share the writing load with another. There are advantages and disadvantages to sharing a book with a co-writer, and we'd like to share some advice that we found useful in hindsight following the completion of our first book together.

Kyle Kurpinski and Terry D. Johnson
co-wrote How to Defeat Your Own Clone,
and Other Tips for Surviving the
Biotech Revolution.

SHOULD YOU WORK WITH A CO-WRITER?

For many, writing provides a unique opportunity to express one's individuality while working in complete solitude. When you write with a co-author, this no longer applies. You can still write bits and pieces on your own, but the final work will be a collaborative effort, and you're going to have to make some compromises along the way. On the plus side, now you've got someone to bring you beer. Before deciding if you want to write with a partner, you should weigh the pros and cons.

Start by asking yourself this question: Have you have ever found yourself passionately engaged in a completely pointless argument with someone who you are not sleeping with? If so, we suggest you avoid writing with another. When considering a potential co-author, imagine that person doing the following:

Finding your third favorite joke in the book completely unfunny, and insisting that it be removed.
Completely losing interest in a nebulous problem that you're obsessing over.
Deciding that the half-chapter you've been editing for the past two weeks "just doesn't flow" and should be scrapped, after insisting two weeks previously that the same half-chapter is essential and needs to be written.

If none of these seems likely to stir you into a murderous rage, co-writing may be for you. Consider a few of the benefits of having a co-author:

An extra set of eyes can help unblock your writer's block.
Free editing (which makes you look even better when you send it to your real editor).
You only have to write half as many words.

HOW CAN TWO PEOPLE WRITE WITH CONSISTENT VOICE?

Depending on the work, the presence of multiple voices may be jarring to the reader. It's best to know something of your would-be co-writer's style before you start and to consider the book's format. Between us, Terry likes to write sentences that look like they were constructed by Escher, and Kyle has a fondness for conversational slang, though we both possess a sort of cheerful cynicism. Since we had similar attitudes, we didn't find it too difficult to mesh our styles.

We met weekly to discuss our progress, often pointing out passages written by one of us that we thought required the services of the other. While a section of the book may have originated with one of us, it went through several back-and-forth edits and rewrites, and through this became something that contained elements both of us. When it works, it's alchemy. When it doesn't, it's usually because one of us was too in love with their own writing to let the other in to play. We also found that using a synchronized editor like Google docs helped keep us coordinated. A brief warning - if you use Google docs, don't bother using most of the fancy text formatting; you'll only have to redo it when you move to Word or another editor.

HOW SHOULD CO-WRITERS HANDLE DISAGREEMENTS?

We suggest a duel at ten paces. With some simple research, you can get your handles on Revolutionary War-era one-shot pistols. Besides that, the easiest way to handle disagreements is to avoid them. Before signing anything, you'll obviously have to agree how the workload and the money will be split. That's the easy part. You should also consider your expectations for how the book will develop. For example, if one of you wants weekly meetings, while the other would prefer setting the book aside for six months and burning the midnight oil for the last three, the former will be constantly anxious at the lack of progress or the latter will feel hectored. Agree on the process before you begin.

Everyone has obligations that could interfere with the writing and promotion of the book. Disclose those obligations to your writing partner, editor, and (eventually) publicist. If you can't travel to promote the book, don't keep it a secret from your cowriter.

You should also decide whose name will appear first on the cover. We suggest picking the author with the most unusual last name. It'll be easier for people to find it online.

In the end, working with a co-writer has a lot of benefits, and as long as you're not the eccentric reclusive type, it can be a lot of fun, too. Just make sure that when you start basking in the limelight, you leave at least half of it for your well-deserving partner, providing you didn't just kill them in a duel.

Kyle Kurpinski and Terry D. Johnson
co-wrote How to Defeat Your Own Clone,
and Other Tips for Surviving the Biotech Revolution.
Kyle (website) works for a biotech company in
the San Francisco Bay Area and spends his free
time thinking about how his projects could be
incorporated into the plot of a sci-fi action movie,
hopefully starring Bruce Willis. Terry (blog) is
currently a lecturer in the bioengineering
department at UC Berkeley.

Guest Columns

Sunday, April 18, 2010 6:41:17 PM (Eastern Daylight Time, UTC-04:00)

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Saturday, April 17, 2010

How I Got My Agent: Eve Brown-Waite
Posted by Chuck

I am re-posting Eve's column in honor of her
paperback coming out April 13, 2010.
Congrats, Eve!

----------

"How I Got My Agent" is a 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.

Guest column by memoir writer
Eve Brown-Waite, author of First Comes
Love, Then Comes Malaria

NO WATER, NO CLUE

First, let me assure you that you do not need to have connections to get an agent. Nor do you need to hobnob with already published authors, or be famous, or have money. Nor, apparently, do you even need to know what the hell you’re doing.

Of course, no one believes me when I tell them how completely clueless I was when I began this endeavor. But it helps if you imagine a young mother with an undergraduate degree in political science and a graduate degree in public health (no literature or creative writing courses there) toiling away in the Third World while writing about toiling away in the Third World. Yup, that was me. No electricity, no running water, no writers’ group, no Internet access … no clue.

I was back in the states by the time the book was (I thought) finished, but I still didn’t have much of a clue. I suppose I could have integrated myself into a local writers’ group or sought out some resources on this newfangled thing called the Internet. But hell, I was struggling just to make my way through the supermarket without getting dizzy, and I still got giddy every time I picked up the telephone and got a dial tone! It just seemed easier to plod along on my own.

ONE BY ONE ...

After blindly sending my manuscript off to a number of publishers, I learned that if I wanted to even approach a major publisher I’d first need an agent. So I bought that year’s Guide To Literary Agents and winnowed it down to about fifty agents who I thought might be matches. And then I proceeded to query them—one by one. Honestly, I’d wait for a response from each and every query letter before I’d go ahead and query the next agent on my list. And quite often that meant waiting months for some intern to pull my letter out of the slush pile and send me the standard rejection form. Yes, I was a very polite girl—and a very naïve author.

Needless to say, after three years of doing this, I’d only made it a quarter of the way through my now outdated list of agents. And it was while I was tracking down one particularly promising-looking agent, who’d opened up his own agency in the meantime, that I came across Laney Katz Becker. (By then I’d gotten a bit familiar with the whole Internet thingy.)

Laney was relatively new at the young agency (which I took to be good signs, as I thought she’d still be looking for new clients). She loved memoirs (another good sign) and especially those that transport the reader to an exotic location (Bingo! Or tic-tac-toe … I suppose the bingo would be that she liked books with a Jewish theme and she seemed to have a sense of humor). So I sent off a very funny query. I’d read somewhere that your query should reflect the tone of your book. Then I prayed.

Laney quickly wrote back and I sent her three sample chapters. Then I got my whole family praying. I should probably say right here that I am a Jewish, Humanist, Unitarian Universalist with pagan tendencies married to a proudly ex-communicated Catholic. So when I say “pray” it might not really be what you imagine. But we did send out positive energy into the Universe for Laney’s continued good health, and of course, that she’d like the book.

WHAT PROPOSAL?

Soon Laney asked to see the entire proposal. My entire what? I asked. Your proposal, she answered and then went on to explain that nonfiction books are sold on proposal only. Surely you’ve written a proposal, she added. No, sadly, I’d only written an entire book. So I got myself several books on how to write a proposal and went to work. And when I finally sent my proposal to Laney, I had my entire e-mail list praying for Laney’s continued good health and that she’d love my proposal.

On March 15, 2007, Laney called. “I love your book,” she said. “I’d like to represent you.” Three and a half months (and several proposal revisions) later, Laney sold my book—at auction—in a six-figure deal. Me: An unknown author with no connections. Just some good writing, a lot of persistence and some prayers! Oh, and one great agent!

Eve Brown-Waite is the author of First Comes Love,
Then Comes Malaria: How a Peace Corps Poster
Boy Won My Heart and a Third World Adventure
Changed My Life, (2009, Broadway Books)
available in paperback on April 14, 2010.
See her author website here.

Want more on this subject?

7 reasons agents stop reading your first chapter.

Should you start with plot or character?

Word count for novels and children's 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!

How I Got My Agent Columns | Memoir

Saturday, April 17, 2010 4:20:59 PM (Eastern Daylight Time, UTC-04:00)

Comments [11]

Friday, April 16, 2010

Cover Band Soap Opera: An Ugly Kid Joe Song 15 Years in the Making
Posted by Chuck

After watching a few of my stage plays produced when I was in college, a fellow student asked me where I "came up with these crazy ideas." I responded that we all have good ideas, but I just take the time to write them down. In fact, I write everything down - or else it slips away from me. And before I was writing down ideas and notes having to do with writing and stories, I was writing down the music/chords to any song I learned. Look right here at this scribbling of the notes to Ugly Kid Joe's "Everything I Hate About You," crudely written out by me 15 years ago on homework looseleaf.

That's the actual first draft copy. After writing it out, I stored the paper in my big music binder and would come across it once a year when leafing through all the songs I had musically transcribed then I would refresh myself on how the song went. Cut to 2010, when my cover band's lead singer couldn't make a recent show and we had to hastily fill the show with a replacement lead vocalist (Matt, pictured below). Well, Matt knew plenty of our songs - but not enough to make the magic number of 52, which is the amount needed to fill four hours when you factor in breaks. So we had little practice time to throw together some final rock songs. During some down time at practice, I start playing the notes to Ugly Kid Joe for fun, and, wouldintyaknowit, Matt jumps right in. We quickly pieced together the song and added it to our set list for that upcoming show.

So I say to you: Write everything down. Carry a pad or write things on your Blackberry. Every joke, every interesting character, every four-chord structure you figure out on the piano. Write it all somewhere, so you can remember that you know it - and you can review it later. And then maybe, just maybe, you'll have a rockin' moment like this one with me and Matt pictured below.

