Guide to Literary Agents

How I Got My Agent: Eve Brown-Waite
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.

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.

How I Got My Agent Columns

Sunday, March 14, 2010 3:20:59 PM (Eastern Standard Time, UTC-05:00)

Comments [7]

Saturday, March 13, 2010

Writing Tips From Max Lucado, Best-Selling Author
Posted by Chuck

It was his first time attending a writing conference. He is a best-selling author who has written more than 50 books and has sold 65 million copies of his work. Yet it was also his first time speaking at a conference. Although he was on unfamiliar territory, New York Times best-selling Christian author Max Lucado spoke of the tools writers have, at the Writing for the Soul conference in Denver in February 2010. Below, find his best tips on subject, discipline and clarity for writers.

Guest column by Audra Krell, published
freelance writer. Audra is also a vocalist,
and she and her son lead worship in
churches and at conferences across the country.

MAX SAYS: BE PASSIONATE

     • Your subject must be so worthwhile that it keeps you riveted to your chair.
     • Because of your passion, you write without ceasing until it's finished.
     • Strong topics and subjects cause writing to happen from the soul.
     • Desire to work your writing through, so the reader doesn't have to.

MAX SAYS: STEADY IS AS STEADY DOES

     • Make a date night with your notebook. If you sit long enough, you'll find something to write about.
     • With disciplined writing time, you'll grow to appreciate your work.
     • Good words are worth the work.
     • The only thing better than writing is when your words connect with the reader.

MAX SAYS: ON A CLEAR DAY

     • Get your book down to one sentence. Every paragraph must pay homage to that sentence, or it doesn't get to play.
     • Every word must earn its place on the page.
     • Write concise but not shallow.
     • Revise for as long as you can.

Good writing will go where we never can, and reroutes the trajectory of life. It seeps into the farthest corners of the world and the depths of a reader's soul. Readers let authors into their private moments by inviting the author to speak through their story. Although it's a challenging invitation, it's valuable and authors should accept. Clear thinking will deliver your words to their destination. Most places are far away, and require a long, long chair ride. Do not begrudge the hard work of getting it there, this generation needs the best books you can write.

For his final point, Max reminds the writer to let every part of the process work. "Sentences are like just caught fish. Spunky today, stinky tomorrow." Let editing do its job. That way, you will put forth good, passionate writing, which will reach readers where they live.

Christian Agents | Guest Columns

Saturday, March 13, 2010 5:03:58 PM (Eastern Standard Time, UTC-05:00)

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How to Market and Sell Your Books
Posted by Chuck

I have some exciting news regarding WD's webinars. Agent Chip MacGregor, founder of MacGregor Literary, is teaching a new, amazing class called "Marketing for Authors." Chip, who runs a popular agent blog, is very wise when it comes to marketing both fiction and nonfiction. We are fortunate to have him aboard for this course, and I, for one, will be attending this webinar and yoking his knowledge.

This is a unique business-oriented webinar for authors who have self-published books out, authors who have traditional published books out, and authors who have books coming out soon. Chip will be presenting and also answering questions from writers.

DETAILS

It's a 90-minute webinar. It goes down at 1 p.m., EST Thursday, April 8. Each registration comes with access to the archived version of the program and the materials for 1 year. In other words, if something happens and you cannot attend it live, you can watch it later.

WHAT YOU'LL LEARN

These days most publishing houses expect their authors to handle the vast majority of the marketing effort for their books. Since most authors are trained writers but not trained publicists, it can be a bit daunting. The goal of this webinar will be to break the marketing process down into clear, doable steps. We'll explore how to create and begin implementing your own, personalized marketing plan to make your book stand out in a crowded marketplace. What you'll learn:

The basics of marketing in the new economy
What an author "brand" is, and how to establish and use it
Five things you can do to become your publisher's favorite author
What to expect your publisher to do (and what not to expect)
The keys to great marketing copy
How to get maximum impact out of social media

ABOUT CHIP

Chip MacGregor has been in publishing for almost three decades. He has represented hundreds of titles, his authors have won numerous awards, and the books he's represented have hit every major bestseller list, including #1 on the New York Times list.

Questions? Contact writingwebinars@fwmedia.com. Sign up here!

Marketing and Sales | Webinars

Saturday, March 13, 2010 4:01:36 PM (Eastern Standard Time, UTC-05:00)

Comments [1]

Conference Spotlight: Writers at the Beach, Delaware
Posted by Chuck

As you may know, I attend a lot of writers' conferences and like to promote the events I will be at. Today I am doing something special, and promoting one I will not be at. It's Writers at the Beach: Pure Seaglass, a writers' conference in Delaware. The reason: Proceeds of this event all go to charity.

DETAILS

Hosted by the Rehoboth Beach Writers’ Guild, a 501c(3) association, "Writers at the Beach: Pure Sea Glass" was founded in 2005 to raise money for, and awareness of, mitochondrial disease, a little known disease that affects as many as 1 in 2000 children.

Still, why a writers’ conference? Because unless this story gets told—and heard—the money for a cure will never be raised. Because we all have stories like this that need to get told for whatever reason. Writers at the Beach is about helping others to tell their stories.

WHO WILL BE THERE?

Flip Brophy and Douglas Stewart, two literary agents from Sterling Lord Literistic, a very cool NYC agency, will be taking pitches. A mix of published authors, some who have attended before and some new to the event, present workshops.

REASONS TO ATTEND

Overall, there are more than 30 workshops, a dozen panel discussions, and plenty of manuscript reviews! There is a keynote dinner at the Atlantic Sands instead (and the cost is included in your registration). There will be an open mic on Saturday following the reception.

100% of our net proceeds will be donated to Nemours/Alfred I. DuPont Hospital for Children to help defray medical costs of those being treated there for mitochondrial disease.

Writers' Conferences

Saturday, March 13, 2010 3:37:26 PM (Eastern Standard Time, UTC-05:00)

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Friday, March 12, 2010

New Agent Alert: David Patterson of Foundry Literary + Media
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 David: Before joining Foundry Literary + Media, David has worked at PublicAffairs and Henry Holt and Company. Books that he published while at PublicAffairs and Henry Holt include Nate Blakeslee's J. Anthony Lukas award-winning Tulia: Race, Cocaine, and Corruption in a Small Texas Town, Thurston Clarke's bestselling The Last Campaign: Robert F. Kennedy and 82 Days that Inspired America, Peter Manseau's Rag and Bone: A Journey Among the World's Holy Dead, Ethan Brown's Shake the Devil Off: A True Story of the Murder that Rocked New Orleans, and Michael Schaffer's One Nation Under Dog: America's Love Affair with Our Dogs.

He is seeking: David is looking especially for the most prominent and talented journalists, scholars, and personalities in a wide variety of fields, with either outstanding narratives and/or idea-driven works of nonfiction, which can be deeply serious or terrifically entertaining, and often combine those two qualities. David will also represent fiction when he feels strongly that the author has a distinctive voice that can break out of the pack.

How to submit: Please address your materials to one agent only and include the following materials in your submission. Fiction submissions should have a query, synopsis, first 3 chapters of the ms, and author bio. Nonfiction proposals should include the query, sample chapters, table of contents and author bio/platform. Mail queries to Foundry Literary + Media, (Agent name), Submissions, 33 West 17th Street, PH, New York, New York 10011. Please include a SASE if you would like your materials returned. E-mail queries to submissions[at]foundrymedia[dot]com.

Want more on this subject?

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 2010 Guide to Literary Agents today!

New Agency Alerts

Friday, March 12, 2010 11:35:40 AM (Eastern Standard Time, UTC-05:00)

Comments [0]

Reminder: Third ''Dear Lucky Agent'' Contest Ends Sunday!
Posted by Chuck

The latest "Dear Lucky Agent" contest, for writers of paranormal romance and urban fantasy, is about to end at the end of Sunday, March 14—so get your submission in now! You can see all the rules here.

See the full page for rules, but the gist is that agent Joanna Stampfel-Volpe is judging this contest, and writers of paranormal romance and urban fantasy are invited to submit the first 150-200 words of their completed books. Top three stories = winner winner. The three finalists will be notified via e-mail within one week of the contest's end. Winners announced on the blog thereafter.

Contests

Friday, March 12, 2010 11:13:41 AM (Eastern Standard Time, UTC-05:00)

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Thursday, March 11, 2010

7 Things I've Learned So Far, by Libby Gleeson
Posted by Chuck

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

Two of Libby Gleeson's most recent
juvenile books are Mahtab's Story and
Clancy & Millie and the Very Fine House

1. The publisher who accepts your first work is not necessarily beginning a lifelong affair. You may decide the experience is not completely positive and decide to try some other publishing house. You may discover that your book doesn’t sell well and your publisher loses interest in you. Your publisher may be gobbled up by a bigger company that sacks your editor and wants to discard you along with the stock in the warehouse. Don’t take it too personally. It happens to all of us.

2. Publishing a book doesn’t mean the second one will come easily. It won’t. Each book brings its own problems which need unique solutions. There are times in your career where you may decide to change genre or to vary your style. To stay interested in writing, you need to grow and change and try new directions. Believe me, I’m currently struggling with number thirty five and I feel almost as vulnerable as I was with number one.

3. Don’t wait till your book is published until you start the next one. The lag between acceptance and publication is rarely less than twelve months—frequently more. You can waste a lot of time basking in the glow of anticipated publication.

4. Nothing comes easy. The brilliant idea you have had for a story now needs developing and crafting and laboring through many drafts before it will be ready for submission. And then there’s editing.

5. One publisher saying no doesn’t mean they all will. My first novel (Eleanor, Elizabeth, 1984) was rejected by the first publisher it was sent to. They listed five or six points they felt were flaws in the story and its structure. The next publisher who saw it accepted it and when told of the first publisher’s verdict said the points raised were the very strengths they liked about the book.

6. Don’t accept writer’s block. Writing becomes stalled for any one of a number of reasons. Maybe the idea just isn’t strong enough to sustain the kind of story you envisaged. Maybe you can see problems emerging in the story and you don’t want to deal with them. Maybe something else in your life is demanding your time and energy. Find solutions. In my case, a long solitary walk or a time spent reading really good writing often works. There is a power in good prose.

7. Join your professional association. Writing is a solitary pursuit and, at times, you have to deal with complex issues such as contracts, co-authorship and copyright law. You need assistance, and there are writers before your time who have banded together to help you sort out your relationship with your agent and your publisher. How else are you going to work out what exactly the Google Book Settlement means and how you should position yourself?

Kids writer Libby Gleeson lives in New
Zealand and has written more than thirty
books for children, including picture
books and kids novels.

7 Things I've Learned So Far

Thursday, March 11, 2010 10:07:36 AM (Eastern Standard Time, UTC-05:00)

Comments [6]

A Story of a Second Chance: How One Writer Fought to Have His Memoir Reissued
Posted by Chuck

Bertelsmann didn’t want to return my rights, even though my book, Heartbreaker, had lain dormant for over twenty years. Doubleday, the original publisher, had been swallowed by this German conglomerate, and of course they wanted to hang on to any book in their catalogue, even if it hadn’t sold a copy in years. But Oh, no no, they said, this book isn’t dormant; anyone who wants it can order it through print-on-demand. I finally had to enlist the help of a lawyer and then The Author’s Guild counsel, Kay Murray. Kay told Bertelsmann she would make my book, Heartbreaker, a test case of the issue for any author who wanted his/her rights back, and would pursue it all the way to the Supreme Court. (Go, Kay!) Threatened with this tough talk, Bertelsmann knuckled and sent a letter of release. Now I owned my book and was free to pursue a reissue.

This guest column by John Meyer,
author of Heartbreaker.

I spent a year querying agents. No one wanted it. But I knew I had something salable—a memoir of the time I tried to rescue Judy Garland from her demons, shortly before the end of her life. In 1968, I had been an idealistic young composer who met Garland to show her a song. Meeting her, I was entranced. Foolishly, I undertook to "save" her from her unhealthy lifestyle of pills and liquor. I thought I could succeed where everyone else had despaired. I was blinded with a Messianic fervor, and spent eight excruciating, emotionally draining weeks with her, acting as her manager, booker, escort, chauffeur, general factotum and boyfriend. I wore myself out with the effort and eventually fell, exhausted. But my obsession had granted me an up-close, detailed look at this amazing woman, with all her fascinating idiosyncrasies.

THE FIRST RELEASE

Finally, after years, I felt I’d gained enough objectivity to put down the story in a fashion the general reader would find palatable. In 1983, Lisa Drew, then an editor at Doubleday, snapped up the manuscript. Now, of course, the agents came flocking. It’s not hard to get an agent when you’ve already made the sale. (By the way, this is a good way to go; if you know an editor, you can place the book yourself—then have an agent negotiate terms. You don’t want to accept the publishing house’s first offer). In its initial release, the book sold eleven thousand copies. Not bad.

A SECOND LIFE

Now, in 2005, what made the book re-printable, I thought, was the CD that new technology now allowed to be bundled within the book, inside the back cover. It was a forty-minute rehearsal I’d taped with Judy around the piano, singing and telling stories, unself-conscious, impromptu. But even the promise of this rare window into the life of a legendary entertainer couldn’t convince the current crop of agents. Everyone was running scared—the publishing "climate" was getting more and more difficult to surmount. But I forced myself to remember: To Kill a Mockingbird went through fifty rejections.

After two years, discouraged, I was about to give up and go the self-publishing route. Ironically, this would have amounted virtually to Bertelsmann’s POD method. But an acquaintance offered to introduce me to June Clark, an agent at Peter Rubie (Now FinePrint Literary). June took the book to an editor named Bob Shuman, who was thrilled at the possibility of grabbing the new Heartbreaker for Kensington. He went to bat for the book in an editorial meeting, and Kensington reissued the book in 2006. It came out in a glamorous new edition, with the inclusion not only of the CD, but an eight-page photo section with shots of Sid Luft, Kay Thompson, and ... my parents! So, whaddaya know –a story with a happy ending.

Heartbreaker

Guest Columns | Memoir

Thursday, March 11, 2010 9:45:59 AM (Eastern Standard Time, UTC-05:00)

Comments [1]

Wednesday, March 10, 2010

So You’ve Set Up a Writer Blog—Now What?
Posted by Chuck

If you read my previous guest post on how to set up a blog, you know how easy the tech stuff can be. Once you’ve found your perfect theme and written up your contact info, there’s just one thing left: the first entry. Faced with the paralyzing task of finding something relevant to say, many new bloggers ditch their blog before they even get started. But blogging isn’t as hard as it seems—you just have to get a feel for it.

Guest post by Peta Jinnath Andersen,
freelance writer & editor. See her website,
*Insert Literary Blog Name Here*. She also
writes flash fiction and short fiction.

THE MISSION STATEMENT

Spend some time working out a sort of "mission statement." Think about why you want a blog, and the general focus (e.g. writing, rejections, book reviews, etc.) and scope. You don't have to stick to what you come up with, but it might help you get your head around the startup process.