Cover Band Venting

Friday, April 16, 2010 8:31:11 PM (Eastern Daylight Time, UTC-04:00)

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Thursday, April 15, 2010

Agent Advice: Gordon Warnock of Andrea Hurst & Associates Literary Management
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 Gordon Warnock of Andrea Hurst & Associates Literary Management. With a B.A. in Creative and Professional Writing, Gordon helps his clients polish their manuscripts and book proposals by using a combination of industry knowledge, a sharp editorial eye, and his experience as a college-level tutor.

He is seeking: When it comes to nonfiction, Gordon is looking for memoir, pet-related projects, cookbooks, self-help, true crime, current events, humor, how-to, and health and dieting. In fiction, his interests lie in commercial narrative, character-driven literary, monster and disaster, pets, and humor. He is not interested in religious fiction, women’s fiction, new age, or children’s and young adult.

GLA: How did you become an agent?

GW: I came into it as a writer looking for more hands-on knowledge of the business. It stuck immediately because of how much I enjoy helping other writers find the success they deserve. I also like being able to do my small part to change the face of publishing in such a pivotal time.

GLA: Tell us about a recent project you’ve sold.

GW: I actually had one just come out a few days ago. I found Gail Margolies Reid in the slush pile, of all places. She had great credentials and could really write, but her proposed manuscript was lacking.
Fortunately, Andrea and I were kicking around ideas for The Complete Idiot’s Guide to Low-Cost Startups, and Gail fit in perfectly. Alpha/Penguin signed her on, and you can now find her work in bookstores.

GLA: Are there any books coming out now that you’re excited about?

GW: Oh, yes. I’ll be at the release party for Visions of Joanna Newsom on 3/13. Head in Flames by Lance Olsen is another. I have also been waiting for Abraham Lincoln: Vampire Hunter and Paul is Undead since they sold. Tim Burton just signed on to film Lincoln, which I am a bit excited about, though there is still no word on Paul. I imagine that is for the best, as it would essentially end up being like A Hard Day’s Night with less screaming and more moaning.

GLA: What are you looking for when tackling the slush pile?

GW: Originality. Don’t be afraid to push the boundaries and invent new characters. If one more person tries to pitch me Holden Caulfield, I may scream.

GLA: One of the areas you seek is “monster and disaster.” When I think of these things, Godzilla immediately come to mind. What exactly are you looking for here? How can writers break out of "beast terrorizes city and breaks a lot of stuff" mode and deliver something fresh?

GW: Again, I’m looking for something new. It can be clever or frightening or just plain ridiculous. One recent submission included a kosher vampire who only bites fish. Don’t be afraid to poke fun at yourself. Humor is another area I actively seek out.

GLA: Speaking of kosher vampires, any thoughts on the next big monster movement?

GW: We’re in it right now. Taking important cultural moments or historical situations and interposing a bit of paranormal escapism is really taking off. Pride and Prejudice and Zombies, starring Natalie Portman will soon be a reality. From Jane Austen to Star Trek to the Beatles, nothing previously sacred is exempt from the movement. It’s only a matter of time before we’re reading The Sun Also Rises from the Dead.

GLA: One of the nonfiction categories you represent is true crime. How healthy is this area at the moment?

GW: There have been a lot fewer deals thus far in 2010, but there are a few I am excited about, most notably one covering Al Capone’s youth in New York. It is a fascinating category, but one that is becoming increasingly selective.

GLA: Name two things in a book proposal that will elicit an automatic rejection from you.

GW: Demanding a seven-figure deal because you look like Bon Jovi and including pictures to try and prove that point. I am quick to send the loonies to the bin. On a more serious note, I will not work with a piece that isn’t socially responsible. I have come across several that may have had a pretty good chance of selling, but I refuse to aid in unfounded scaremongering and helping people cheat on their spouses, to name a few.

GLA: What must the publishing industry do in order to thrive in the coming year?

GW: Actively adapt to the growing digital market. The economic recession and advancements in technology have led to the highest-ever sales in the cheap, convenient e-book format. There is a precedent in the music industry that publishers could and should study for their own applications. Publishers need to create a workable business model and a way to regulate the new medium in conjunction with the old. Do not replace the old altogether. Just like LPs, a real book is warmer and smells better.

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

GW: Of course. I love to get out and talk to writers. In addition to the online Nonfiction Writers Conference (April 28-30, 2010), I’ll be at the Wyoming Writers Conference (June 4-6, 2010) in Cody, the American Independent Writers Conference (June 12, 2010) in DC, the Willamette Writers Conference (August 6-8, 2010) in Portland and East of Eden (September 24-26, 2010) in Salinas, CA.

GLA: What is something about you writers would be surprised to hear?

GW: I play a mean ukulele.

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

GW: Write. Just write.

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?

7 reasons agents stop reading your first chapter.

Should you start with plot or character?

Word count for novels and children's 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!

Agent Advice (Agent Interviews)

Thursday, April 15, 2010 11:07:29 AM (Eastern Daylight Time, UTC-04:00)

Comments [1]

7 Things I’ve Learned So Far, by Mary Potter Kenyon
Posted by Chuck

This is a 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 writer Mary Potter Kenyon.

Mary Potter Kenyon has had more than 100
essays published in magazines such as Home
Education and Woman’s World, and in the
anthologies Chicken Soup for the Mother’s
Soul and Voices of Caregiving. Her first book,
Homeschooling From Scratch, was published
by Gazelle Publications in 1996. She is currently
searching for a publisher for her book chronicling
the journey of a couple through cancer, a true love
story. Mary also blogs about writing and mothering.

1. The hardest part is getting started. Whether it is a book, an article, or an essay you want to write, stop talking about it and start doing it. There have been too many times in my life that I have spent more time reading about writing and talking about it than actually writing. Bottom line, at some point you have to sit down and start typing. Do it sooner, rather than later.

2. Your first draft is probably crap. But don’t let that stop you from writing it. When I first began writing, I’d sit down at my desk and quickly crank out an essay or article, then immediately submit it,with very little revision. I should have been editing and revising. Now, when I read my early writing, I’m embarrassed. Some of those pieces are not very good.

3. When you think you’ve completed something, wait before submitting it. You might not be finished with it. I always set what I have been working on aside overnight to look at with fresh eyes the next morning. Often, I’ll be surprised to discover what seems like a very obvious error.

4. Have someone else look your work over before you submit. No, I don’t mean your mother or your husband, unless they, too, are writers or an editor. Whether it is a writers' group, a writing friend, or an obliging English instructor, it helps to have someone else critique your writing. The first time I had my friend Mary, also a writer, take a look at something I’d written, I was dismayed when it was returned with complete sentences crossed off, words circled and little notes in the margins. When I got over the initial shock and took a good long look at her comments, I made some changes and my article was better for it.

5. When something comes back, rejected, immediately submit it elsewhere. But first, take a look at it to see if you can improve it. Print out a fresh copy. Never use the original wrinkled version that was returned. With e-mail submissions, do the same thing; print it out and look it over again. Then send it out with any revisions. Have things out constantly, working for you. Right now I have 22 things out for consideration. This helps keep me from playing the waiting game, too. If I have several things out instead of just one or two then I’m not just sitting around, waiting for an answer on those two items. Instead, I am keeping busy with more writing and submitting, upping my chances for acceptance.

6. Rejections mean you are submitting. The only true way to avoid rejections is to not submit anything. Realize, too, that there are bad rejections and good rejections. The good rejections come with a personal note and maybe some feedback. Those are the rejections to aim for. If you are getting good rejections you know you are on the right track.

7. Don’t wait to write until the children are older or you have an empty nest. Write right now. Get up early before the kids are awake or stay up late after they are in bed. Write while you wait in the doctor’s office. Pull over to the curb and write when the baby falls asleep in the car seat. Sit on the lid of the toilet and write when the kids are taking baths. I’ve done all those things. I’ve been mothering eight children for a total of 30 years and writing for 20 of those. My youngest is just six years old. If I’d waited to write until my children were gone, I’d still be waiting!

Want more on this subject?

Read Tom's guest column on east coast vs. west coast agents.

Want to pen a guest column? Write me at literaryagent@fwmedia.com

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!

7 Things I've Learned So Far

Thursday, April 15, 2010 10:58:44 AM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Wednesday, April 14, 2010

New Agent Alert: Bree Ogden of Martin Literary Management
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 Bree: Bree has an MFA in Journalism and began her publishing career as an intern and executive assistant at Martin Literary Management.

She is seeking: Middle Grade, Young Adult and Graphic Novels. "I am also open to picture book queries, but it has to be really stunning and unique."

How to contact: Query her at Bree[at]MartinLiteraryManagement[dot]com. No calls please. The agency's entire submissions process can be found here

Want more on this subject?

Interested in graphic novels? See this successful query.

New agent seeking nonfiction: Jacquie Flynn of Joelle Delbourgo Associates.

New agent seeking nonfiction and fiction: Chasya Milgrom of Dystel & Goderich.

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!

Children's Writing | Graphic Novels | New Agency Alerts

Wednesday, April 14, 2010 10:20:02 AM (Eastern Daylight Time, UTC-04:00)

Comments [1]

How I Got My Agent: Kathleen O’Keefe-Kanavos
Posted by Chuck

"How I Got My Agent" is a 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.

Kathleen O’Keefe-Kanavos is a two-time breast
cancer survivor and penned the book Surviving
Cancerland: The Psychic Aspects of Healing. She
is an inspirational speaker and a mentor for We
Can—a women’s self-help group. Kathy contributes
to CapeWomenOnlineMagazine and many other
publications/websites. She is currently working
on her second book. See her website here.

AIRLINE DELAYS AND ANGRY CATS

Act I began with an e-mail invitation from the Cape Cod Writer’s Group to meet New York literary agents. I sent my RSVP and twenty-two page book proposal in a Word document from Palm Springs, where I was wintering. The timing was perfect. I’d gotten my final draft back from my editor. But how was I to know that my 2007 Word and the group’s 1999 Word were incompatible? That’s when the fun began.