Once you're feeling a bit more comfortable, write a little intro post/about page. Tell prospective readers about yourself. If it's easier, pretend you’re being interviewed by your best friend, and write it as a Q&A. Try and stay on topic. If you write animal-related fiction, talk about your dogs—or the time an alligator chased you at the zoo. Include a picture; readers like being able to put a face to the name, and are more likely to read your page if they can relate to you.

IDEAS, IDEAS, IDEAS!

Blogging is about more than writing—it's about reading. The most popular blogs are how-tos, or opinions and reactions to things the authors have read. For writers, there are a few places to get started—an article you read in PW, a post on the GLA blog, a review in The New Yorker, etc. Pick things that make you think, or that you find yourself talking about. One useful trick is to write your blog posts in a Word document (make sure you use the paste from Word tool if you do this) and treat them as articles or letters. Don’t go overboard—if your focus is too broad, you’ll have a hard time keeping readers interested. And remember, if you go the how-to route, make sure you research appropriately!

GETTING BUSY WITH THE BLOGOSPHERE

Bloggers like to talk, network, and generally get to know each other. Look for blog rings and blogfests (a quick Google search will get you started), take part in writing prompts and challenges on other blogs, and get involved in networks (try http://bookblogs.ning.com—book blogs on Ning).

Be honest in what you write, and write about things you're interested in or love. Post links to other pages you like; link posts are a great way to get to know other bloggers. Pull together your top five posts on any topic (top five descriptions of chocolate cake!), and write about why you love them and what the poster did well.

SCHEDULE IT!

Some people have no problem finding things to blog about—the rest of us need to plan ahead. Keep a file of post ideas (or even one file per idea) and paste useful links into it, along with any thoughts. Outlining posts, complete with subtitles and bullet points, can help you get a better idea of what you're trying to say.

KEEP IT APPROPRIATE

There are no hard and fast rules about blogging, but it’s important to remember that whatever hits the Internet stays on the Internet. As long as you don't post anything inappropriate for your line of work—say, you work in a Kosher butcher's shop then blog about how much you love bacon—you can't really go wrong. It takes a while for blogs to find their feet, and that’s okay.

Blogging is a great tool for promoting yourself. More importantly, though, it’s an excellent way to create connections and learn from other people. Now it's time to roll up your sleeves and get to work.

Want more on this subject?

Peta's first guest post: How to start a blog.

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 2010 Guide to Literary Agents today!

Guest Columns | Social Networking and the Internet

Wednesday, March 10, 2010 10:34:36 AM (Eastern Standard Time, UTC-05:00)

Comments [6]

Tuesday, March 09, 2010

Agent Advice: Kate Epstein of The Epstein Literary Agency
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 Kate Epstein of The Epstein Literary Agency. Kate founded her agency in 2005, after four years' acquisitions experience at Adams Media. Kate Epstein holds a B.A. with Highest Honors in English from the University of Michigan. She lives with her husband and two children outside Boston.

She is seeking: The only fiction she accepts is YA. On the nonfiction side, she likes Crafts, Fashion, Health, Humor, Inspiration. Journalism, Lifestyles, Memoir. Nonfiction Narrative, Parenting, Pets, Popular Culture, Reference, Relationships, Self-Help, Travel, and Women's Interest

GLA: How did you become an agent?

KE: The short answer is that I quit my editor job, paid my town $20 for a business certificate, and hung out my shingle. My background as an editor was invaluable; I also took a number of agents out to lunch or drinks, in exchange for which they let me pick their brains. These days I still find it helpful to solicit advice, at times, and I’m always open with my own. (Even agents more experienced than me seem to find me useful at times.)

GLA: What's something coming out right about now that you're excited about?

KE: Jeffery Guidry’s memoir, An Eagle Named Freedom, releases in May from William Morrow. It’s a moving story of a man who volunteers in wildlife rescue and his relationship with a very special bird.

GLA: You used to be an editor. How does your background play into your skills and style of agenting?

KE: I find it immensely useful to know where an editor is coming from when issues arise. Editors are, for authors, the face of their publisher, and sometimes have to present decisions that were not made by them unilaterally. While at times it’s my job to be a bad cop so my clients can protect their relationships with their editors, I keep in mind that there are always people involved.
I’m extremely good at the ventriloquism and sympathy involved in editing a manuscript, and I delight in such work. I love to seek ways to make a book more what its author dreamed it could be.

GLA: Your history is specializing in nonfiction, and I see a lot of pet- and animal-related books you've sold. Are you still looking for books in this area?

KE: Absolutely I am. Nonfiction for adults was my exclusive focus for a several years and now I’ve added YA fiction and nonfiction. Nonfiction continues to stand out among submissions because so much of what I’m getting now is fiction. When it comes to pet books, I know a good deal about what I can sell and a good, credentialed author in that area is especially welcome, because I do bring so much expertise to that area. Doing your homework and making it show in your query that you’ve read my website is still the best thing you can add to a great query to make me pay attention.

GLA: You probably see more book proposals than most anybody. Can you give writers three tips on improving their proposals?

KE: The most important thing to remember is that it is a sales piece. It should be professional—but also dynamic. It’s great to dot your i’s and make sure all the pieces are there, but you need to transmit a level of excitement about your project.
A really common problem is a weak marketing plan. I do understand the challenges people face in this area. I believe that even if your efforts are unlikely to directly generate more than a few hundred sales, that you should still describe what you are going to do personally to push your book. An ambitious, even creative, plan for what you will bring to the effort tells a publisher that you will be an eager partner, and that any resources they do provide you will not be ill-spent.

An Eagle Named Freedom

GLA: What are some bite-sized helpful tips writers can take home concerning how to boost their platform?

KE: I think the most important thing is to understand your audience. Know them well. The trap of platform-building—apart I suppose from simple burnout—is that talking can preclude listening. Talk (I mean that broadly—if it’s online it’s typing, of course) about who you are and what you have to offer, but at the same time, listen (or read) and learn.

GLA: Concerning the slush, besides "good writing" and "voice," what are you looking for and not getting? What do you wish there was more of in the slush pile?

KE: Practical nonfiction by credentialed authors is certainly the smallest stack in my pile, and I’d love to see more of that. I’ve placed a couple of craft books recently, and more of that is welcome. Uncredentialed authors that want to write practical nonfiction should, as a rule, team with someone more credentialed. If I were more on top of my slush pile right now, I could better answer this question, but thus far I’m getting the strong impression that a lot of YA authors have embraced hackneyed ideas about high school and social strata. Plot and character are to me the two most important things; I think most people that attempt YA realize how vital plot is, but to me character is just as important.
     I can truthfully say that I’m open to all kinds of topics in YA.
     When it comes to memoir, I’m always curious about peculiar jobs or unusual experiences, and I tend to see a lot more books about family life, which aren’t necessarily as interesting to me.

GLA: Recently you made an announcement about taking on your first fiction submissions—with young adult. What draws you to young adult?

KE: I really thought for many years that I had lost much of the ability to gobble a book like a delicious meal, to be so absorbed in it that the real world looks pale. I thought perhaps that was a childish thing. When I started reading YA again, I realized that it is a function of the books themselves. Good YA draws in a reader and doesn’t let go, but it doesn’t stint on plausibility or fullness of character.
     I fear to comment on my favorite subgenres because it’s so hard to say how I’ll feel about a book without looking at it, and there isn’t wide agreement about what defines certain genres. (For example, by my lights The Hunger Games, which I adore, is obviously science fiction. But not everyone seems to agree.) When a novel has speculative elements—fantasy, sci-fi, paranormal—I tend to like it most when it reflects in some way on the world we live in. This has not generally been a norm of fantasy (Tolkien told the truth when he said he didn’t write allegory), but it can certainly appear.

GLA: You also said you'd take on YA nonfiction. Do writers still need to submit a proposal?

KE: Absolutely publishers will expect a proposal for YA nonfiction. I’m pretty open in this area. It’s probably pretty narrow, though, since young adults read nonfiction for adults as well.

GLA: Best way for writers to contact you?

KE: E-mail, definitely, kate[at]epsteinliterary[dot]com. I have a rule set up so that if you’re not in my address book and your email has “query” in the regarding line, it’ll get sorted correctly. My guidelines are on my website; I’ve recently started asking for the first three pages for all memoir and fiction submissions.
     The only reason I have not simply closed the door to paper submissions is because I am committed to the first amendment rights of prisoners, and prisoners generally can’t e-mail. Everyone else should be able to, is my point of view.

GLA: Something personal about you writers may be surprised to know?

KE: My undergraduate thesis was about Emily Dickinson. It was called “Visiting with Emily Dickinson” and it was about how poets have responded to her in prose and poetry. That feels like a long time ago; but I do still mark December 10 as her birthday.

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

KE: Read, for gosh sakes, read! Read books!
     I also think that if you’re getting ready to pitch agents, it might be worth your while to read Publishers Marketplace for a month for $20. The deal announcements are mostly mini-versions of agents’ pitches to publishers (notwithstanding editors can post deals as well, I think it’s mostly agents that do it), and they give you a very up to date version of what’s selling and how. You can also see what agents are placing books like yours—though don’t assume Publishers Marketplace is always complete.

Agent Advice (Agent Interviews) | Nonfiction

Tuesday, March 09, 2010 3:45:14 PM (Eastern Standard Time, UTC-05:00)

Comments [1]

Monday, March 08, 2010

How I Got My Agent: C.J. Omololu
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.

CJ's book, "Dirty Little Secrets"

OFF TO KANSAS CITY

You’ve probably heard the story of the aspiring writer who cornered the unsuspecting agent in a conference bathroom and passed her manuscript under the door of the stall. Arguably the most celebrated moment in the history of how-not-to-get-an-agent. You should also not pass your manuscript to an agent in an elevator, in the buffet line or during their keynote speech. But is all casual contact taboo? Is there a way to use a chance meeting to your advantage? Sure, as long as you do it right.

I met my agent, Erin Murphy, in an elevator. I was in the process of writing my first novel and was starting to research agents (in hindsight, I recommend actually finishing your book first). Erin was at the top of my list and I heard she was speaking at a weekend conference in Kansas City. Although I live in Northern California, I needed a weekend away and had enough frequent flyer miles, so although I really didn’t know anyone in Kansas City, I went.

THE ELEVATOR PITCH

I saw Erin speak at the conference that first day and it only cemented the fact that I wanted to work with her. She’s editorial, knowledgeable about the business, has great contacts and a fantastic client list. All good. But I had nothing to show her and no reason to talk to her, so I spent the whole day in seminars and talking to other writers. I figured that I’d just take my experience home with me, finish the book and query her when I was ready. And then I got my chance.

Early on the last morning, I was riding the elevator down to the hotel lobby when Erin stepped aboard on her way to speak at a seminar. My mind was racing as the floors flashed by—this was my big chance! What the heck do I do with it? I started with the brilliant “Good morning.” She smiled and said "Good morning" back. She yawned and said that she was tired and I mentioned that I’d stayed up late, too, talking to some of the other conference attendees. Then I glanced at her and said, “Luckily, I just have to sit there and listen. Unfortunately, you have to go and be brilliant again.” That broke the ice and she laughed. Erin glanced down at my outfit and admired the trouser jeans I’d bought special for the trip. I told her where to get them, we chatted for a few seconds and that was it. The elevator reached the lobby and we went our separate ways. My palms were sweaty as I replayed the conversation in my head, knowing that there was so much more I could have done to make a better impression. At least I hadn’t blown it ... had I?

"REMEMBER ME?"

Fast forward a few months, and my manuscript was polished and ready. I’d read everything I could about query letters, and decided to take a chance with mine. I opened with, “Dear Erin, We met briefly at the Missouri Writer’s Guild conference—I am the tall gal with the striped hair and the fabulous not-jeans from J.Jill. I know that you are not accepting unsolicited submissions and I know that you are not looking for any new clients. I also know that I want you to be my agent.” After a short wait that I spent holding my breath, Erin e-mailed that she did indeed remember me and invited me to send her my manuscript. I’m pleased to say that my novel Dirty Little Secrets came out from Walker books on February 2 and I look forward to a long and prosperous partnership with Erin.

If you find yourself in an elevator with your dream agent, resist the urge to slip them your manuscript. Instead, engage in some casual conversation. Mention something they said or someone they represent that you really like. Compliment them on a necklace you admire. Treat them like real people and you never know what might happen. If you happen to meet your dream agent in the conference bathroom however, I strongly suggest you leave her be.

Cynthia Jaynes Omololu is the author of
Dirty Little Secrets (2010) as well as
When It's Six O'Clock in San Francisco.
See her website here and her blog here.
She lives in Northern California.

How I Got My Agent Columns

Monday, March 08, 2010 5:02:35 PM (Eastern Standard Time, UTC-05:00)

Comments [4]

Live Near Lexington, KY? Come See Me Speak on March 20!
Posted by Chuck

On Saturday, March 20, I will be presenting at the Carnegie Center for Literacy & Learning in Lexington, KY—giving a two-hour speech on "Everything You Need to Know About Getting an Agent." Come out and see me! This is my first dealings with the Carnegie but it seems like they have year-round cool programs for writers. See their website here. To register for the event, call the main number (859) 254-4175.

In this speech, I will address all things agent, and show writers how to snag a rep without fear of being scammed. We’ll discuss book proposals, novel synopses, query letters, pitching, how to find an agent, and everything else. Questions welcomed and encouraged!

The whole thing goes down from 10 a.m. to noon, Saturday, March 20, at the center, 251 West Second St., Lexington, KY. Phone: (859) 254-4175. Validated parking for the Carnegie Center is now available at a new location: Validated parking for the Carnegie Center is available at the Featherstone Garage on Upper Street between Second and Church streets.

Writers' Conferences

Monday, March 08, 2010 4:44:44 PM (Eastern Standard Time, UTC-05:00)

Comments [2]

Sunday, March 07, 2010

Successful Queries: Agent Sharlene Martin and 'You'll Never Nanny in This Town Again'
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 28th installment in this series is with agent Sharlene Martin (Martin Literary Management) and her author, Suzanne Hansen, for the book, You'll Never Nanny in This Town Again: The True Adventures of a Hollywood Nanny.

This query is from Sharlene's awesome new work, Publish Your Nonfiction Book (Nov. 2009). If you're looking to sell a book proposal, this book is a must-buy.

Dear Ms. Martin:

When I was 18 years old, I moved from my hometown in Oregon (population: 7,500) to live with the most powerful man in Hollywood and be a nanny to his three children.

In my memoir: You’ll Never Nanny in this Town Again: The True Adventures of a Hollywood Nanny, I describe my unusual experiences with the rich and famous, and provide a peek into their private lives. I also share humorous stories about my girlfriends who were working for celebrity families. The book describes my short education at the Northwest Nannies Institute in Portland, Ore. It also describes my journey as a 24-hour-a-day modern servant, juggling medical emergencies, as well as toddler and adult tantrums.

This book is a cross between People magazine and “Seinfeld.” One example of the bizarre priorities of the wealthy: The family had a small painting in their family room that cost five times as much as my parents’ home, but I was told not to take anything from the hotel honor bar on vacation, because it was too expensive.