“When’s the party?” my husband asked, as we packed our suitcases and four cats for the flight home to Cape Cod. I replied, “Friday at 5:30. We’ll have time to rest if we don’t have delays…” Yeah, in a perfect world. Our plane landed in Massachusetts five hours late. We began our long drive home at 3 a.m. with a car full of hungry, pissed-off Siamese cats. My husband suggested skipping a party that night with other writers. I said not a chance.

We were greeted at the door of a B&B by the secretary. I was informed that Jack Scovil, the agent I would be meeting with tomorrow, was standing by the bar in the tortoise shell rimmed glasses. I crossed the room, introduced myself and exchanged business cards. He asked if I was attending his class tomorrow on book proposals. “Of course, I am,” I said. Actually, I had planned to sleep in.

"I NEVER RECEIVED YOUR PROPOSAL"

The next morning, I entered class late, eyes barely open. There were only two unoccupied seats … next to Jack. “Your chapter summaries should be one to two pages,” he said. I sat down and raised my hand, explaining that my editor told me to reduce my summaries to one paragraph. He eyed me. “That’s for fiction, not nonfiction.” Things were not going well. Could they get worse? Of course! I suspected that someone of Jack’s caliber would not be interested in a first-time author. But, I had his attention for 20 minutes during my meeting, and I planned to pick his brain.

He asked me what was in my large notebook. “Publishers who accept unagented manuscripts,” I said. “But, I’d prefer to get a big publishing house. That’s the main reason I’m here. The second is to get feedback on my proposal before I send it out this week.”
     “I never received you proposal.” He fanned a tiny pile of papers—my query letter and first three pages of my proposal. There was no “pitch” to be made. No deal to be done. No brain to pick. My saga was over by Act II.
     “I don’t want to waste your time,” I stammered and prepared to leave.
     Mr. Scovil countered with, “No. Tell me about your book.” Ten, to my delight, he folded his hands and leaned toward me like a child awaiting a bedtime story. I used everything I’d learned on pitching work to agents, beginning with my tagline and continuing with the main and secondary storylines. When it was all done, he said, “Is your manuscript completed?”
     “Yes. It’s polished and ready to go.”
     “Is your book proposal ready, too?” He leaning closer.
     “Yes.” I crossed my fingers surreptitiously under the table
     “Great. Send it all to me.”
      So I did—after pulling an all-nighter to change the chapter summaries back to their original length.

IN JACK'S OFFICE

Three weeks and one phone call later, I was in Jack’s New York office. “Do you think he read all of those books?” I asked my husband, gazing up at the floor to ceiling bookshelves. “No. I think he published all these books,” Peter answered. I felt intimidated. Jack entered. We exchanged pleasantries, discussed revising the title and then finished with suggestions on expanding the marketing platform. Then, I sat in the overstuffed chair wondering if he were going to offer me a contract. My husband finally asked, “So, is there a contract to discuss?” I was shocked, and relieved. Those were my exact thoughts, but I didn’t have the courage to voice them. What if Jack said, “Thanks, but no thanks.”

Instead, Jack folded his hands and solemnly said, “Well…I’m waiting for Kathy to ask me to represent her.” I couldn’t believe my ears! A top agent was asking me to ask him! “I’d love to work with you, Mr. Scovil,” I answered.

“Wonderful! Please call me Jack. I’m looking forward to a long relationship with you,” he chuckled, a smile spreading across his face. And that is how something that seemed so wrong turned out so right. In Act III, I became a client of Scovil, Galen & Ghosh Literary Agency, and my baby—now titled Surviving Cancerland—is on its way in the big world of publishing.

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.

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!

How I Got My Agent Columns

Wednesday, April 14, 2010 10:09:06 AM (Eastern Daylight Time, UTC-04:00)

Comments [0]

Tuesday, April 13, 2010

Agent Michael Larsen on Starting Your Career (Part 1)
Posted by Chuck

Anne Lamott begins a chapter of her wonderful book Bird by Bird like this: There’s an old New Yorker cartoon of two men sitting on a couch at a busy cocktail party, having a quiet talk. One man has a beard and looks like a writer. The other seems like a normal person. The writer type is saying to the other: “We’re still pretty far apart. I’m looking for a six-figure advance, and they’re refusing to read the manuscript.” If you find yourself pretty far apart from publishers, perhaps you need to consider using the following building blocks to construct your career as a successful author:

1. Read: Ernie Gaines, author of the Oprah book club selection, A Lesson Before Dying, believes that you can only write as well as you read. So read what you love to read and write what you love to read. Reading will enable you to establish criteria for your books. Also read about authors you admire to learn how they succeeded.

2. Establish models for your books and your career: Choose those that most inspire you.

3. Understand how publishers and agents work: You want the best editor, publisher, and deal for your books. Having a positive but realistic perspective on the business will help you find the right publisher for you and your book, and an agent if you decide to hire one.

4. Set personal and professional goals: Establish goals that keep you motivated to do all you can to achieve them.

5. Practice nichecraft: You can write any kind of book on any subject. But a faster way to build a career is to come up with an idea for a series of related books that sell each other and that you will be passionate about writing and promoting.

6. Develop your craft as a writer: Make every word count for your readers. Find early readers to help you make sure your work is 100% before submitting it.

(This is part one on Michael's thoughts for writers and their career. More coming soon.)

Want more on this subject?

How royalties and advances (money) work.

Don't put all your eggs in one basket with just one book.

You have a contract but no literary agent - what to do.

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!

Guest Columns

Tuesday, April 13, 2010 9:33:39 AM (Eastern Daylight Time, UTC-04:00)

Comments [0]

Monday, April 12, 2010

''Dear Lucky Agent'' Contest: Middle Grade and Young Adult (with agent Regina Brooks)
Posted by Chuck

Note from Chuck. It's April 28 and it's been
two weeks. Regina has asked for until Monday
to pick her top winners. Winners will be
announced as soon as we know. Thanks!

Note from Chuck: It's April 15, 2010, which means this contest
is now closed. Thank you for entering. Winners
should be announced within 14 days or so.
Meanwhile, keep an eye on the blog
for our next contest - coming shortly!

------------------------------

Welcome to the fourth "Dear Lucky Agent" Contest on the GLA blog. This will be a recurring online contest with agent judges and super-cool prizes. Here's the deal: With every contest, the details are essentially the same, but the niche itself changes—meaning each contest is focused around a specific category or two. So if you're writing a book-length kids novel, this second contest is for you!

HOW TO SUBMIT

E-mail entries to fourthagentcontest@gmail.com. Please paste everything. No attachments.

WHAT TO SUBMIT

The first 150-200 words of your unpublished, book-length work of middle grade or young adult fiction. You must include a contact e-mail address with your entry and use your real name. Also, submit the title of the work and a logline (one-sentence description of the work) with your entry.

Please note: To be eligible to submit, I ask that you do one of two things: 1) Mention and link to this contest twice through your social media—blogs, Twitter, Facebook; or 2) just mention this contest once and also add Guide to Literary Agents Blog (www.guidetoliteraryagents.com/blog) to your blogroll. Please provide link(s) so I can verify eligibility!

CONTEST DETAILS

      1. This contest will be live for approximately fourteen days—from March 31 through the end of Wednesday, April 14, EST. Winners notified by e-mail within 14 days of end of contest. Winners announced on the blog thereafter.
      2. To enter, submit the first 150-200 words of your book. Shorter or longer entries will not be considered. Keep it within word count range please.
      3. This contest is solely for completed book-length works of middle grade and young adult fiction (kids novels).
      4. You can submit as many times as you wish. You can submit even if you submitted to other contests in the past, but please note that past winners cannot win again.
      5. The contest is open to everyone of all ages, save those employees, officers and directors of GLA's publisher, F+W Media.
      6. By e-mailing your entry, you are submitting an entry for consideration in this contest and thereby agreeing to the terms written here as well as any terms added by me in the "Comments" section of this blog post. (If you have questions or concerns, write me personally at literaryagent@fwmedia.com.)

PRIZES!!!

Top 3 winners all get: 1) A critique of 10 pages of your work, by your agent judge. 2) A free one-year subscription to WritersMarket.com.

MEET YOUR (AWESOME) JUDGE!

Regina Brooks is the founder of Serendipity
Literary in Brooklyn. She has edited,
written and agented books. She is the
author of Writing Great Books for Young Adults.

Want more information?

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.

Buy the 2011 Guide to Literary Agents today!

Children's Writing | Contests

Monday, April 12, 2010 10:36:42 AM (Eastern Daylight Time, UTC-04:00)

Comments [15]

Sebastian Literary Agency to Close
Posted by Chuck

I recently got a note from the Sebastian Literary Agency (based in Minnesota) saying that, after 28 years of agenting, they are soon to be closed. Needless to say, they are not taking on new clients. The agency is run by Laurie Harper.

Laurie represented many nonfiction
titles, including this one.

Closings | Random Updates

Monday, April 12, 2010 9:07:36 AM (Eastern Daylight Time, UTC-04:00)

Comments [1]

Sunday, April 11, 2010

Successful Queries: Agent Ayesha Pande and 'Finny'
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 32nd installment in this series is with agent Ayesha Pande (Collins Literary) and her author, Justin Kramon, for the literary fiction novel, Finny (set for release July 2010). Justin keeps a blog of free resources for writers looking to publish their work at justinkramon.wordpress.com.

Dear Ms. Collins: (co-agent of Ayesha)

I am writing because I’m currently looking for an agent to represent my novel and short story collection, and I met you a few years ago when you came to visit the Iowa Writers’ Workshop. I just really liked talking with you in our meeting, and you seemed interested in the work I was doing, so I thought I’d get in touch to see if you might be interested in seeing some of my writing. I’ve heard that the writers from the Workshop who have worked with you have been really happy.

Let me tell you a little about myself. I’m twenty-seven years old, a 2004 graduate of the Workshop with an M.F.A. in fiction. The collection I’ve finished was awarded the Michener-Copernicus Society of America Award, and I’ve received several other fellowships, including a Sun Valley Writers’ Fellowship and a BookHampton Fellowship. I’ve published about half the stories in my collection in literary magazines, including Glimmer Train, Fence, Story Quarterly, and Boulevard. A story published last year (“Shel” in Glimmer Train) was selected by the most recent Best American Short Stories as one of their “100 Distinguished Stories.”