I self-published the book last year and was selected for a distribution contract through the IPG small publishers program. I’ve consistently ranked in the top five percent of Amazon.com sales. I’ve already sold more than 4,000 copies in 12 months and have garnered great reviews. I also have a popular website: hollywoodnanny.com. Some of the media attention I have received includes an E! Channel “Will Work for Stars” red carpet interview for the Screen Actors Guild awards. I’m featured on an upcoming A&E special “Fathers and Sons in Hollywood.” I’ve been interviewed on many radio programs, and I speak nationally.

So now I’m ready to go mainstream with a major publisher. Apart from writing this book, I’m a mother of two, and have worked as a high-risk labor and delivery nurse, lactation specialist and childbirth educator. I can send you a copy of the book by e-mail or regular mail, and hope to hear from you to discuss this further.

Suzanne Hansen

Commentary from Sharlene:

The instant appeal of a nanny who worked for a major Hollywood player is obvious. And paragraphs two and three make a clear description of the work, so that when the “spoiler” comes in paragraph four—telling of the book’s self-publishing past (a usual deal killer)—she builds upon momentum she has already established, pointing out that her self-published book enjoyed real success in online sales and through word of mouth.

After Suzanne sent me this letter, the supposedly “impossible” happened: Her previously self-published book sold to Crown Books/Random House for a six-figure advance in auction, and quickly went into multiple printings. It became a New York Times and Los Angeles Times bestseller.

BUY Publish Your Nonfiction Book

Want more on this subject?

Successful Queries: (Literary Fiction) "Hotel on the Corner of Bitter and Sweet"

Successful Queries: (Memoir) "Queen of the Road"

Successful Queries: (Narrative Nonfiction) "Peaches & Daddy"

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Memoir | Successful Queries

Sunday, March 07, 2010 7:59:09 PM (Eastern Standard Time, UTC-05:00)

Comments [1]

Agent Rachelle Gardner's Teaching a Webinar!
Posted by Chuck

Exciting news. Literary agent Rachelle Gardner (well known for her super-awesome and popular publishing blog) will be teaching an online webinar on Thursday, March 11, on "How Do Agents and Editors Decide?" It's a 90-minute online class guaranteed to be an info-filled bonanza of advice and tips for both fiction and nonfiction writers.

ABOUT RACHELLE:

Let's cut right to the chase: Rachelle knows her stuff. Her publishing blog has been on the Writer's Digest 101 Best Sites every single year that her site's been in existence. If memory serves, she mentioned that about 450,000 people visited her site last year to learn from her. What does it all mean? Rachelle knows how to communicate ideas and tips that writers can take away.

She is an agent with Wordserve Literary Group. She's looking at all genres of adult fiction except fantasy, sci-fi, and erotica, and prefers stories with strong characters and page-turning plots. Currently her favorite genres are contemporary women's fiction, historical romance, and romantic suspense. In nonfiction, she's looking for authors with strong messages (for either a Christian audience or the general market) and significant marketing platforms.

ABOUT THE WEBINAR:

Why do some projects get picked out of the pile by agents and editors while most do not? It's because great books that catch the eyes of the pros are a combination of an excellent idea, excellent writing, and, in some cases, an excellent platform.

In this webinar, writers will learn:

How to capture your book in a compelling hook that will draw the attention of agents and editors.
How to determine if your rejections are less about your project and more about the marketplace.
What is meant by the "competitive advantage" and how to know if you have it.
How to make your writing shine—taking an idea and fleshing it out with voice, narrative, point-of-view, and structure.
How to develop an attractive writer platform—connecting with other writers and individuals while making yourself a visible authority on a subject.
How agents and editors quickly look over a project and decide if it has the necessary elements to make them request more.
How to get your book published!

ASK QUESTIONS!

One of the best parts about webinars is that you get to interact and ask questions to the presenter. Rachelle will address writer questions in real time. If she can't get around to all questions during the seminar, she'll address them afterward and e-mail you the answers! No question goes unanswered, so sign up for "How Do Agents and Editors Decide?" today!

Want more on this subject?

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Webinars

Sunday, March 07, 2010 11:26:12 AM (Eastern Standard Time, UTC-05:00)

Comments [2]

Saturday, March 06, 2010

Cover Band Soap Opera: Types of People at Shows, Vol. 2
Posted by Chuck

Looking through all the pictures of my cover band shows, you start to see the same things over and over again. In other words, a lot of people who come to our shows fall under a certain grouping, and these posts will help show you some of the characters we see over and over again. Here is Volume 2 (see Volume 1 here). Note: These are all real photos from my cover band shows. (I even know some of these people.)

4. THE CREEPY STARING GUY

Creepy Staring Guy (homo sapien crisis midlifis) is a harmless nuisance, but an unnerving one nonetheless. He oftens stands awkwardly close to the band, usually staring at the guitarist or bassist, sometimes without blinking for long periods of time. He's either a musician, examining the band's skill at close range, or just a very strange guy.

5. STAGE GIRLS

When that fourth drink has kicked in, these are girls who want to one thing: Dance! And dance they will. When one decides to cross the audience-band border, the floodgates are open, and more follow. Never mind the smiles and friendly demeanor of Stage Girls (homo sapien dancus babus); the truth is: They're very dangerous. Stage Girls result in the most amount of accidents per capita for cover bands worldwide. They spill drinks on surge protectors; they bump your mic; they try to play the instruments. It's all very crazy.

6. THE UNINVITED SINGER DUDE

Who cares that he wasn't invited onstage? This man is so sure of himself that he's coming up anyway. Drink in hand, he's a wild dude (homo sapien drunkus annoyus). There's no rhyme or reason as to when he'll suddenly grab the lead singer's mic and belt out a lyric. It's all random (fun!) and he likes it that way. Sure, you can ask him to leave the stage, but he'll be back, and he'll be drunker next time.

Cover Band Venting

Saturday, March 06, 2010 6:08:42 PM (Eastern Standard Time, UTC-05:00)

Comments [2]

Friday, March 05, 2010

7 Things I've Learned So Far, by F. Gerard Jefferson
Posted by Chuck

This is a new recurring column I'm calling "7 Things I've Learned So Far," where writers at any stage of their career can talk about seven things they've learned along their writing journey that they wish they knew at the beginning. This installment is from nonfiction writer F. Gerard Jefferson, who edits The Weekly Vista blog.

1. It’s not me; it’s the revision. (Or sometimes, it’s the shoes.) Yeah, you’ve heard about this revision thing before, and you’ve probably also heard that anyone—yes, even you!—can become a better writer. But I don’t necessarily agree with this world view. Here’s what I think. I think I’m the same writer I was seven years ago. I’m a better writer not because of anything I’ve written, but because of everything I’ve erased. You can become a better writer, too, but it’ll take some time, maybe even years, to become a better self-editor. The good thing about it is, as a wannabe writer, time is on your side.

2. That egg you see? It’s yours, and it’s all over your face. You’re going to make mistakes. Know that from the beginning. In your manuscript. In your formal requests for a prom date. In response to all the “Ewww! I’m not going with you!” rejections you’re going to get. Some mistakes will be minor. Others might get you reported to your Internet service provider, or ridiculed on the blog of some famously anonymous literary agent/editor. But it’s okay. You can survive. Take that egg and whip yourself up an omelet, and while you’re at it, fix me some, too. Hunger is the perfect equalizer for embarrassment.

3. Continuing with the prom theme, while you’re at home working on your moves, don’t forget the writer’s anthem: Back that thang up! I’ll be the first to admit it: Redundant, as a word, sounds suspiciously close to dunce. But how do you think I felt when my Quantex computer died in 2004 and I didn’t have redundant copies of all my work? Now I’m somewhat of a Napoleon about backup systems with three tiers of tyrannical protection, but I sleep easy at night. Or, at least, I try to.

4. Writing your book is just the beginning. I remember when I finished my first novel a few years ago. I thought the majority of the work was done. If I could go back in time, I’d slap myself. Hard.

5. Short stories are harder to write than novels. If you’ve been paying attention, you know airplane pilots have been all over the news lately, not for well they take-off, but how well they land. As a writer, your job is to land that big, hulking idea you’ve got, and make sure as few people as possible get injured in the process, or that your name doesn’t get associated with negligence. As one pilot to another: Just know it’s easier to do this when there’s a lot of runway to play with.

6. However long you think it’s going to take, add five years. There are two things in life you never do: Never ask a woman her age; and never ask a writer how long they’ve been unpublished. If you decide to break this rule, and the woman/writer asks you to guess, always underestimate.

7. Temper your expectations. It’s okay to dream, but that deadline for finding a perfect New York agent that I’m sure you have? In my humble opinion, you should throw it out the window.

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

Friday, March 05, 2010 7:44:22 PM (Eastern Standard Time, UTC-05:00)

Comments [2]

New Agent Alert: Don Fehr of Trident Media Group
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 Don: He comes to Trident as a 20-year publishing veteran in editorial and various executive level publishing positions. He has held senior level editorial jobs at Atheneum, Addison-Wesley, Viking Penguin, Basic Books, and was the Publisher of Smithsonian Books/HarperCollins. Don had published over a dozen New York Times Bestsellers and his authors and books have won numerous awards, including the Pulitzer Prize, the National Book Award, the National Book Critics Circle Award, the P.E.N. Faulkner Award, and The L.A. Times Book Award among others. He holds degrees from Gordon College and Harvard University.

He is seeking: new literary and commercial novelists, narrative nonfiction, memoirs, biography, travel, as well as science/medical/health related titles. And since he reads alongside is ten-year-old daughter, he has also developed an interest in young adult authors.

How to submit: dfehr[at]tridentmediagroup[dot]com. Query first. Please send mss or proposals only upon request.

Want more on this subject?

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 2010 Guide to Literary Agents today!

New Agency Alerts

Friday, March 05, 2010 11:11:44 AM (Eastern Standard Time, UTC-05:00)

Comments [1]

Demystifying Contracts: What Every Writer Should Know
Posted by Chuck

At the SCBWI 2010 Winter Conference, agent Edward Necarsulmer IV (of McIntosh & Otis) gave a presentation called "The Real Deal about Contracts." At McIntosh & Otis, Necarsulmer handles his clients’ contracts with publishers. Other agencies have contracts departments. Either way, both agents and authors should understand the ins and outs of contracts and the process of negotiating rights with a publisher.

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.

WHAT'S A CONTRACT?

At its most simple definition, a contract is a legal document saying what the publisher is going to say or do, and what you, the author, are going to say or do. It should be fair and clear on both ends.

Oftentimes, a publishing house will offer a basic contract to an author, and it’s the agent’s job to negotiate better (and more specific) terms. The agent explains everything to the author and discusses his/her options before continuing negotiations. With each revision, the agent goes through the contract with line-by-line vigilance, making sure the author has what he/she needs and what the publisher promised.

HOW MONEY WORKS

The most obvious part of a contract involves negotiating author advances and royalties. Of course! Check out this post for complete details.

PRIMARY RIGHTS

Primary rights include the original edition of the book and paperback reprint rights, but they may also cover foreign territories/translation rights. The standard grant of rights is for the publisher to print/publish/sell/distribute your book in the English language. Your agent would probably want to retain foreign rights, but that depends on a cost/benefit analysis. Meaning, is it worthwhile to attempt to sell your book to foreign markets?

SUBSIDIARY RIGHTS

Here's a post breaking down subsidiary rights. Necarsulmer believes that it’s preferable for the agency to retain as many subsidiary rights as possible in-house because then the writer only has to give 15-20% of earnings to the agent instead of also splitting 50% with the publisher.

These rights include the following:

     • Audio rights. Generally an agent also tries to retain these, but it depends on the earning potential for the author of the agency shopping the book versus the publisher.
     • Film/TV/dramatic rights. Should be retained in-house. These rights are important because of the possibilities to help boost the sales of your book.
     • Graphic novel rights. These should be negotiated as something entirely separate from your novel.
     • Commercial/merchandising rights. It’s also best for your agent to retain these rights. These include plush toys for picture books, Edward Cullen dolls, etc.
     • Electronic rights. Because this is ever-changing, Necarsulmer includes a clause to renegotiate the terms of electronic rights in one to three years, to keep it labeled as an ongoing discussion. Plus, he ensures that, as much as possible, he and his clients have the opportunity to approve electronic rights decisions before they’re made.

Other elements of a contract Necarsulmer mentioned include the following:

     • Publication timeframe. There’s also frequently a clause that a publisher must publish your book within a certain timeframe. With picture books, this can be slightly different because authors and illustrators have to be coordinated.
     • Author copies. Lists the number of free copies an author receives, plus discounted pricing for additional copies.
     • Warranty and indemnity clause. This covers the author under the publisher’s insurance (for libel, lawsuits, etc). Another clause under this includes bankruptcy—what happens if the publisher goes out of business?
     • The agency clause. This outlines the author’s and publisher’s relationship with the agent. For example, noting that all sums of money due goes through the agency (the author benefits when the agency’s accounting department double checks payments), or listing what percent of earnings goes to the agent. This clause possibly requires payment to the author from the agency within a certain number of days.

Necarsulmer’s presentation emphasized how an agent is a valuable ally who looks out for the author’s best interests during complex contract negotiations. A skilled agent keeps contracts from becoming intimidating so that the author can focus on what’s really important—writing.

Want more on this subject?

Check out Donna Gambale's other guest column, 7 Things I've Learned So Far.

See a successful nonfiction query here.

Nonfiction words of wisdom from agent Ted Weinstein.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Contracts and Copyrights and Money | Guest Columns

Friday, March 05, 2010 10:55:54 AM (Eastern Standard Time, UTC-05:00)

Comments [1]

Thursday, March 04, 2010

Agent Advice: Tamar Rydzinski of Laura Dail Literary Agency
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 Tamar Rydzinski of The Laura Dail Literary Agency.

She is seeking: Tamar is not interested in prescriptive/practical nonfiction, humor, coffee table books or children’s books (meaning anything younger than middle grade). She is interested in everything else, providing it is well-written and has great characters.

GLA: How did you become an agent?

TR: In college, I didn't know what to do with myself one summer and a friend of my mother, who happens to be an author, said, "I think you would love being an agent." She got me an internship with her agency and she was right, I loved it! So in a way, agenting fell in my lap and I am eternally grateful for it.

GLA: What’s the most recent thing you’ve sold? What’s something you represented that recently came out?

TR: The most recent thing I sold is called Blood on the Moon and it's a paranormal YA series about a college freshman who learns the true meaning of sacrifice and the dangers of falling in love, especially when werewolves and vampires are involved.
A couple of books of mine that have recently come out are Shadow Magic by Jaida Jones and Danielle Bennett, the second book in a wonderful fantasy series and The Secret Diaries of Charlotte Bronte by Syrie James, which fictionalizes the love story between Charlotte Bronte and the man who eventually became her husband.

GLA: One of your favorite categories is women’s fiction. What draws you to this category? Why the love?

TR: I love women's fiction because I'm a sucker for relationships of all types--romantic relationships, friendships, relationships with your surroundings; I love when the setting takes on a life of its own and becomes a character in its own right. And I think that often, women's fiction does that best.

GLA: How can writers make their submission break out of the pack?