The novel that I’ve just finished is a love story, told in third person, from the point of view of a woman named Finny Short. It begins when the main character is fifteen, and it moves across twenty years of her life, ending when she’s thirty-five. In addition to being a love story, it’s a story about a young woman embarking upon the adventures of growing up, adventures in which she meets many lively and eccentric characters, including a seductive heiress named Judith Turngate, a domineering-but-kindhearted mother figure named Poplan with a love of exotic Asian fruits and Irish fiddle music, and a narcoleptic piano teacher named Menalcus Henckel whose mysterious past turns out to bear on Finny’s future. My aim was for the book to be a densely plotted Dickensian adventure in which a young person emerges into the world. But instead of having it be a young man, such as David Copperfield or Augie March or T.S. Garp, I wanted to write a World According to Garp about a woman, navigating the hilarious and treacherous and heartbreaking paths of adult life.

I have enclosed an S.A.S.E. for reply, or you can contact me by email or phone – whatever’s best. I would love to send you work from the collection and the novel, if you think these books might be of interest to you. Also, two mentors – the writers Ethan Canin and Bob Shacochis – have said that I should mention they are fans. Thanks so much for your time.

All best,

Justin Kramon

Commentary from Ayesha

The letter is personable, well written, and makes mention of a past meeting or personal connection—something that is much more likely to evoke a response. A sad reality is that publishing is just like any other industry: knowing people helps. Justin mention other clients that Nina represents, which means he's done his research and knows his work would be the kind of thing she’d be interested in.

The Iowa Writers’ Workshop establishes credentials, but more so do the fellowships and publications in literary journals and the fact that he completed a novel. Many aspiring authors query too early and short stories are extremely difficult to place.

Justin mentions having the support of Bob Shacochis and Ethan Canin. Again, letting me know that he'll be able to get support by established writers, whether in the form of blurbs or joint readings or nominations for awards—that’s really important and helpful. I frequently ask debut authors to request a blurb to send out with the submission—it can help editors when they’re pitching to their editorial board.

The description of the novel is succinct and makes comparisons to other books. “Comps” are so important—they give us a way to place the novel within a literary context.

Want more on this subject?

Successful Queries: (Romance) "Proof by Seduction"

Successful Queries: (Mainstream/Literary Fiction) "The Art of Racing in the Rain"

Successful Queries: (Upmarket/Women's Fiction) "Simply from Scratch"

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!

Literary Fiction | Successful Queries

Sunday, April 11, 2010 11:26:24 PM (Eastern Daylight Time, UTC-04:00)

Comments [4]

Footnotes: 5 Articles About Creating Characters
Posted by Chuck

"First, find out what your hero wants.
Then just follow him." ~ Ray Bradbury

Footnotes is a recurring series on the GLA blog where I pick a subject and provide several interesting articles on said topic. This week I’ve included five articles on writing characters.

1. Keeping it real. Author Lauren Oliver discusses how to create realistic characters.

2. How does that make you feel? On the blog, Will Writer for Cake, Lynne Hoenig talks about how to get inside a character’s head.

3. Nobody’s perfect. Editor Emma Dryden addresses the appeal of flawed characters; writing memorable ones can make your manuscript stand out.

4. Creating Characters. Check out this blog post on creating characters from the Men with Pens blog.

5. Bigger is better. Check out these tips for writing male characters.

This guest series by writer
Nancy Parish, who runs her
blog, The Sound and Furry.

Want more on this topic?

Footnotes: 5 Articles on Writing First Pages.

Footnotes: 8 Articles on Revising Your Work.

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!

Craft and Story Beginnings | Footnotes

Sunday, April 11, 2010 7:10:16 PM (Eastern Daylight Time, UTC-04:00)

Comments [1]

Saturday, April 10, 2010

Cover Band Soap Opera: How Alcohol Affects Playing
Posted by Chuck

I had a few beers¹ at this weekend's show with my cover band. As the night went on, three things you started to see from me were more smiles, more stage presence² and more mistakes. It's all part of the way alcohol affects one's musicianship when consumed in not-tiny quantities.

You ever read one of those articles, where it says "After three beers, you can't drive a car; after four beers, you can't..." -- Well, here is the cover band breakdown of all that.

After 1 Beer: Functionality normal. Skills unaltered.³

After 2 Beers: Slight Relaxation. One no longer feels any apprehension about playing in public or that there may be better musicians in the crowd eyeballing their every note. Musicianship actually improves with new confidence.

After 3 Beers: Skills peak. Some dancing and grooving begins. Good blend of enthusiasm and playing, though first mistake will reveal itself as musician lets his guard down.⁴

After 4 Beers: Miss the harmonics on the Violent Femmes and some backup vocals on Billy Joel. Other bandmates begin to look at one another and question the speed and quantity of your drinking. Slippery slope begins here.

After 5 Beers: Everything is hilarious, even your multiplying mistakes. You think you can fake your way through Beastie Boys even though you can't, and you scream at the drummer to let the "Alive" solo last for a minimum of three minutes. The set list no longer exists. The next song is whatever you feel like.

After 6+ Beers: You won't remember in the morning that you completely wrecked the beginning to Brown-Eyed Girl nor that a guest singer came up and led the crowd for two songs. Attempts to dolly gear out of the venue afterward will only lead to damaged gear. Somehow, the bar owner comes up to you and thanks you for a stellar performance. Success.

¹ Accounts vary from six to eight.
² Not necessarily a good thing.
³ Not responsible for skills not being there in the first place.
⁴ Usually during a Queen song.

Cover Band Venting

Saturday, April 10, 2010 11:06:03 PM (Eastern Daylight Time, UTC-04:00)

Comments [3]

SCBWI Live-Blogged Conferences = Tons of Info
Posted by Chuck

I don't highlight things like this as much as I should, but know that some conferences nowadays are live-blogged, allowing those who can't attend the event a glimpse at the informational sessions and presentations that go on. Of course, nothing takes the place of personally attending a conference (you get to pitch and network), but live-blogged conferences invite writers to pick up some tips.

First off, SCBWI Western Washington live-blogged their conference here. Posts include information on the following:

Niche publicity and marketing.
Author Jay Asher's (13 Reasons Why) keynote address.
"Write like an author; revise like an editor."

Second, another SCBWI chapter (Eastern Pennsylvania) also live-blogged their conference here. Posts include information on the following:

Author intensive on writing sci-fi and fantasy.
The picture book process.
All about Internet promotion.

Children's Writing | Writers' Conferences

Saturday, April 10, 2010 9:14:57 PM (Eastern Daylight Time, UTC-04:00)

Comments [1]

Friday, April 09, 2010

Agent Advice: Elana Roth of Caren Johnson Literary Agency
Posted by Chuck

This interview is part of The First Novels Club
live-blogging the SCBWI-EPA 2010 Pocono
Mountain Retreat from April 9-11. Check
out www.FirstNovelsClub.com for regular
updates on Elana's sessions and more.

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 Elana Roth of Caren Johnson Literary Agency. Elana began her career at Nickelodeon Magazine, which made her fall in love with children’s publishing. Afterward, she spent nearly 5 years as an editor at Parachute Publishing, a packager specializing in children’s book series. She’s spent the last two years as an agent, and loves working with her clients closely, being very hands-on editorially to get those existing (and already fabulous) manuscripts just right.

She is seeking: children's and young adult books, and is primarily looking for high concept middle grade and YA fiction. She will consider picture books from author/illustrators only. She considers a select number of adult projects for narrative nonfiction, pop culture and pop science. No vampires.

GLA: How did you become an agent?

ER: I started as an editor at a packager for five years. Packaging involves a lot of concept creation, and really structured development of book projects, especially a series. After a few years of learning the ropes and managing a few series on my own, I started to ask my bosses if I could help develop original projects in-house. Not only is that coming up with ideas, but also looking for writers to attached to those projects. So I started calling agents, and developing relationships with them, and realized what I was trying to do was what agents were already doing—developing authors. One thing led to another and I switched sides. It’s been two great years so far and I feel incredibly lucky to be working with my authors.

GLA: What is something you repped that recently came out that you’re excited about?

ER: I have 2 amazing books that just released in March. The first is what I think is the awesomest picture book in the whole world: Doug-Dennis and the Flyaway Fib by a debut author/illustrator, Darren Farrell. The reviews have been great, comparing him to Mo Willems and Jon Scieszka, so now I’m just crossing my fingers that readers find it and talk about it so this one can break out in a really tough picture book market. (That was definitely a hint for you to help. If you think it’s hard to get a picture book published, it’s even harder to break it out.)
The second is a stellar dystopian YA novel called Epitaph Road by David Patneaude. The premise got me from the very beginning: a world where men have mostly been killed off by a virus and women turned what was left of the planet into a virtual utopia. Only nothing is ever as simple as it seems. It’s a great adventure story that I’d recommend to boys and girls alike, and that I think will help tide over those of us who are anxiously awaiting the last Hunger Games book.

GLA: I’m looking forward to seeing you at SCBWI-EPA’s Poconos Retreat. You’re leading a session on query letters, and a great query is told in the all-important “voice” of the novel. Any advice on how to incorporate voice in a query?

ER: I’m not sure I think great query letters must be told in the voice of the novel, necessarily. But they do need a voice. Some voice. Your voice. You can tell when a writer is a natural, and can convey simple ideas and plot summary without being boring or giving away too much. Unfortunately, this is a bit of a “you know it when you see it” situation. But that’s what I hope to explore at the session, which should be really enlightening for the writers who are attending!

GLA: You’re also speaking about Internet marketing and social networking for authors. Can you list for us your favorite author website/blog and book trailer and why?

ER: Internet presence and image has become a personal cause of mine lately, which is why I’m giving this session at the conference. I can probably name more bad websites than I can good ones. And some of the “best” (coolest?) author websites are the ones that are utterly unaffordable, like J.K. Rowling’s of course. Most people can’t afford such intricate design and coding, and the truth is most people don’t need it. There are amazing platforms available now to give you a professional, attractive and manageable site.
Separate from the agenting, I actually just started my own company, Cone 6 Media to provide that service, with an eye toward authors specifically. I realized there was a real need after I was helping some of my clients get set-up and seeing how convoluted and frustrating the process can be. Most recently I did the Doug-Dennis website, which is adorable. I have a lot of fun with the sites and design, love working with authors, and I’m open for more clients.
In terms of trailers, I have to say I don’t pay that much attention to them. I don’t think they help all that much, but they certainly can’t hurt. My client, Pam Bachorz, did a very affordable, attractive one for Candor that you can see on her website and I’ve always liked Micol Ostow’s trailer for So Punk Rock (searchable on YouTube). They’re short, to the point, and display the personality of the book without being cheesy.

GLA: What’s one trend you’re hoping for in children’s writing, or a hole in the market you want filled?

ER: I happen to be one of those agents who don’t like to harp on trends. I might be tired of the ones that are still going (ahem, vampires), but I think there’s a natural ebb and flow to them, and it’s useless to try to fit into one, or start one. The market does what the market does. I always like to quote agent Jennifer Laughran, who gets all the credit in the world for saying, “There’s always a market for awesome.” I’m less focused on what trends are there, or which I’d like to see, and just looking for something to blow my mind.

GLA: How can writers get the most out of a conference?

ER: Conferences are great for two main reasons: you can network with other writers like you, and you can attend sessions to educate yourself about the industry and business. They are not there for finding an agent, or circumventing the agent search by finding an editor to grab up your book. As far as I’m concerned, conferences are only there for education and networking. My favorite part of attending a conference is running a session where I get to teach something, and not just get pitched picture books I’ll never represent. There’s no correlation between whom I’ve signed and whether they go to conferences regularly. So come to learn, and not for a contract.

GLA: Will you be at any upcoming conferences besides this one?

ER: Yes! I’m going to SCBWI Arkansas’s Spring Conference at the end of April in Little Rock. I’ll also be at the Backspace Writers Conference in New York in May. Beyond that, my calendar is open and I’d love some invitations.

GLA: What’s something personal about you writers would be surprised to know?

ER: I come from a huge family. No, really. I’m the oldest of five kids, and my youngest sister just graduated from high school. I also teach afternoon Hebrew school. This means I’ve never really had a chance to lose touch with real kids and teens, and probably why I love working on content for them so much.

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

ER: Keep your butt in the chair. It’s tempting to obsess over this query letter faux pas, or that agent who said, “Never do X.” We both help and hurt by pumping the Internet full of more interviews, blogs and Twitter feeds. If you’re spending all your time on message boards, how much time are you writing? At the end of the day, the writers who keep their butt in the chair, do the work, read everything, and write great books will get noticed. The rest is details … and more than a little common sense, of course.

Donna Gambale blogs at the First Novels
Club and is the author of a mini kit,
Magnetic Kama Sutra. She’s currently
revising her young adult novel, Multiple Choice.

Want more on this subject?

Check out Donna's guest column: 7 Things I've Learned So Far.

Check out Donna's guest column: Demystifying contracts.

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!

Agent Advice (Agent Interviews) | Children's Writing

Friday, April 09, 2010 10:32:42 AM (Eastern Daylight Time, UTC-04:00)

Comments [3]

7 Things I've Learned So Far, by Tom Bentley
Posted by Chuck

This is a 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 writer Tom Bentley.

Tom Bentley has run a writing and editing
business for more than 10 years. He’s published
many freelance pieces—ranging from first-person
essays to travel pieces to more journalistic subjects
—in newspapers, magazines, and online. He’s also
a published fiction writer. See his lurid website
confessions (and the range of his writing
services) on his website.

1. Submit the project and move on. Whether it's a personal essay, flash fiction or a tone-poem rewrite of Finnegan's Wake, endless dithering over whether there's too much passive voice or too little interior dialog means the work is endless too. Ship it.

2. You're only as good as your next sentence. Resting on your post-published laurels is much like resting on your hind end. Comfortable, but it won't keep the hounds of "what have you done for me lately" at bay. By the way, thinking that something you've done is "good enough" might mean it isn't—but being paranoid is really the province of serial killers and tax assessors, so keep that keyboard warm.

3. Fifteen minutes of work on something is 100 times better than thinking about working on something. Heck, write it by hand, write it after a crisp martini, write it on one of those diver's slates for writing underwater. Write for 15 and you might write for 15 more. Tolstoy only did a half-hour a day, and look where he went. (Note: this is a lie, but I like to think of it as a “writing prompt.”)

4. Reading writing blogs, publishing news, and/or cleaning up your submissions spreadsheet is not writing. Sure, all those things need doing, and in good time. But not in the good time that you could be spending writing. Writers write (though you can forgive yourself for imagining the publishing party and that killer black dress you'll wear).

5. Trust your voice, even if you occasionally hear all your favorite authors and your mother among them. You do have a voice, don't you?

6. If you're not fearless, fake it. Do you know that info about people "fake smiling," and it having a positive effect on their moods? Fake your fearlessness: Write about things that make you uncomfortable, that are edgy, that sting. You’ll fear them less and less after you brush their hideous fangs up close and personal.

7. Don't worry about two editors or publishers or agents hand-wringingly wanting your book at the same time (through simultaneous submissions); this is like expecting to win the lottery, get that first elusive kiss, and bake a perfect lemon chiffon pie the first time out. Worry about wrinkles or the demotion of Pluto instead.

Want more on this subject?

Read Tom's guest column on east coast vs. west coast agents.

Want to pen a guest column? Write me at literaryagent@fwmedia.com

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!

7 Things I've Learned So Far

Friday, April 09, 2010 9:57:30 AM (Eastern Daylight Time, UTC-04:00)

Comments [10]

Thursday, April 08, 2010

Tips on Writing Middle Grade: What Kids Love
Posted by Chuck

Once a month, I write a page-long adventure for my youngest daughter’s class that features the kids, a feisty teacher, a goofy principal, a silly dragon and a resurrected lizard. I read my story, then the kids come up with their own ending. If you want to sharpen your storytelling skills, I discovered there's no better laboratory than a live reading in a fourth grade class. Here are some things I've learned about effective storytelling from fourth graders.

Jewel Allen divides her time between being
a wife, mom, a freelance journalist, a musician,
and a novelist aspiring to be published someday
soon. She runs the Pink Ink blog.

Use a familiar setting with a fantastic twist. The new student turns out to be a ghost, a rainstorm sucks the class into the bottom of the sea, or Santa Claus gets stranded outside their class portable.

Introduce a mystery. How did a dead lizard get out of its aquarium? Who threw an eraser at the next-door teacher?

Add a dragon, if at all possible. Dragons come in handy when a fourth grade class needs to fly somewhere quickly. And kids always perk up at the word “dragon.”

Feature memorable, quirky characters. Denny the dragon usually gets in trouble. Mr. Brunsdale, the principal, reluctantly grants them permission to go on outlandish field trips. Mrs. Walker, the teacher, isn’t scared of bopping sharks on the nose. These characters stick out to kids and are easily remembered.

Get the characters in lots of trouble. Sensory details—like how dragon wings feel and look—are important, but nothing engages a fourth grader quicker than a problem that turns from bad to worse. The rain storm turns into a flood … the class gets washed out of their portable … they get sucked into a hole in the soccer field.

Slapstick comedy works. The kids have laughed loudest over an octopus plastered over a teacher’s head, the principal swimming the backstroke in a flood, and the new dragon-student’s wings whopping his seatmate on the head. (This probably explains why, as a fourth grader, I laughed like crazy over The Three Stooges.)

Don’t kill off a sweet character or you won’t hear the end of it. The kids really, really didn’t like the plot twist about the class lizard dying. I had to bring her back to life somehow!

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!

Children's Writing | Guest Columns

Thursday, April 08, 2010 10:24:38 AM (Eastern Daylight Time, UTC-04:00)

Comments [12]

How I Got My Agent: Vicky Dreiling
Posted by Chuck

"How I Got My Agent" is a 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.

Vicky Dreiling writes hysterical Regency
romance. Her debut, How to Marry a Duke,
will be on shelves in January 2011. When
she's not traveling, Vicky runs a blog and
she also tweets.

CONTEST SUCCESS

I met my agent by accident—twice. Several years ago, my first book did very well in contests and racked up lots of requests, but it didn't sell. After a trip back to college and a few years establishing my marketing career, I started my second Regency historical romance. By now, I'd learned far more about craft and the business of writing, but I traveled 70% of the time in the US and Europe. The constant jet lag was a significant barrier to my writing goals. So I negotiated with my manager to cut out most of the travel. Then I took a vacation. Three weeks later, I finished my second book.

My second book also did very well in contests. My goal was to get a great agent, so when friends invited me to tag along to a conference, I decided to go. I signed up for appointments, but was unable to get one with Lucienne Diver because her slots were filled. That night, the conference held a dinner at a local restaurant. My buddy Jo Anne Banker & I got lost on the way there and arrived late. The keynote speaker met us and then realized she'd only saved one seat for Jo Anne. The speaker was horrified, but I told her not to worry. I don't know a stranger, so I strode off in search of new best friends.

APPROACHING LUCIENNE

There was only one vacant chair next to an agent. I'm an extrovert, but even I was a bit nervous when I approached Lucienne. She gave me a warm welcome. To my surprise, Lucienne asked me what I wrote. I said Regency historical romance and shut my mouth. I believed she only asked to be polite. Then she asked me what my book was about. I gave her a sheepish look and said, "Oh, it's the bachelor in Regency England, minus the hot tub and camera crew." She whipped out her card and requested a partial. I couldn't believe my good fortune. Then we started chatting and hit it off. We’d traveled to some of the same places in Europe and swapped funny stories. After the conference, I sent her the partial and not long afterwards, she requested the full.

Fast forward to another conference. While riding an escalator, I heard someone call out my name. I looked back and saw a familiar face. Yes, it was Lucienne. She asked about the manuscript she'd requested, and I told her I was doing revisions. I'd found a flaw in the book and I was determined to get it right. I believed too much in my story to send out anything but my very best work. Lucienne and I talked for a bit, and I wondered if this was some kind of sign (cue eerie music). What are the odds of meeting an agent accidentally—twice?

THREE OFFERS FROM AGENTS

I returned home energized and finished those revisions. Then I sent the book off to requesting agents, including Lucienne. Soon afterwards, something unexpected happened. Three agents offered representation. Of course, I was excited and flattered. It's a good problem to have, but it's also terrifying because you have to choose. I knew this was one of the most important career decisions I would ever make. How did I do it? I compared and contrasted each of them. I also did additional research. Here are some of the key points I investigated:

Their styles of communication. I wanted an agent who replied in a timely manner and also someone who listened to my goals.
How and to whom they envisioned submitting my manuscript.
Their editorial feedback and whether or not it resonated with me immediately.
The agency contracts, especially termination clauses.
Their agent experience, including the number of years in business.
Promotional efforts for their authors.
Their deals on Publisher's Marketplace (# of deals, which publishers, etc.).
Most importantly, I spoke to at least one of their authors.

In the case of the two other agents, I knew authors they represented. I didn't know any of Lucienne's authors. I asked if I could speak to one of her clients. She referred me to her wonderful author, Michele Lang. As it turns out, Michele had also gotten multiple offers of representation and understood what a difficult decision I had to make. She gave me a thorough and objective description of how Lucienne works with her authors. Lucienne's excellent reputation and enthusiasm for my writing were two of the many reasons I chose her. So far, she has exceeded my expectations over and over again. Best of all, we sold that book in a three-book deal to Grand Central in June 2009! Merci beaucoup, Agent Awesome Sauce!

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.

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!

How I Got My Agent Columns | Romance

Thursday, April 08, 2010 10:00:37 AM (Eastern Daylight Time, UTC-04:00)

Comments [3]

Wednesday, April 07, 2010

'Worst Storyline Contest' Winners Announced
Posted by Chuck

The (third) "Worst Storyline Ever" Contest is now closed and judged. Thank you to all who entered. Here are the winners!

"Worst Storyline Ever"

Contest

GRAND-PRIZE WINNER

"When a pack of dingos refuse to eat her baby, psychotic woman Helen Grinkel turns the tables by eating one of their pups, sparking a dingo-human war which in turn destroys the entire Australian EcoTourism market."

     - Pete Aldin

TWO RUNNERS-UP

"A group of elderly superheroes living in an old folks home decide to rekindle their crime-fighting careers by policing the hallways at night, but miscommunications due to slipping dentures, hearing aid malfunctions, and failing eyesight result in blunders that have them karate-chopping each other instead, allowing the villains to escape with the resident's pre-packaged cafeteria meals."

     - Linda Hofke

"After losing her title at the International Envelope Sealing Championships, Pearl Tuck is determined to train her way back to the top, no matter how many popsicles and stamps she has to lick along the way, until a tragic incident with a frozen lamp post threatens her taste for victory."

     - Steve Forti

Want more on this subject?

Writer's Digest has contests all year round. The annual contest, for example, takes the winner to NYC for agent meetings and also gives them $3,000.

Should you start with plot or character?

Ten tips for a successful agent-author relationship.

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!

Contests

Wednesday, April 07, 2010 10:37:16 AM (Eastern Daylight Time, UTC-04:00)

Comments [7]

Looking for a Good Writers Conference? Head to Jackson Hole This Summer
Posted by Chuck

If you're looking for a writers conference in a beautiful location this summer, consider the Jackson Hole Writers Conference in Jackson Hole, Wyoming. I was part of the faculty in 2009 and will be again in 2011. Attendees at the conference are sure to get critiques for their work, meetings with agents, good presentations, and outdoor beauty that's worth any travel costs.

DETAILS

June 24-27, 2010, in downtown Jackson Hole, WY. Registration fee unknown but likely available on the website. Jackson Hole is at the northwest corner of Wyoming and sits at the base of the Grand Teton Mountains.

WHO WILL BE THERE?

Agents!--including Meredith Kaffel (Charlotte Sheedy Literary Agency); Alexandra Machinist (Linda Chester Literary Agency); and Abigail Koons. You can see their "wants" here, but between them, the three handle an awful lot of subjects and categories. Other speakers include:

Marysue Rucci is Executive Editor, Vice President at Simon & Schuster where she acquires and edits fiction and narrative nonfiction
Ellen Edwards has been an executive editor at New American Library since the fall of 1998, focusing on commercial women’s fiction, including contemporary and historical novels, romance, and cozy mystery series.
Janet Fitch is the author of the Oprah's Book Club novel White Oleander, which became a film in 2002.
Louis Bayard writes historical-thriller novels and has been nominated for both the Edgar and Dagger awards; he has been named one of People magazine's top authors of the year.

OTHER COOL TIDBITS

All attendees' work is critiqued by multiple presenters, so you can multiple opinions on your work from professionals. It's a smart way of doing things.

Secondly, I am not joking when I say Jackson Hole is one of the most beautiful locations for a writers conference. The weather is amazing in June and the outdoor scenery is unbeatable. Last year, my wife and I did a raft ride down the Snake River, multiple hikes, a hot air balloon ride, and more. It's worth the travel costs - trust me.

Want more on this subject?

5 articles on making the most of a writers conference.

How to pitch an agent at a conference.

The next Writer's Digest Editors Intensive event is Sept. 11-12, 2010. All attendees receive a critique of 50 pages of their work.

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!

Writers' Conferences

Wednesday, April 07, 2010 9:44:33 AM (Eastern Daylight Time, UTC-04:00)

Comments [2]

Tuesday, April 06, 2010

How to Write a Book Series
Posted by Chuck

It was a strange thing. There I was writing books about teens struggling with alcoholic parents and depression, when an idea for ninja cheerleaders popped into my head. See—strange? Turns out that idea became The Naughty List, my first young adult novel (released in February 2010). But then things got even weirder… it became a series.

To be honest, I didn’t set out to write a series. But along the way, I’ve learned a lot about them. In fact, I have another series coming out next summer. Again—completely by accident! So what made The Naughty List series-worthy? I can only offer guesses, but I’ll give it a shot.

CHARACTERS

I really love a character-driven series. I think a writer needs to create a main character that’s likeable, but original. Relatable, but special. Someone we won’t be completely sick of after one book. For The Naughty List, my main character is a perky cheerleader, but as the book (and the series) goes along, you see different sides of her, sides that everyone has. She becomes vulnerable, and hopefully readers can invest in her. If you have a character that you want readers to join on a journey, make them someone they can root for. And while you’re at it, side characters that we can be friends (or enemies) with in real life add dimension to the story. Give everyone some flesh!

HOOK & PLOT

Every good series needs a hook. Whether it’s a story about a future society that puts the characters in a battle of life or death, or a book about cheerleading spies who catch cheating boyfriends, writers need something that can sustain multiple books. And evolve.

Don’t write the same book over and over again. The theme and characters may remain the same, but each book needs to be whole and complete in itself. You should have conflict and resolution, not just a setup for the next book. Be satisfying—like a strawberry smoothie!

CONTINUITY

One thing I didn’t do when I started (again, because I never planned to write a series) was keep a list of characters with descriptions, settings, motivations, etc. I wish I did. I remember getting back an edit once where the copyeditor wrote, “I’m pretty sure she’s blonde?” It was such a small thing, but I felt embarrassed. Now I have a character bible because it helps me keep my characters straight in my head. I have a lot going on in there!

SOW EARLY, REAP LATER

A fun part about writing multiple books is when you get to plant evidence—little discoveries that’ll come to light in later books. Sometimes they’re on purpose—a narrowed look here, an unanswered question there. Other times they are completely accidental but work great in a new plot line. For example, in book one, there was a character who occasionally showed a darker side. I realized in book two why she was like that, and it ended playing a major roll in the plot. Sometimes, even though you may not envision your book to be a series, you might realize that your characters have so much more to say.

In each new book, I first start out with a quick, not-too-obvious summary of what readers may have missed in the story so far, just in case they’re new to the series. But once I start digging in, I really enjoy visiting with my characters again, their familiar settings. It’s like seeing an old friend from high school—only without all the awkward “we should have kept in touch” moments.

Writing a series is a blast, but I think it’s really important that the first book set up the world. That it’s a stand-alone that can tell a whole story all by itself. And if your editor makes it into a series, that’s fantastic. If you love the characters and the story, you won’t mind spending a little more time with them, and neither will your readers.

Suzanne Young is the author of The Naughty List series—
stories about a group of cheerleaders who investigate
cheating boyfriends. The first book, The Naughty List,
is available now from Razorbill/Penguin. So Many
Boys will be available in June 2010 and A Good
Boy is Hard to Find will be out November 2010.
She is also writing a new series for Balzer and
Bray/Harper Collins. Suzanne lives in Portland, Ore.

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!

Children's Writing | Guest Columns

Tuesday, April 06, 2010 10:20:57 AM (Eastern Daylight Time, UTC-04:00)

Comments [8]

Successful Queries: Agent Scott Eagan and 'Better Than T.V.'
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 31st installment in this series is with agent Scott Eagan (Greyhaus Literary) and his author, Stephanie Stiles, for the women's fiction novel, Better Than T.V.

"Better than T.V." has no cover yet,
so enjoy this lovely stack of books.

Name: Stephanie Stiles
Email: [deleted]
Title of Manuscript: Better Than T.V.
Word Count: 75,000

Story Premise: Better Than T.V. is a short, humorous novel whose first-person narrator, Annie Fingardt Forster, recounts the various misadventures she experiences during the nine months of her second pregnancy. In a self-effacing and wry voice, she describes her suburban world, her colorful loved ones, and her surprising antics as she prepares for the birth of her new baby. As a stay-at-home mother of a three-year-old son, she turns the mundane events of domestic life into comical and outrageous escapades. Whether it’s a simple trip to the doctor’s office or an entangled stint working part-time as attorney for two of her friends, Annie’s tales are always filled with fun and insight.

Genre: Women's Fiction

Additional Information: I am an English professor at Dominican College, where I chair the Department and direct the Creative Writing Program. I've published poetry, short fiction, and nonfiction before, but this would be my first novel. I'd be an easy client, as I am eager to get this work published. I hope you find that it is in keeping with what you're looking for!

Commentary from Scott

Writers submitting proposals to Greyhaus Literary Agency can do so in three different formats. One method is an online form (fill in the blank). A lot of writers have found this one to be easier to do since they can avoid the pain and misery of writing that dreaded query.

Since opening Greyhaus, only two authors have caught me with their title and in both cases, I signed them (not simply because of the title). This short title certainly sets up the apparent humor in the story. With the blurb, there were several things that jumped out at me here. First of all, Stephanie did not try to overwhelm me with statements that wanted to make the story sound cute or funny. Too often, I have seen writers try this and in the end, all it does is turn me off. In this case, she sums it up in two simple sentences. “Annie Fingardt Forster, recounts the various misadventures she experiences during the nine months of her second pregnancy. In a self-effacing and wry voice, she describes her suburban world, her colorful loved ones, and her surprising antics as she prepares for the birth of her new baby.” Adding the words “misadventures”, “self-effacing” “colorful loved ones” and “surprising antics”, gives the reader a glimpse into the story understanding it is not simply a narrative on pregnancy, but clearly something much more.

The additional element that intrigued me about this project was her additional information she provided about the story. After first setting up the premise, she goes a bit deeper with the comment: “As a stay-at-home mother of a three-year-old son, she turns the mundane events of domestic life into comical and outrageous escapades.” At this point, I was able to immediately start picturing what potential events she would take on in the story. The simple combination of “mundane” and “three-year-old son” can only mean some great scenes.

In her bio, she really doesn’t have much to demonstrate in terms of novel writing. What she does, however, that works is the honesty about her background. She clearly uses her career as a force that shows she understands writing and she mentions briefly that she has done some other writing with short stories and poetry.

On December 29th, I signed this author. On the 11th of January, I sent out the proposal. The initial response from the phone calls showed editors had interest. On January 25th, an offer was made on the book!

Want more on this subject?

Successful Queries: (Romance) "Proof by Seduction"

Successful Queries: (Mainstream/Literary Fiction) "The Art of Racing in the Rain"

Successful Queries: (Upmarket/Women's Fiction) "Simply from Scratch"

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!

Successful Queries | Women's Fiction

Tuesday, April 06, 2010 9:52:49 AM (Eastern Daylight Time, UTC-04:00)

Comments [4]

Monday, April 05, 2010

Agent Advice: Cameron McClure of Donald Maass Literary 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 Cameron McClure of the Donald Maass Literary Agency. She joined the Maass Agency in 2004 and, in addition to her own growing client list, Cameron handles the agency's foreign and film rights.

She is seeking: Cameron represents mostly fiction and is especially interested in seeing literary fiction, mystery and suspense, urban fantasy (fantasy and SF set on Earth), and projects with multi-cultural, international, environmental, and GBLT themes.

GLA: How did you become an agent?

CM: My first job in publishing was working for Curtis Brown, for an agent who handles primarily romance. I’ve never been an avid romance reader, and coming off of four years studying “literature” in college, it was the perfect introduction to commercial and genre fiction: what most people actually buy and read. I was very attracted to the freedom you have as an agent, to work with whatever material you connect with and think you can sell, regardless of category. I was hooked.

GLA: Are there any books coming out now that have you excited?

CM: I have a lot of exciting books coming out this season. [Robert Jackson Bennett’s] Mr. Shivers (Orbit), a horror novel set during the Great Depression has been described as a mix of Stephen King and John Steinbeck.
     I have three new urban fantasy series debuting this spring: [Carolyn Crane’s] Mind Games (Bantam), about a hypochondriac who learns how to weaponize her neurosis; [Sonya Bateman’s] Master of None (Pocket), about an unlucky thief who must partner with a surly male genie; and [J.A. Pitts’s] Black Blade Blues (Tor), featuring a lesbian blacksmith, Norse mythology, and dragons.
     And in May, I have a literary crime novel [by Emily Winslow] coming out called The Whole World (Delacorte).

GLA: What are you looking for right now when tackling the slush pile?

CM: “Good writing” and “voice” are high on the list, as is a strong plot, original premise, both internal and external character conflicts, and a sense of suspense or narrative momentum. When I’m reading, I need to feel that the story is really going somewhere, and I look for writers who are making their scenes work double duty for them in terms of moving the story forward.
     In the last couple of weeks, I’ve seen a lot of superb writing with unique narrative voices, but weak overall storylines. What I’m looking for are projects that incorporate all of these elements.
     I also get a lot of urban fantasy pitches that seem really derivative. If you’re writing in a saturated field like urban fantasy, or, say, thrillers, it’s important to know the genre well enough to come up with an out-of-the-box concept.

GLA: One category you seek is GLBT (Gay, Lesbian, Bisexual, Transgender), which we have not discussed very much on the blog. What are you looking for here? Perhaps describe some past books you’ve represented in this area and what made you decide to take them on?

CM: I’m really looking for the same story elements as I described above. It drives me crazy that I get so many queer memoirs and coming of age novels where the author assumes that it’s enough to just be gay, and nothing much else is going on in their stories other than this identity crisis. I don’t mean to trivialize that experience, but at the same time, many coming out stories don’t make for a riveting read or can sustain the scope of a novel all on their own. This only works if you’re writing at the level of someone like David Sedaris or Alison Smith.
     In fiction, most of the authors I work with who have published in this field are looking to bridge the gap and write something that is true to the queer experience but will have mainstream appeal. In nonfiction, I work with Keith Stern whose reference book, Queers in History (BenBella) was published last summer.

GLA: I read you are particularly drawn to mysteries and thrillers. In your mind, what separates these three categories?

CM: The way I see it, a pure mystery is where the crime has already happened, and the protagonist must solve it. In a thriller, the protagonist is often waiting for the crime to occur or working to prevent it. Mysteries can be more introspective, with a focus on the protagonist’s mental powers of deduction, where thrillers are known for more action and physicality. In mysteries, a key element of the plot is hidden from the reader, such as (most traditionally) who the villain is. In a thriller, you often know who the villain is fairly early on, and the plot is centered around a game of cat and mouse.

GLA: What do women’s fiction writers need to do in 2010 in order to thrive—and what are you tired of seeing here?

CM: In women’s fiction, I see a lot of female characters who spend a good portion of the book as victims, or not taking charge of their own lives. It’s hard for me to get behind characters like this. I know that throughout the course of the story they will step up and create better situations for themselves, but in the meantime, we are stuck with a weak character.
In a lot of women’s fiction submissions, I see really strong and well-developed internal conflicts, but sometimes there is no external conflict at all, which is a problem for me. Also, don’t call it chick lit.

GLA: Do you find a lot of writers mislabeling women's fiction as chick lit and vice versa? What do you think is the number one difference between these two areas?

CM: I see chick lit as being women’s fiction’s peppy and more commercial younger sister, and even though these books are still being published, no one is calling them “chick lit” anymore.

GLA: In a query letter, what will elicit an automatic rejection from you?

CM: Writers who send their query to tons of agents at once, or who simply paste a link to their blog or website and tell me to read their material. I have no interest is working with lazy people.

GLA: How important is platform to you, and does it differ between writers of fiction and nonfiction?

CM: I mostly work with fiction writers, so platform isn’t as important to me. It certainly matters, but not nearly as much as the actual novel, and I don’t weigh it very heavily when deciding whether or not to take on a new author. Most fiction writers I sign have a website or blog or some kind of web presence, and if they don’t, I encourage them to develop something, as long as it doesn’t take too much away from working on their book (or their next book).

GLA: What is something personal about you writers may be surprised to hear?

CM: This isn’t very surprising for those who know me, but I spent last fall building the ultimate child carrying bicycle from a $20 bike off Craigslist and lots and lots of spare parts. It's not very pretty, but it rides!

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

CM: Read more books. It’s one of the best and most enjoyable ways to improve your craft.

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?

7 reasons agents stop reading your first chapter.

Should you start with plot or character?

Word count for novels and children's 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!

Agent Advice (Agent Interviews)

Monday, April 05, 2010 10:32:48 AM (Eastern Daylight Time, UTC-04:00)

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Sunday, April 04, 2010

How to Target Your Submissions to Agents
Posted by Chuck

So you feel it in your bones that there’s a perfect individual out there ready to fall all over the slush pile to publish your manuscript. Maybe you’re scouring the planet for an agent to stand behind you when the winds of rejection threaten to blow the knuckle hairs off your writing hand. What’s your plan for targeting and catching that person’s attention?

Laura Manivong's first kids novel is Escaping The Tiger,
a story based off her husband's experiences as
a Lao refugee hoping for a new home. She
lives in Kansas City. See her website here.
She also tweets.

As writers, the most important thing we can do is read, right? But if you’re like me, you can’t remember what flavor rice cake you ate yester morn, much less the details of the 200 books you were supposed to have read last year. Couple that with the oft-heard advice to “do your research” and “target your submissions,” and new writers everywhere can be heard mumbling, “What the denouement does targeting your submissions mean?”

NOTE WHAT YOU'RE READING

For me, targeting submissions means keeping a detailed reading log so you can get a sense of who likes what. Use a fancy-pants excel document if you wish, or use a Big Chief tablet. The point is to make it more than a list of titles and genre. Include the publisher, author, year of publication, intended age group, POV, and a quick description of the plot. That one-sentence library of congress summary on the copyright page works wonders for your paraphrasing pleasure!

Then dig deeper. Check the acknowledgements page to see if an agent or editor is credited for their stunning acumen. Record it on your reading log. Can’t find it? Google it, check the author’s website, join online communities and ask, or get your mother-in-law to call the publisher to inquire who the brilliant editor was behind Title Wunderbar. (Attempt this last one at your own risk!)

DISSECTING WHAT AGENTS LIKE

Now finesse your reading log. Analyze the book and note why you connected with the main character, or, um, why you used the book as kindling for Uncle Irwin’s bonfire. Note how that vast Alaska landscape almost became a character all its own, or how the protagonist’s external problems are beyond her control but she still manages to change her world through tiny acts of rebellion. In other words, get to know what agents and editors like by looking beyond genre. Look for emotional clues that tell you what triggers agents’ and editors’ heartstrings, something to which you can connect your own work. See how what you’ve written compares to other published titles.

SEARCH MARKET GUIDES

And once you’ve done this research, it’s time to grab a market guide and crosscheck your research for current editors or agents and their submission policies. Now instead of saying “I read you accept middle grade contemporary fiction,” you can dazzle those query readers with a truly targeted submission. For example, “My protagonist, like the character in This Other Awesome Book You Represent, finds solace outside her family as she struggles to connect with a disengaged parent. I wonder if you might be interested in my 180,000-word novel?” (Note to self: Write article on word counts that run very long.)

Buy "Escaping the Tiger"

Want more on this subject?

7 reasons agents stop reading your first chapter.

Should you start with plot or character?

Word count for novels and children's 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!

Guest Columns | Queries and Synopses and Proposals

Sunday, April 04, 2010 9:51:47 PM (Eastern Daylight Time, UTC-04:00)

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New Agent Alert: Ali McDonald of The Rights Factory
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 Ali: She is focused on children's authors. Ali started at The Rights Factory in January 2009, in an editorial capacity, and decided to become an agent and started building her list at The Rights Factory in Fall 09.

She is seeking: Young adult and middle grade books.

How to contact: The agency has a submissions form on its website for queries. Please do not send unsolicited manuscripts. Start the online submission with a note: "Query for Ali."

Want more on this subject?

Examine great high-concept hooks for kids books.

New agent seeking kids stuff: Adriana Dominguez.

New agent seeking kids stuff: Mary Kole.

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!

Children's Writing | New Agency Alerts

Sunday, April 04, 2010 9:28:06 PM (Eastern Daylight Time, UTC-04:00)

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Saturday, April 03, 2010

7 Things I've Learned So Far, by David Blockley
Posted by Chuck

I have spent a lifetime as a structural engineer, which is another way to say I make buildings, bridges and dams stand up. Like other structural engineers, I get somewhat dismayed when others say engineering is dull, boring, narrow and "techy." (What does that even mean?) So I set out to write a book describing the intellectual and practical excitement of engineering and how it is an integral part of being human. I chose bridges as my topic since not only are physical bridges an obvious part of our infrastructure, they can be beautiful, they can be ugly, and they can be neglected. I have written four previous books but all technical and aimed at other engineers--this one was to be aimed at the general intelligent but non-technical reader. I had to learn a completely new way of writing.

David Blockley is a professor at the University
of Bristol in the UK. His book is called Bridges,
and is available here. Check out David's
website here.

I wrote a proposal and sent it off to publishers and agents. At my 20th attempt, I got a pleasant e-mail from the editor asking me to edit my proposal and resubmit, which I did. The result is Bridges: The Science and Art of the World’s Most Inspiring Structures, published by Oxford University Press, March 2010. The whole experience has taught me some valuable lessons, which I happily share below:

1. Persevere. And to do so, be passionate in your belief that what you are writing about is worthwhile.

2. Pay close attention to feedback--but be robust and try not to take offense. Most criticism has some substance but you have to interpret it in the light of your own view.

3. Find the narrative. This is hard for us technical writers used to writing scientific papers and books aimed at specialists.

4. Find an angle. Mine is: You can learn to read a bridge like a book.

5. Be careful not to sound as though you are talking down to the reader, even if you are trying hard not to. You have to be careful with jargon.

6. If need be, find a non-technical friend who will read and be completely brutal and honest in providing some thoughts on the work.

7. Write and rewrite. Cut down the text to the barest essential flow of the narrative. Always have a potential reader in mind and write for them--trying to connect with how they see a world quite different from your own. Best of luck!

Want more on this subject?

Want to pen a guest column? Write me at literaryagent@fwmedia.com

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!

7 Things I've Learned So Far

Saturday, April 03, 2010 9:26:51 PM (Eastern Standard Time, UTC-05:00)

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A Thank You to My Wonderful Blog Readers!
Posted by Chuck

I just got the numbers stuff for March 2010 and it was the blog's biggest month ever. Right now, the site gets more than 100,000 page views each month and continues to grow.

I just wanted to stop for a minute and say thank you for following the site. Thank you if you've added me to your blogroll. Thank you if you comment. Thank you if you've complimented my site in a blog post of your own. And thank you to those who have been brave enough to write a guest column for me. I hope this site and the entire Writer's Digest network can help you on your journey to being a successful author. Thanks again--and good luck!

My Writing Life

Saturday, April 03, 2010 9:02:16 PM (Eastern Standard Time, UTC-05:00)

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Friday, April 02, 2010

How I Got My Agent: Richard L. Mabry
Posted by Chuck

"How I Got My Agent" is a 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.

Richard L. Mabry's fiction debut,
Code Blue, is available now.

A FRUSTRATING START

I got my agent shortly after I quit writing. Sound unusual? Welcome to my world.

I started writing fiction in 2003. At that time, writers could approach editors without going through an agent, so access wasn’t a problem. The problem was that no publisher was interested in my novels. Finally, one editor told me that, if I’d revise two of my books with the help of an independent editor he recommended, I’d probably get a multi-book contract. Shortly after that, I approached an agent with this news, and she agreed to take me on. Unfortunately, it went downhill from there. I spent a ton of money with the independent editor. Then the editor told me the publisher had decided my work still wasn’t good enough for them. My agent concluded that there didn’t seem to be a market for what I was writing. It’s an understatement to say we were both frustrated.

I kept at it, but after about forty rejections, including a time when I tried to write in different genres (including a cozy mystery), I decided to give up. The agent and I parted amiably, and I put aside my pen (figuratively at least). I was through writing.

A SECOND CHANCE

I’d met Rachelle Gardner at one of my first writers’ conferences, when she was an editor. Later, I reconnected with her through her blog, and continued to follow her even after I gave up writing. Rachelle was now an agent, and she ran a contest offering a critique of the first 20 pages of a novel to the person coming up with the best first line. On a whim, I dashed off an entry. Doggoned if I didn’t win with the line: “Everything was going along fine until the miracle fouled things up.” (By the way, the first chapter of that unfinished work is still on my hard drive).

Having nothing fresh to send for critique, I sent Rachelle the first chapter of my latest book--the one that had been turned down more times than a Holiday Inn bedspread. Rachelle’s response was: “Send me something that needs editing.” I didn’t know what to think. Someone in the industry actually thought my writing was pretty good. Maybe I should give it another try. With a great deal of trepidation, I sent off an e-mail query asking Rachelle to consider representation. I anticipated the usual slow process, hoping to get back a request for a proposal, then a partial, maybe a full manuscript. Instead, I got a return e-mail: “Of course I’ll represent you.” I’m not sure my heart has stopped racing even now.

A NICE ENDING

Rachelle made some excellent suggestions for improving my novel, and working together we produced something she thought she could sell. At the ICRS meeting, she pitched the proposal to Barbara Scott, who was starting the Christian fiction line at Abingdon Press. Barbara asked for Rachelle’s hard copy of the proposal to read on the plane. Shortly after she arrived home Barbara called to ask for the full manuscript. Eventually she bought the book.

Now the happy ending. Code Blue was released April 1. And even better, Abingdon will publish the next two novels in the Prescription For Trouble series in the fall of 2010 and spring 2011.

You know how there are times when you hunt and hunt for something, only to find it after you give up? Well, that’s what happened to me in my quest for an agent and publication. It’s nice to be good. It’s even better to be lucky. I’d like to be both, but if I can only have one, I’ll stick with luck.

Richard L. Mabry is the author of Code Blue.
A retired physician, he now writes Christian
fiction and nonfiction, and works fruitlessly
on improving my golf game. His book, The
Tender Scar: Life After The Death Of A
Spouse, was published by Kregel Publications.

Want more on this subject?

Should you mention your age in a book query?

20 tips on query letters, from agent Janet Reid

Check out the Writer's Digest Guide to Query Letters

What should you write in the bio of your query?

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!

Christian Agents | How I Got My Agent Columns

Friday, April 02, 2010 9:57:13 PM (Eastern Standard Time, UTC-05:00)

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Thursday, April 01, 2010

Agent Irene Goodman On: Common Submission Mistakes
Posted by Chuck

Irene Goodman has been a top agent for more than 30 years, with many NY Times bestsellers. She offers manuscript critiques on eBay every month, starting on the first day of each month, with all proceeds going to charity. Go to irenegoodman.com for more details on her charity auctions.

What are the most common mistakes
you see writers make in their submissions?

I've been doing a lot of partial manuscript critiques every month on eBay (all proceeds go to charity), and I'm noticing certain patterns that have emerged. A lot of good writers with the best of intentions make the same three crucial errors:

They try to throw too much into the story, thinking it will appeal to more people that way. The opposite is true. I ask them to identify where in the bookstore this book will be shelved. If they can't answer promptly, they've made a mistake. You can't write a mystery/romance/thriller/adventure/soap opera with a dash of science fiction. Simple is better.
They write a thriller that's not--well, thrilling. It may be interesting and well written, but if it's not scary, it doesn't have suspense, there is nothing big at stake, or there isn't much action, it's not much of a thriller.
They pick subjects that are just not commercial. Don't spend three years of your life writing a novel about King Olof Skötkonung of Sweden or a romance novel set in Germany in 1943. Learn what's commercial and what is not.

Want more on this subject?

Read an interview with Irene Goodman.

Advice on writing memoir.

20 Tips on 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!

Contests | Guest Columns

Thursday, April 01, 2010 9:16:48 PM (Eastern Standard Time, UTC-05:00)

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