TR: In general, the way to make a submission stand out is to do your research--if you mention that you read such and such book represented by our agency and your book is reminiscent of it, then I am more likely to take notice. And, of course, writing is key. Query letters are hard, but they are the first thing I see so take your time, days if necessary, and make sure that it is well written and there are no typos.

GLA: You look for kids writing. Can you be more specific about what you do and do not want to see?

TR: I look for middle-grade and above, so no picture books and no chapter books. I do love fantasy of all types, though I think there is a lot of room for realistic books as well. And I am a big fan of dystopian, though I generally don't like apocalyptic fiction. And series are generally more intriguing than stand-alones, though I definitely have stand-alones, too. I know this doesn't truly narrow it down too much, but that's because I love almost everything!

"Shadow Magic" is a book Tamar repped

GLA: On the subject of young adult fantasy, this is a category I don’t read too much. Can you help me (and other readers) understand some of the basic subgenres of the category? For example, what classifies something as “high fantasy”? Etc.

TR: Well, the way I classify them (which isn't scientific and not necessarily even correct) is that in high fantasy, an entire world is created; it doesn't take place on what we recognize as the world as we currently know it. It usually has magic or magical creatures of some sort, though there are some exceptions.
Low fantasy takes place in what is recognizably our world, but has traditional magical creatures.
Paranormal fantasy also takes place in what is recognizably our world and has vampires, werewolves, zombies, ghosts, etc. Characters that are human, or were once human, but have evolved into something else.

GLA: You take a lot of nonfiction subjects. Is it as simple as “Give me a good idea and a good platform and we’re golden”?

TR: It is! Platform is key, though our agency has had success with Skinny Bitch, where the authors had no platform! So if your voice or idea is incredible, then there are ways to get around the platform issue.

GLA: What’s the best way for writers to contact/submit to you?

TR: I prefer e-mail queries: queries[at]ldlainc.com. The guidelines for submission are on our website. Of course, I accept hard copies of queries as well.

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

TR: One thing about me that people in general are surprised to know is that I actually grew up right here in Manhattan, where I live to this day.

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

TR: Make as many connections as you can in as many different places as you can. If an author was referred to me by another client, or someone I know, their query and material go to the top of the pile. And once your book is sold, it's helpful to know lots of people to help get the word out there.

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 2010 Guide to Literary Agents today!

Agent Advice (Agent Interviews)

Thursday, March 04, 2010 11:36:28 PM (Eastern Standard Time, UTC-05:00)

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Wednesday, March 03, 2010

Footnotes: 5 Articles on Writing Picture Books
Posted by Chuck

"You have to write whichever book it
is that wants to be written." ~ Madeleine L'Engle

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’m serving up five articles on writing picture books.

1. Ten Myths about writing for kids. Do you know what they are? Check out the list on the Hogwarts Professor blog.

2. Picturebooks vs. Novels. Agent Michael Stearns discusses the uniqueness of representing picture books versus other genres.

3. Saying a lot with a little. Thus is the fine art of writing a picture book.

4. Three times a charm. Author Pam Calvert discusses the Law of Three and other tips for writing humorous picture books on her blog Woven with Pixie Dust.

5. Writing a picture book? Check out these 20 Do’s and Don’ts from Author Mem Fox.

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 2010 Guide to Literary Agents today!

Children's Writing | Footnotes

Wednesday, March 03, 2010 11:15:01 PM (Eastern Standard Time, UTC-05:00)

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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?

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Read about What Agents Hate: Chapter 1 Pet Peeves.

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

My Writing Life

Wednesday, March 03, 2010 9:50:35 PM (Eastern Standard Time, UTC-05:00)

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Tuesday, March 02, 2010

Get Agents to Like Your Characters and Keep Reading
Posted by Chuck

If you've been reading my blog for a while, you know that one of my favorite books on writing is Save the Cat (and it's not even a WD book, so you know I'm telling the truth). Save the Cat is a modern-day look at structure and story, written by screenwriter Blake Snyder, a wonderful man who passed away recently at the much-too-young age of 52.

So why is the book called Save the Cat? One of Snyder's most basic points is that we (readers) must like the character we're following. If we see the protagonist do something kind or admirable in the first few minutes/pages, then we will like him. And if we like him, we follow his story and root for him to succeed in getting what he wants.

I recently read some pages from a novel-in-progress. I had some typical notes: "This is good ... this doesn't work ... cut, cut, cut." But the big point was that the protagonist was unlikable. When we first meet the main character, they seem annoyed, and in the middle of a frustrating relationship. We cannot be introduced to characters like this, because why would we keep following a character that is constantly agitated and generally unhappy? We need to root for them, and that's what the Save the Cat moment is all about. So let's look at some movies and identify early Save the Cat moments.

Miss Congeniality

Sandra Bullock is on a sting to catch a mobster. When agents ID themselves and hold the mobster at gunpoint, he starts to choke. But is he really choking, or is it a ruse? It's not clear. None of the male agents move, but Sandra scurries in to help the choking man. She cares; she has compassion. That's a perfect Save the Cat moment.

The Hangover

This movie is essentially about three guys trying to find a fourth guy who's lost just before his wedding day. So which one of the three is the main character? The answer: None. The main character is actually Doug, the groom-to-be who's lost. The Save the Cat moment is very early when he invites his new wacky stepbrother, Alan, to Vegas, even though he doesn't have to. This makes us like Doug. And if we like him, then we root for him to succeed. To succeed means to get married. To do that, we root for his friends to find him in time for his wedding. Save the Cat.

Nottingham

A few years ago, a screenwriter re-envisioned the Robin Hood legend as told from the Sheriff of Nottingham's point of view. In this (unproduced) screenplay, the story begins with a battle. Meanwhile, underground, an Army Leader (actually the sheriff: our protagonist) is leading troops through tunnels for some kind of surprise attack. He stops for a moment to address his men, only to see that instead of looking at him, they're all staring at something else. It's the bucket of water he's holding. It's clear that they're parched. He takes off his own helmet and pours some water in it, instructing them to pass the helmet around and take one sip a piece. The whole thing takes about 7 seconds, and it makes us like this man. Save the Cat.

Sea of Love

I've never seen this movie, but this is the film where Blake Snyder identifies a perfect Save the Cat moment. At the beginning, Al Pacino, a cop, is arresting New York criminals who arrive at a location thinking they're going to meet some Yankees. When Pacino sees that the next approaching criminal has his young son in tow, Pacino makes himself visible, showing his badge. The criminal sees this, and tells his son that there's been a change of plans, walking away. Pacino says "... Catch you later." This is great. It shows Pacino is a tough cop but willing to give this criminal a break because of the kid, but the criminal is not off the hook. Save the Cat.

Recognize other Save the Cat moments in film or books? Let me know.

Craft and Story Beginnings | Guest Columns

Tuesday, March 02, 2010 10:08:12 AM (Eastern Standard Time, UTC-05:00)

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7 Things I've Learned So Far, by Colette Martin
Posted by Chuck

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

Following a career as a marketing executive,
Colette Martin is embarking on a second act
as a nonfiction writer. She writes about food
allergy solutions, corporate culture, working
women’s issues, blogging and social media. She
is the author of the When Fridays Were Fridays blog ,
where she shares her views on life in Corporate America.

During my tenure in Corporate America, I was responsible for developing and marketing products and services. On the surface this may sound very different than the career I am now pursuing as a writer, but I am still developing and marketing a "product," and I am finding that many lessons I learned in Corporate America do indeed carry over into the writing and publishing world. Seven key things I learned are:

1. It’s not personal, it’s business. We hear a lot about employees in Corporate America who are unsatisfied with their performance ratings, or who didn’t get a raise or promotion. In the writing business, we hear a lot about rejection—writers who can’t get the book deal, and fear of agents and publishers. At a recent pitch slam I could feel the tension as the writers lined up to talk to the agents. But guess what? The agents were pleasant, easy to talk to, and just plain nice. They don’t want to reject your work any more than a manager wants to tell an employee they need to do a better job. There was no yelling and throwing of books. The truth is (are you ready to hear this?) not everyone can rise to the top. Just like bosses in Corporate America who need to hire the best talent for the job, agents and publishers look for the best product they can find so they can optimize their success.

2. It helps if you follow the rules. Let’s face it. Nobody wants to work with difficult people. There is always the exception of the employee who is so brilliant that management looks the other way, and if you are the next James Patterson then more power to you. For everyone else, just play nice. If an agent asks for a particular process or format, give it to them.

3. There is always something new to learn. The world changes fast. Technology changes. And yet it’s too easy to get stuck in the same old rut. The quickest way to rejuvenate your thinking and your work is to attend a conference, take a class, or just step out of your comfort zone and explore something new.

4. Keep your competition close. Uh-oh! Someone used your idea—they beat you to it! Or did they? As a product marketing manager, keeping a pulse on what the competition was doing was critical. But being first isn’t usually what counts, being better is. Watch what others are doing—closely—and do it better.

5. If someone else is succeeding at it, there is a market. Just because there are a handful of books already published on your topic doesn’t mean the market is saturated. If those books are selling well, that’s a sign that there is a market for what you have to offer. Use that as leverage to demonstrate you have an audience.

6. Everyone sees things differently depending on where they sit. There’s a term we use in the marketing world called the "value chain," which describes who the stakeholders are, what they get out of the deal, and how they make money. Let’s take the publishing process, for example. The writer, the agent, the publisher, the distributor, the bookseller—each see the process very differently based on what they get out of it. Get inside their heads. Understanding how each of these players views the world is a huge advantage for the person producing the product (in this case that’s you—the writer). And here’s a hint—they each care most about how they are measured and rewarded.

7. There is no one right path to success. I admit it. I’m an information junkie. So as I set out on this new path, I went in search of the how-to’s. It seems that every successful writer has written a book, or a blog, or an article on how to do exactly what he or she did. There is so much (often conflicting) advice thrown at us that it can be hard to get off the roller coaster. But I learned in business that while we can have role models and mentors, by the time it’s your turn to take that path the path will have changed. Everyone’s journey will be different, and we each have to go with our gut and do what feels right for us!

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

Tuesday, March 02, 2010 9:50:36 AM (Eastern Standard Time, UTC-05:00)

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Monday, March 01, 2010

How I Got My Agent: Ellen Bryson
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.

Ellen Bryson's book, The Transformation of
Bartholomew Fortuno, comes out in June
2010. The story follows Fortuno, the world's
thinnest man, as he's hired by none other
than P.T. Barnum to work at a spectacular
American museum. See Ellen's website here.

REJECTIONS TRICKLE IN

When it came to finding an agent, I was not well prepared. I didn’t realize how many good web sources there were to answer questions; I didn’t do much research, and I never once wrote a good query letter. Mostly, though, I couldn’t find an agent because my manuscript wasn’t ready. It took me years to finish a full draft—sometimes working steadily, sometimes not at all. I plugged away, enrolling in a Masters program to keep me working and, thanks to some really great teachers, help me improve. Eventually, I felt ready enough to send the manuscript to writer friends of mine and writer friends of others—anyone who was willing and able to give me usable advice. I rewrote, and unwrote, and rewrote again.

Finally, I felt I could reasonably say The End. Out went the manuscript to an agent that someone had told me might be a good fit. Back it came with a ‘no thanks’ but, generously, with notes. I took the notes very seriously and rewrote to try to answer points raised. Out it went again, this time to an agent I had researched and found to like the same kind of books that I liked. Back it came again, this time with nothing but a form letter. I sent it again and again—the results more or less the same.

These rejections weren’t fun. It didn’t matter that I knew it wasn’t personal. But I didn’t mind going back to the manuscript. Quite honestly, rewrites were work I really liked. In the work, I had control. It was the agent search that I found difficult. It all seemed so magical to me, and I did not feel like the hero of my story.

BRANCHING OUT

Deciding to try another tactic, I went to the writer’s colony Breadloaf, a humbling experience but my first chance to “pitch” in front of an agent. Talking about my manuscript to a professional was both nerve-wracking and instructive. It made me nervous. I did it anyway. And I left with a request from an agent to send her what I had when I felt it was finished. Wow, what a show of interest can do to renew one’s you-can-do-it sense of things. It took nearly a year before I felt ready to send her a partial and then, lo and behold, the whole thing at her request.

In a meantime, I sucked it up again, this time going to a local writers conference. I’m not particularly social, and events like this weren’t easy for me. But at this conference, I got lucky. I met a writer much further along the path than I was. In a moment of generosity, he said, “I’ll take a look at your manuscript if you want me to.” I loved him! Then, when he suggested I send it to his agent, I was utterly beside myself. Since I hadn’t heard from the Breadloaf agent who still had my manuscript, and as she had not asked for an exclusive, I figured, what the hell. His agent turned it down.

YES, YES, YES!

My friend then suggested another agent he knew: Mollie Glick. Why not? I sent Mollie a quick e-mail, telling her who I was and who had recommended me. After reading my first three chapters, she asked to see the full manuscript. On the day before Thanksgiving, Mollie called to tell me she liked the manuscript, but asked if I was willing to work on it. Yes, I said. Yes, yes, yes!

It took two more years of back and forth, including six months of research, until Mollie was happy with it. I dreaded her editorial letters but understood the points she was making and did my best. The big changes I had to do alone, but both of us did line-editing for misspellings, dropped or repeated words, and flabby writing—all the painstaking stuff. After that, it didn’t take long for the manuscript to sell. That moment was, well, wonderful!

So what did I learn through all of this? I learned that it takes what it takes. A manuscript is never done, but it needs to get to a certain point before anyone will be able to see it. Because I didn’t know what finished meant, I sent it out too early. I sent to only one agent at a time even though no one asked me for an exclusive. As a result, I often waited many months to hear back. Finally, and this is what an author friend of mine said: It's not a real book until the professionals get a hold of it. But that’s another story.

This post is an online exclusive complement
to a spotlight on Ellen in the March/April 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

Monday, March 01, 2010 10:39:12 AM (Eastern Standard Time, UTC-05:00)

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Kids Contest Winners Announced!
Posted by Chuck

Judging is complete and here are the winners for the second "Dear Lucky Agent" contest, which focused on kids writing. Congratulations to all winners. We had about 400 entries, which was amazing. The current contest (goes till March 14) is for writers of YA and adult paranormal romance and urban fantasy.

GRAND-PRIZE WINNER: The Not-So-Ordinary Summer of Emily Bartels, by Jeni Bell: Twelve-year-old Emily Bartels joins the swim team in an effort to get closer to her sportswriter father, but gets more than she bargained for when she ends up on the Pee Wee team, swimming with the kindergartners and first-graders.

TWO RUNNERS-UP: Life and Beth, by Lisa Amowitz: When 17-year-old guitarist Beth Collins is scouted by a mysterious arts academy, she soon finds it's not her killer chops they're after, but her other killer talent—the one for controlling death.
The Suspicions of Cairo Jones, by Mary Danielson: In 1920s New York, Cairo Jones, teen reporter, is on the hunt for that big story that will launch her into a real newspaper job, but when a front-page crime hits too close to home, it will take all of her investigative skills to save both Cairo's dreams and her family.

YOUR AGENT JUDGE: Jennifer Laughran is an agent with the Andrea Brown Literary Agency. Books she's repped include: