Guide to Literary Agents

Agent Advice: Chris Richman of Upstart Crow Literary

Chuck — Sun, 08 Nov 2009 18:36:56 GMT

"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 Chris Richman of Upstart Crow Literary. Chris received his undergraduate degree in professional writing from Elizabethtown College, and an MA in Writing from Rowan University. A former playwright, contributor to The Onion, and sketch comedy writer, Chris broke into agenting in 2008 and has sold several projects.

He is looking for: "Chris is actively building his list, enjoys working with debut writers, and is primarily interested in middle grade and young adult fiction, with a special interest in books for boys, books with unforgettable characters, and fantasy that doesn't take itself too seriously."

GLA: How did you become an agent?

CR: In 2008 I was a 25-year old writer desperate for a career in books who decided I had to move to NYC to make it happen. I brought my life savings and applied to every editorial position I could find. Then, on a whim, I applied for an internship with Firebrand Literary (who had already passed on a novel of mine). They let me come in and assist for a few weeks before deciding I had potential. They offered me a position and two months later, I sold my first project. It's been a bit of a whirlwind ever since.

GLA: Tell us about this move to Upstart Crow.

CR: Working with the great Michael Stearns was one of the main reasons I initially took a position at Firebrand, so it was an easy choice to join him at Upstart Crow. I've been told our love of books and authors shines through on our website, blog, and in the general way we speak about the agency, and I can say with confidence that it's no act or way of endearing ourselves to potential clients. We simply love books and want to do the best by them. It's wonderful being at an agency where the focus shines directly on the books and the writers.

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

CR: Lately we've been focused on selling lots of subrights on projects. It's been great to sell projects in foreign territories, like Jacqueline West's forthcoming The Books of Elsewhere series. In the states, it'll come out in June of 2010 from Dial.

GLA: Your history is as a playwright and comedy sketch writer. How does this influence your tastes and the way you read?

CR: My experience with comedy, though probably not as impressive as it sounds, has made me extremely picky with "funny" manuscripts. It takes a lot to make me laugh, so when something does, I find it extremely gratifying. However, I think sometimes people are a bit intimidated by my background in comedy, especially considering I briefly contributed to The Onion, but I'm here to assure you that 1) I'm not as funny as I think I am and 2) if you can hook me with humor, I'll be a terrific advocate for your work.

GLA: Before we get into your love for kids work, tell me: Do you rep any adult works?

CR: When I first started agenting, I though I might dabble in adult works. I imagined myself selling humor or sports books. I've learned, however, that it's incredibly hard to "dabble" in the world of publishing. I've decided that if I can't go into something 100%, it's better to stick with what I really know. For me, that's kid's books.

GLA: You seek YA and MG. Besides a soft spot for boy books, what else can you tell us about your preferences? What do you see too much of? What do you see too little of?"

CR: I'm definitely looking for projects with something timeless at their core, whether it's the emotional connection a reader feels to the characters, or the universal humor, or issues that are relevant now and will still be relevant years from now. Can readers truly understand what it's like to be the prince of Denmark? Probably not, but they can identify with feeling disconnected from a dead loved one and the anger at watching him be replaced by a conniving uncle. I want stories that, no matter what the setting, feel true in some way to the reader.
I definitely see too many people trying to be something else. I used to make the mistake of listing Roald Dahl as one of my favorite writers from my childhood, but I've found that just inspires a bunch of Dahl knockoffs. And trust me, it's tough to imitate the greats. I get far too many emulations of Dahl, Snicket, Rowling, and whatever else has worked in the past. It's one thing to aspire to greatness; it's another to imitate it. I want people who can appeal to me in the same way as successful writers of yore, with a style that's their own.
I see too few writers willing to take chances. I just finished Markus Zusak's wonderful novel The Book Thief. It breaks so many so-called rules for kids books - there are tons of adult characters and POVs, it's a
historical at heart, and it's narrated by Death for crying out loud. It's one of the best young adult novels I've read recently.

GLA: What are some Chapter 1 clichés you often come across when reading a partial?

CR: One of my biggest pet peeves is when writers try to stuff too much
exposition into dialogue rather than trusting their abilities as
storytellers to get information across. I'm talking stuff like the mom
saying, "Listen, Jimmy, I know you've missed your father ever since he died in that mysterious boating accident last year, but I'm telling you, you'll love this summer camp!" So often writers feel like they have to hook the reader write away. In some ways that's true, but in others you can hook a reader with things other than explosions and big secrets being revealed. Good, strong writing and voice can do it, too.

GLA: Tell me more about "fantasy that doesn't take itself too seriously." Help define this more so people understand what and what not to send you.

CR: When I was younger, I went through a big fantasy kick. I read Robert Jordan and Tolkein and the combo of Margaret Weis and Tracy Hickman. There's definitely a place for those types of books, but I now find myself drawn more to fantasy that's more fun. The thing about Twilight is that it's not fun at all. If you're going to send me fantasy, I want there to be more than an epic quest and worlds in peril and all that, if I'm going to take on any at all.

GLA: I know Michael (Ted, too?) reps kids books. Do you find yourself
discussing and passing along different projects in this new community
atmosphere?

CR: We definitely discuss projects at Upstart Crow. Before signing new
clients, in fact, we generally share a synopsis and sample chapters with the rest of the team, including Danielle Chiotti, our adult expert. It's always great to have another set of eyes on a project to make sure that it's not only good, but saleable.

GLA: Is Publishers Weekly right? Are vampires out and angels in? Regardless, is it fair to say there will always be a big call for "paranormal," though the specific paranormal item (zombies, vampires, werewolves) is in flux?

CR: I think people are saying that angels are "in" because of a few projects that have just pubbed or are about to, like Becca Fitzpatrick's Hush, Hush or Lauren Kate's Fallen. These things come in cycles, though, and more vampire books are coming out each season. I really think some things, like certain types of monsters, will always stay in fashion in one way or another, as long as the mythology stays interesting and there's romance at the core. Or comedy, like with zombies, because they're really funny.

GLA: What's something writers would be surprised to learn about you personally?

CR: That before becoming an agent, some of the ways I made money were by: waiting tables, teaching at a community college, writing jokes, writing about fantasy sports, bartending, and acting in a dinner theater.

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

CR: I'll be doing several SCBWI events over the next few months. Look for me at the Metro NYC in November, Princeton in February, North Carolina next September, and many other places. We keep an updated calendar online that we'll be adding more to soon.

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

CR: Take your time with your stories, listen to feedback, and, when you have a real winner, send it to me!

Want more on this subject?

Interview with agent Jeffrey McGraw (The August Agency).

Interview with agent Michelle Brower (Wendy Sherman Associates).

Interview with agent Phil Lang (Reece Halsey North).

What Agents Hate: Chapter 1 Pet Peeves.

What Agents Hate: Even More Chapter 1 Pet Peeves.

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

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

How I Got My Agent: Stephanie Feldstein

Chuck — Sun, 08 Nov 2009 18:00:39 GMT

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

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

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

This installment of "How I Got
My Agent" is by Stephanie Feldstein.
Stephanie is the author of the novel,
Downward Dog. See Stephanie's website
or check out her "Stray Words" blog.

Stephanie Feldstein

POOCHES AND QUERIES

I started querying by accident. The closer I got to the end of my manuscript, the more people I told about it – both because I was beginning to believe that I was actually going to finish a novel, and because I wanted to make sure that I did; the more people who knew about it, the more accountable I would be. My friends started telling their friends (dog lovers tend to get really excited about new dog-related fiction) and somewhere in that network, there happened to be a few agents.

Within a couple months of opening my big mouth, I had the manuscript out on submission to three different agents, encouraging responses from a handful of others, and the first installments in my rejection collection. To keep the madness of waiting at bay, I’d drop a few more queries every couple of weeks, working my way down the list of agencies I’d found online. One of those was the Irene Goodman Literary Agency and my query landed on the desk of Barbara Poelle, who asked for a full manuscript.

A WORK, IN PROGRESS

That fall, about six months into my querying process, I went to the Algonkian Pitch and Shop Conference in New York and returned with two requests from major editors. An idea for a new first chapter of my book was started to grow, but I ignored it since my book was already in so many hands. It wasn’t long before one of the editors rejected me. Then I got a rejection from Barbara Poelle. A few requests trickled in on the wake of more rejections. Then Barbara and I got back in touch and discussed my new concept. She liked what she heard and said she'd give it another shot. The other editor rejected me. My revision still wasn't quite right for Barbara and she rejected me again.

My initial queries were sent out way too soon. I dove in just because someone told me there was a lake, without looking to see what was at the bottom. For over a year and a half, I was caught in the current of submissions - rejection pulling me under, then a wave of referrals and requests throwing me back to the surface. I started a new novel and tried not to give up on the first one. I tried to decode agent responses and constructed a “Dear John” love poem from rejection letter lines.

As I was losing my oldest dog to cancer in late October of last year, I realized what my fictional dog needed to give him new life. Once I got started, it became a line-by-line process, lasting nearly as long as it had taken to write the first draft. But when it was done, I knew it was really done this time.

A THIRD CHANCE WITH BARBARA

There had been a number of agents who, like Barbara Poelle, had given my manuscript serious thought, had lots of praise for my writing, but weren't able to commit. But Barbara's response had shown an understanding of my novel, and what I wanted it to be, that the others hadn't. It didn't hurt that her career had taken a killer turn in the past year, too. Or that she was known for being absolutely hilarious. So, I sent her an e-mail begging for one more chance.

She read my last draft over the summer and suggested we meet up at the South Carolina Writer's Conference, as we were both planning to attend. While it was probably safe to assume she didn’t want to meet to serve me a restraining order against future submissions, I didn’t exactly have her answer yet. At the mixer on the first night of the conference, Barbara found me nursing a glass of wine and chatting with a friend. She began by giving me feedback on the manuscript. As hard as I tried to listen, “Is this a revise and rewrite or an offer of representation?” kept running through my mind. But when Barbara Poelle said she had brought a contract with her, it came through loud and clear.

If you had told me up front that I’d spend two and a half years on an emotional bungee cord to eventually land my dream agent, I would have taken up knitting, or geocaching, or anything with attainable goals that could distract me from the need to write. I’m not known for my patience. But luckily, I’m also not known for a lack of stubbornness. So I kept going, and my refusal to give up on my book eventually paid off.

Cover Band Soap Opera: Bar Owner Demands We Play "Rocky Top"; Calls Us A-Holes When We Cannot

Chuck — Sat, 07 Nov 2009 18:20:32 GMT

And now: The continuing ridiculous adventures of my Cincinnati rock cover band.

This is a simple story yet a good one. One of the first bars we ever played at was a real dive. I guess techinically it was classified as a "sports bar," and I suppose that category garnered more respect in the Yellow Pages than, oh say, "crap-hole." We had all kinds of problems at this bar - all because of the owner, who was a nice enough guy at 9 p.m., but drunk as hell come the witching hour. He was the type of guy who, when he talked to you, immediately gave off this vibe like "No young smartypants college boy is gonna tell me how to do anything!"

The first time we played there, he stumbled up to us and requested "some Rocky Top!" If you don't know what this song is, you probably don't watch college football nor live anywhere near the South. It's a well-known southern song that the University of Tennessee has adopted as its football fight song. We told Mr. Bar Owner that, no, we don't have any banjo players in the band at this juncture, nor did we even know the first chord of the song. He walked away murmuring something under his breath. Anyway - whatever, things didn't really boil over until the next show.

So we're back at the bar a few weeks later and, hell's bells, the bar owner zig-zags up to us and asks us if we learned the song yet. We say no. Then he says a new bride and groom just came in (what the hell they were doing there only God knows), and offered to spend an additional $300 at the bar if the band could play "Rocky Top." It was an interesting scenario, but we still said the same thing: "Sorry, man - no can do." It was somewhere around this moment that Mr. Bar Owner just blew a gasket and called us A-holes and idiots and other stuff along those lines. Somehow, we were never invited back to play.

Sign a Release Form with an Agent or Manager?

Chuck — Sat, 07 Nov 2009 17:43:21 GMT

Q: I received a letter from an agent saying yes, he wanted to read my whole manuscript. At the same time, he sent me a 2-page mini-contract that focused on my not suing him if he rejects it and down the road, there's a similar book written. Is this normal?

A: It wouldn't say it's typical but it's definitely OK. These are called "release forms" or perhaps "a submission release," and they are very, very common in the screenwriting biz. You can't submit anything anywhere without signing one of these. There are a lot of ideas going around and people are afraid of getting sued. If you're interested in seeing what a release form looks like, you can see one here. It was provided as part of the Willamette Writers' Conference, which draws a lot of script managers/agents and producers.
It’s rare to see these in the literary world but they are not something to be afraid of. As always, look online and do some searching to make sure the agent is reputable and connected. Protect yourself always.

New Agent Alert: Mary Kole of Andrea Brown Literary

Chuck — Fri, 06 Nov 2009 15:42:12 GMT

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 Mary: She is a new associate agent at the Andrea Brown Literary Agency and runs the KidLit blog. In her quest to learn all sides of publishing, she has also worked in the children's editorial department at Chronicle Books and is currently earning her MFA in creative writing at the University of San Francisco. Mary's passion is editorial work. When she's not reading manuscripts and queries, she's devouring books by some of her favorite authors, like Laurie Halse Anderson, Libba Bray, Sara Zarr, Jake Wizner, M.T. Anderson, Scott Westerfeld, Frank Portman, Neil Gaiman, Rick Riordan, Elizabeth Scott, Lauren Myracle, E. Lockhart and others.

Seeking: "young adult and middle grade novels and truly exceptional picturebooks. She's seeking fresh, unique voices and idiosyncratic characters who, by book's end, she knows like a friend. Her favorite stories are character-driven but well-plotted—a mix of fast pacing, emotional resonance and beautiful writing. Boy books, girl books, first person, third person, it doesn't matter. She's looking for a literary spark with commercial appeal. While she's not interested in high fantasy, science fiction, thrillers or horror, she would love to consider realistic/contemporary, urban fantasy and fantasy/adventure, historical, paranormal and mystery manuscripts. One of her favorite genres is magical realism: a story set firmly in our world, only with a twist—magic, danger or something that turns "reality" on its ear—to make things more interesting. Favorite themes include: family, home, unlikely heroes, discovering one's voice, finding one's equilibrium after a big life event."

How to submit: E-queries only to Mary@andreabrownlit.com. If you haven't heard anything in 8 weeks, please assume that she is passing on your project. For picture books, include query and full ms. For fiction, include query and first 10 pages pasted in e-mail. No phone calls please.

Want more on this subject?

Examine great high-concept hooks for kids books.

New agent seeking kids stuff: Adriana Dominguez.

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!

The "Witness" Synopsis

Chuck — Fri, 06 Nov 2009 15:30:45 GMT

I always tell people that if they're confused as to how a novel synopsis should look, simply go to Wikipedia. Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis. A lot of them are too long; a lot of them are poorly written; but some are good - and you will get a sense of how they work.

Or - you could just let find good ones for you and edit them a bit. The first great synopses I edited and posted were Starman (see that one here) and Peggy Sue Got Married (see that one here). This time it's Witness. Witness is kind of strange category - probably mainstream fiction in book terms. It's got the Amish elements, a dash of crime stuff at the beginning and end.

Look at the synopsis below. I like how it's pretty short. There could be a lot more said about the culture clash in Philadelphia and then how Book adapts to Amish life on the farm, but just enough is there. Like other synopses posted here, this one has a quote or two - just enough spice to flavor the whole thing. Don't use quotes often.

Several days after her husband's funeral, Amish widow RACHEL LAPP and her six-year-old son, SAMUEL, depart for Baltimore to visit her sister. At the train station in Philadelphia, young Samuel enters a public restroom and is the sole witness to a brutal murder.

JOHN BOOK, the investigating detective in charge, consoles Rachel and Samuel. He also reveals that the murdered man was a police officer. Samuel says two men were involved in the crime, but he could only see one—a tall African-American man. Despite Rachel wanting nothing to do with Book's laws, Samuel is taken around town to identify suspects, but fails to find a match. At the police station, Samuel sees a displayed press photograph of Lieutenant MCFEE, and identifies him as the murderer. Worried, Book turns to his mentor, Chief SCHAEFFER, for help.

Shortly after, McFee engages Book in a parking garage gunfight and Book is hit in the abdomen. The injured Book deduces Schaeffer and McFee are both dirty and working together. After destroying records to hide the location of Samuel’s home, Book sneaks Rachel and the boy out of the city and drives them to their farm in rural Lancaster County. Moments after dropping them off, Book passes out from loss of blood. Rachel's father-in-law, ELI, reluctantly agrees to put up the "English" man, and arranges for an Amish apothecary to treat the bullet wound using traditional methods.

Adopting Amish dress to be more inconspicuous as he recovers, Book, an amateur carpenter, fits into the community fairly well—making toys for Samuel and helping in a barn raising. As the weeks pass, he sees more Amish culture, and also begins to fall in love with Rachel, who has mutual feelings for him. Their attraction is met by disapproval of Eli and the elders, who consider having Rachel shunned. Meanwhile, Eli lectures young Samuel about the English man’s use of the "gun of the hand" and tendency for violence ("What you take into your hands you take into your heart").

In town, Book witnesses some youths harassing the Amish. Book severely beats the youths and, as the Amish are strict pacifists, word of this unusual occurrence spreads quickly. Book realizes his cover is blown and Schaeffer will soon find him. Book prepares to leave the farm, sharing a passionate embrace with Rachel in farewell.

Schaeffer, McFee, and a third corrupt officer (the second murderer) arrive at farm the next morning to kill Book. Unarmed, Book uses his wits to defeat the two cops before Schaeffer holds him at gunpoint. Thinking quick, Samuel rings the farm bell, alerting his neighbors to a problem. Schaeffer, knowing he cannot kill all the amassed Amish witnesses, surrenders. Afterward, as Book prepares to leave, he shares a quiet moment with Samuel, then exchanges a silent, loving gaze with Rachel before driving back to Philadelphia. Eli caringly tells Book to "be careful out among them English."

Want more on this topic?

How to Write a Novel Synopsis.

Buy the book Give 'Em What They Want.

Read the Starman synopsis - a great example of a summary.

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 Agent Alert: Kimberly Shumate of Living Word Literary Agency

Chuck — Thu, 05 Nov 2009 21:09:52 GMT

About Kimberly: Kimberly began her employment with Harvest House Publishers as the assistant to the National Sales Manager as well as the International Sales Director. Within four years, she was hired into the editorial department steeped in the slush pile of would-be/trying-to-be/can’t-seem-to-be authors. Having been a screenwriter since 1995, a freelance article and book contributor, her ability to identify and polish the diamonds hidden within the coal mines of unsolicited submissions gives her an eye for talent and a heart for the underdog. She is a member of the Evangelical Christian Publishers Association, the Christian Media Association, and has 12 years of publishing experience.

Seeking: adult fiction, YA fiction, Christian living, dating/marriage, parenting, self-help, apologetics, health, inspirational, environmental, social issues, pop-culture, women’s issues, and men’s issues. No cookbooks, children’s books, science fiction or fantasy, memoirs, or poetry. No simultaneous submissions, please.

How to submit: Submit a query with short synopsis and first chapter via Word document. Agency only responds if interested. Send queries to livingwordliterary@gmail.com. Web: http://livingwordliterary.wordpress.com/. No phone calls, please.

Want more on this subject?

If Christian/inspiration writing is your thing, check out the agents I've interviewed who specialize in this category, including Greg Daniel and Joyce Hart.

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: Dan Conaway of Writers House

Chuck — Thu, 05 Nov 2009 01:31:20 GMT

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 Dan Conaway of Writers House. Dan has been Executive Editor at Putnam, Executive Editor at HarperCollins, Director of Literary Acquisitions at PolyGram Films, Story Editor at Citadel/HBO, Creative Executive at Tribeca Films, and Associate Editor at W.W. Norton.

He is looking for: literary fiction, true crime, commercial fiction, historical fiction, thrillers/suspense; and his nonfiction interests include history, pop culture, narrative, and journalism. He does not accept e-mail queries. See full submission guidelines here.

GLA: How did you become an agent?

DC: When I was an editor at HarperCollins and at Putnam, the agent I did the most business with—Simon Lipskar at Writers House—had become pretty much my best friend in the world. And one of our many standing jokes (our favorite: “friends don’t let friends write books”) was that how when (not if) I got fired, I’d come work for him.

GLA: Does that mean you were on the verge of being fired when you left Putnam in 2007?

DC: No—at least, not that I'm aware of! But I've always had this paranoid fixation with the number 52—that being the age at which I always figured my corporate superiors would at last judge me too expensive relative to my productivity, and cut me loose, leaving me to wander about aimlessly like some gray-suited ad-man in a John Cheever short story. And what happens to editors when they get fired—and they all get fired, eventually, don’t they?—is, they become agents. At the time I left Putnam, I’d published or had acquired bestsellers by Ridley Pearson, Martha Raddatz, David Stone, and Steve Lopez, and had published some other pretty amazing books along the way. So I wasn't feeling vulnerable at that time. But I did a little math and realized that 52 corresponded with another number: 17, as in the age my three triplet daughters would be when I turned 52. Three college educations to pay for? That seemed like a particularly bad year to get fired.
So, long story short, it occurred to me that my stock probably wasn’t going to get much higher than it was right then, and that if I really imagined I wouldn't survive to get my gold watch at the age of 65, maybe I should make the move to becoming an agent preemptively. Writers House was looking to grow the agency, so I was invited to come aboard. That was about two and half years ago.

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

DC: The End of Everything by Megan Abbott, sold to Reagan Arthur for her eponymous imprint at Little, Brown. A two-book contract; and we've since sold the book in a number of foreign countries, too.

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

DC: Slush or not, I keep my prayers simple: Let's start with a handful of really wonderful sentences strung together just so. "Just so," of course, speaks to the impossibly subjective nature of this racket.

GLA: You used to be the anonymous voice behind Mad Max Perkins of the now-inactive BookAngst 101, the blog that started out as a way to candidly discuss the industry with other editors and publishing types but emerged as a resource for writers. Do you miss it? Have you found another outlet for such conversations?

DC: I do miss it! BookAngst 101 was a wonderful experience, for a whole bunch of reasons. As time passed, it became less about industry stuff and more just my riffing on one thing or another, kinda self-indulgent, I suspect, but it was a uniquely satisfying outlet for me. But ultimately the energy I put into Mad Max is work that is more profitably channeled to my clients, with whom, in many cases, I'm allowed a great deal of creative input.

GLA: In an interview you did last year for Susan Henderson’s LitPark, you said you weren’t looking to take on any new clients. Still true?

DC: Kinda yes, kinda no. I will take on new clients when I'm bowled over.

GLA: Do you notice any trends in what you tend to represent in historical fiction? Elements that particularly grab you?

DC: First off, I'm never interested in anything but beautiful writing; engaging, urgent storytelling; characters you fall in love with—above all, voice. I'm reading a new novel right now by Robyn Young, a huge bestseller in the UK; the novel is called Insurrection, the first in a new series about Robert the Bruce and the wars for Scottish independence, and it's blowing me away on all these fronts.

GLA: What draws you to a true crime story?

DC: How annoying would it be if were to give you essentially the same answer? And yet it's true: I'm always looking for basically the same thing! Regardless of genre—thrillers, narrative nonfiction, anything—it's the writing and the voice and so on that are the determining factors for me.
True crime is a particular publishing challenge, because the phrase itself signals down-market crap-ola, and yet, so many of the most beloved and enduring works of narrative nonfiction could be categorized as such. The reason there will always be interest in good true crime stories is the same reason that dramatic adventure stories like The Perfect Storm or Into Thin Air continue to resonate: They're real stories, often about communities in crisis, dealing with matters of life and death. For more than a decade, I've wished I could find a new category tag/euphemism that would allow people to publish what we mean by "true crime" without the stigma the phrase connotes. If you come up with one, let me know.

GLA: If you were teaching a class on nonfiction writing & submitting, what would be item number one on your syllabus?

DC: On the submitting side, I'd say: Keep the pitch short and to the point. On the writing side, I'd say: When you think you're done—that is, after you've rewritten it a couple of times, set it aside, wait a while—then sit down and rewrite it again. Whatever you submit, it needs to be as good as you're capable of making it.

GLA: Concerning your nonfiction interests, what are three topics you would classify as overdone?

DC: For me, execution is everything, so anything handled the right way can still be interesting. We may not have another seafaring story quite so big as The Perfect Storm, but great stories told well, regardless of category, are likely going to find interest. One category that seems especially tough, though, is military memoir regarding Iraq and Afghanistan.

GLA: What would writers be surprised to know about you?

DC: What a terribly slow reader I am.

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

DC: It's not advice, really, but perspective: This really is a profoundly subjective business. Editors and agents respond to what they respond to—not so much to whether there might be a market for something, but whether they themselves are sufficiently moved by something to be the right person to help find that market. There's lots of good writing that doesn't quite light my fire; that doesn't mean there's anything wrong with it—it's just that it's not right for me.

Want more on this subject?

Interview with agent Jeffrey McGraw (The August Agency).

Interview with agent Michelle Brower (Wendy Sherman Associates).

Interview with agent Phil Lang (Reece Halsey North).

What Agents Hate: Chapter 1 Pet Peeves.

What Agents Hate: Even More Chapter 1 Pet Peeves.

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

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

7 Things I've Learned So Far, by Jessica Zelenko

Chuck — Thu, 05 Nov 2009 01:13:02 GMT

7 Things I've Learned So Far is a recurring column where writers at any stage of their career can talk about seven things I've learned on their writing journey that they wish they knew at the beginning. This installment is from Wyoming writer Jessica Zelenko.

Jessica Zelenko is a new writer living
in Jackson Hole, WY, and when she’s not
writing, she’s becoming a badass. See
proof at her Becoming a Badass blog.

1. Take the leap. You already don’t have an agent or oddles of assignments coming in, so there is no reason for you to fear rejection. You have nothing to lose!

2. Start a blog. If you have a blog, you can direct people to examples of your writing. This is especially helpful if you aren’t published. Plus, do not underestimate the motivation that comes from having an audience. Every time someone tells me they enjoy my blog, I get a body buzz and a renewed desire to write. I’ll do almost anything for a body buzz, excluding ~~most~~ hard drugs.

3. We must listen to the experts. We need expert advice on grammar, structure, queries, agents, etc. Look to books, websites, and Chuck Sambuchino. The most important advice I've taken to heart is to have a set writing schedule. Everyone recommends it, and if you aren’t writing regularly, you’re probably barely writing. Admit it. Set a schedule.

4. But we can also blow off the experts. All these great writers like to talk about their desks - like Stephen King in his book On Writing, who makes a desk sound more important than oxygen. I spent months bemoaning my lack of a desk and trying to find one to cram into my tiny room. I felt like a failure. Finally, I realized, I’ve got a lap, a bed, a couch and, gosh darn-it, I’m writing. The details don’t matter; the writing matters.

5. This is supposed to be fun. I write because I enjoy making myself and others giggle. Some people write for catharsis or a love of spreading knowledge. There are a million reasons to write, so acknowledge yours and hold onto the passion. If you just wanted money, you could write living wills or ransom notes. Keep on nurturing your love, and when the rich suits give you a hard time at your high school reunion, just smile smugly, knowing your having a much better time with your life than those drones.

6. Writers' Conferences are worth attending. My first writers' conference was in the middle-of-nowhere Wyoming and I was one of the few people there who didn’t qualify for Social Security. Still, for a flat rate, I got access to a bunch of experts and networked with agents and editors. Go to a conference. You’ll learn and you might make some …

7. ... Writer friends. You can steal all their knowledge over coffee, tea, or whiskey. They will edit for free! They will help keep everything fun, and keep you from ~~the hard drugs~~ procrastinating.

Want more on this subject?

Want to write a "7 Things" guest column? Write me at literaryagent@fwmedia.com.

Live out west? Check out my review of the Wyoming Writers' Conference.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Successful Queries: Agent Joanna Stampfel-Volpe and "Sway"

Chuck — Tue, 03 Nov 2009 14:44:46 GMT

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 19th installment in this series is with agent Joanna Stampfel Volpe (Nancy Coffey Literary) and her author, Amber McRee Turner, for her book, Sway, which was just recently sold to Hyperion/Disney.

In lieu of the book cover (forthcoming),
how about this photo of Amber Turner (right)
and her mom, Pat. Credit: Skirt! Memphis.

Dear Ms. Volpe,

Eleven-year-old Cass Nordenhauer had always been bundled in the admiration she felt for her mother’s storm clean-up work with the Southern Mobile Aid Response Team. Her pride rises near flood level when Mom announces her enrollment in meteorology school, where Toodi Bleu Nordenhauer plans to become “Toodi Bleu Skies.” Not so honorable, it turns out, is a soon-to-be-famous mother whose dream will be financed by a new man. Or better yet, a news man.

Reeling emotionally from the storm caused by her mom’s betrayal, Cass is sentenced to a summer ride-along with her seemingly lackluster dad, Douglas Nordenhauer, seller of frozen meats. When Cass reluctantly boards her new world-on-wheels, an old RV nicknamed “The Roast,” she’s increasingly captivated by the mysterious objects she finds – a freshly-glittered wagon, a trunk full of smelly shoes, a tambourine dripping with ribbons, and a unique method of navigation, Ye Olde Sneaker Reacher. It’s when Cass is introduced to her dad’s alter ego, “Make Believe McClean, Traveling Soap Sliver Salesman,” that she realizes she’s in for no run-of-the-mill beef jerky road trip. M.B. McClean wears a snug lime-striped suit. He sings Gordon Lightfoot. He’s got a suitcase full of magical soap slivers, and a whole lot of sway. And in one summer, M.B. McClean will escort his daughter from wonder to disgust and back home again, where Cass’ own special sway can take root.

Sway, a contemporary middle grade novel, is the story of a season with Cass and Make Believe McClean and the wounded-but-wise characters they meet along the way. It’s an adventure sudsy with southern gothic appeal, filled with arm-wrestling ghosts, sunken bumper boats, tumped port-o-potties, and fruity-chewy wax lips. It’s about the power of old soaps and lost shoes and how just the right combination of the two allow Cass to wash her hands of the past and look toward a future foaming with magic … with a new appreciation for “1 big can of lye.”

In 1993, I received a degree in Fiction Writing from Rhodes College, where I won both the Jane Donaldson Kepple writing prize and the Memphis Magazine fiction contest student award. I’ve had soap sliver sway oozing out my ears since that year. Thank you, Ms. Volpe, for your consideration of this query. At your request, I will be happy to send along part of the story, which is complete at 32,900 words.

Regards,

Amber McRee Turner

Commentary from Joanna

Every time I read it, I'm reminded that I love, love this query just so darn much. Here's why: the voice. Every sentence of this query is just oozing with eleven-year-old Cass Nordenhauer's voice. The play on words and witty but child-like descriptions caught me immediately. So I just had to request the manuscript to see if it delivered, and it did.

Not every query has to convey your protagonist's voice to be successful. But this story isn't high concept, it isn't super commercial and it isn't about vampires—so it's not exactly easy to pitch the plot and sound interesting. It's about a girl whose mom leaves. She goes on a forced-summer road trip with her least favorite parent—Dad. She learns a lesson. Their relationship grows. Sounds real interesting, right? Well, no. No it doesn't.

But what makes this story stand out is the honest voice, the beautiful prose, the real-to-life but still unbelievable twists and turns that Cass and her dad take along the way. Amber had to show this in her letter to make it stand out, and she certainly did. Now, typically I don't love a third paragraph that tells me why this story is wonderful. I usually like the summary to just speak for itself. But in this query Amber did something else that worked. She wrote that paragraph in Cass' voice too.

So for those of you out there telling a coming-of-age type story (sans vampires or zombies), one way to make your query stand out is by letting that voice really shine in your query. Introduce us to your main character right away. Let him or her make us stand up and take note. I think Amber proves that it can work!

Want more on this subject?

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

Successful Queries: (Kids/YA) "Wake"

Successful Queries: (Nonfiction) "Buy Ketchup in May and Fly at Noon"

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!

I Caved and Joined Twitter

Chuck — Tue, 03 Nov 2009 14:24:51 GMT

So, yeah, it was bound to happen one day or another. I caved and joined. Follow me if you dare (@ChuckSambuchino), mwahahahaha.

I predict I will either quit within a month or become pretty good at Tweeting.

Want more on this topic?

A guest column: 20 Query Letter Tips.

A guest column: How to Get an Agent's Attention.

They're called Google Alerts, and yes we have them.

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!

Literary Agents Talk Blogging, Twitter and More

Chuck — Tue, 03 Nov 2009 02:19:58 GMT

Outside, it was a warm Friday afternoon at Myrtle Beach. Inside, eager, nervous writers filled a windowless room at the South Carolina Writers Workshop, hoping to learn how to do the “social networking” thing that we keep hearing is no longer optional. We awaited the arrival of Janet Reid, FinePrint Literary agent extraordinaire, her inimitable minion and fellow fabulous FinePrint agent Suzie Townsend, and the amazing Joanna Stampfel-Volpe of Nancy Coffey Literary Management, to teach us.

Guest Blogger Michelle Hodkin
writes for young adults, tweets
(MichelleHodkin) and blogs
(www.lovesandloathes.blogspot.com).

What is this Twitter thing, anyhow? And how does one accomplish this blogging they speak of? Must we have a website? What about Facebook?

These, ladies and gentlemen, were the big questions.

Twitter, for those of you who don't know, is a free social networking site that enables users to “micro-blog” in short bursts of text not exceeding 140 characters. Still with me? No? Okay, let’s rewind.

THERE'S THIS THING CALLED "BLOGGING"

The term “blog” is short for weblog. If you’re reading this, you probably get that a blog is a site maintained by an individual person or company that features regular entries - like a journal, only public. And if you’re a writer, you should probably have one, along with your website that should, at minimum, have your contact information listed so people can find you. You can set up your own blog, free of charge, using Blogger.com, Wordpress.com, LiveJournal.com or Typepad.com. Each of these sites has helpful guides to getting your blog up and running.

But what, we asked eagerly, do we write about?

Ms. Reid was undeterred by the open-endedness of this question. While there are no hard and fast rules, she warned us not to constantly talk about ourselves and our writing. That gets boring And annoying. You can narrow your content to focus on a specific area (such as Nathan Bransford’s blog), or you can blog about a veritable cornucopia of topics (cue Janet Reid). Here are some additional tips on How To Be Interesting:

Just as we all have our own voices when we write, that should shine through on our blogs.
Maintain a schedule so your readers know when they can expect new content. Try to keep your posts to 250 words.
Ask questions of your readers to entice them to participate via the comments section.
Join or form a group blog that focuses on your genre and rotates between writers, like YA Highway and Hey, There’s a Dead Guy In My Living Room.
Write about other books and authors à la Suzie Townsend’s blog. This has the additional benefit of letting those authors know that they’re being discussed in a (hopefully) flattering way, by virtue of Google Alerts. Google Alerts is a service that allows you to set up an Internet filter that notifies you when a name, phrase, or string of words is mentioned on the Internet.

If this sounds hard, that’s because it is. And if you don’t think you can do it well, Ms. Reid warned, you may be better off not doing it at all. So what then?

WHEN IN DOUBT, COMMENT

Agents notice when people comment regularly, as do authors. Ms. Stampfel-Volpe elaborated on the right and wrong ways to do so at the session.

If you are respectful and witty, commenting will help you make virtual friends.
If you are sycophantic and/or belligerent, well, don’t be.
Each comment you make should add something to the discussion.

As with blogging, commenting done poorly is worse than not commenting at all.

AND IF NONE OF THIS SUITS YOUR FANCY, THERE'S TWITTER

Twitter allows you to make friends and influence people. Well, maybe not influence people. But make friends, certainly.

Ms. Townsend showed us how to “follow” literary agents like herself and Ms. Reid and see what they have to say; often, they post indispensable advice to authors.
You can follow other authors and celebrities and friends, too.
You can compose “tweets” yourself, short updates letting your followers (friends, enemies, aliens, whoever) know what you’re up to, what music you’re listening to, what your cats are doing RIGHT THIS VERY MINUTE.
You can tweet at other people, engaging them in conversation by using the @ symbol before their twitter username.
And you can do all this from your cell phone in the grocery store or from a Restaurant At The End Of The Universe. It’s like magic. Just make sure you “unprotect” your tweets so that other people can follow you without approval.

ALL OF THESE THINGS WORK. BUT WHAT DOESN'T WORK?

Facebook. Why? Because people have to take the extra step to “friend” you if they want to learn more about you. And you don’t want to make your future fans work any harder than they have to. Also, Facebook is not searchable. And you want to be searchable, writers. Indeed you do.

IN THE END?

Blog your little writerly hearts out, aspiring authors. Unprotect your tweets and let the public in. Start commenting on blog posts by your favorite industry folk. And for the love of all that is holy, remember that the internet is public and behave accordingly.

Want more on this topic?

Another SCWW column: 20 Query Letter Tips.

Another SCWW column: How to Get an Agent's Attention.

They're called Google Alerts, and yes we have them.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

How I Found My Agent: Marisha Chamberlain

Chuck — Mon, 02 Nov 2009 21:32:36 GMT

This installment of "How I Got
My Agent" is by Marisha Chamberlain.
Marisha is the author of the novel,
The Rose Variations (Soho Press).

PLAYWRITING DAYS

It took me three long years of persistent querying to find my literary agent, and although the journey was grueling, I was ready for it. I’d already had rough-and-tumble experience with more than one theatrical agent for my plays.

Word was that a playwright wanted either a fierce woman or a motherly man for an agent, and I went the fierce woman route. So why was I surprised to find my fierce and famous play agent to be combative and high handed? She negotiated contracts just fine (I had plays done in London, New York, Chicago, Minneapolis, Toronto) but I dreaded talking to her. And God help me if I had a question to ask her. One day, she took on an assistant—guess who?—a motherly man. He and I bonded, and when he left the fierce woman agency, I went with him, and he still represents me as a playwright and librettist.

When I switched my writing focus to fiction, some fifteen years ago, I pondered the writer-agent bond. My first theatrical agent, impossible though she was, did make a telling comment that I’ve never forgotten. No play, she said, was ever produced too late. By this, she meant many were presented to the public too soon, and that is true both of plays and novels. I didn’t even think about seeking an agent ‘til I had a manuscript ready. I mean, ten-years-and-twenty-drafts ready. Not everybody needs ten years to write a polished draft of a first novel, but I did.

COMMENCE "OPERATION: AGENT"

Then I began the search for a literary agent. I’d already learned the hard way that I wanted not just any agent, but someone with whom I’d have rapport. I was looking for courtesy, candor, clarity, energy and trustworthiness—someone I could freely ask questions, someone I wouldn’t be tempted to second-guess. However, landing any agent would be difficult. So my beggar-as-chooser approach was absolutely secret.

I began with researching sources such as Guide to Literary Agents and Jeff Herman’s Guide. Who’s looking for literary fiction? The agents who are, say so in their listings and/or interviews. I made a lengthy chart of possible agents, sent out queries and sample pages by the bale, fielded a lot of phone calls from agents, saw my postage and Xerox bill go up, up, up. I got a bunch of nibbles and a few bites, followed by sudden, prolonged silences.

The process, which took three years, was equal parts encouraging and exasperating. I did it in waves: first wave, second wave, New Wave. I rewrote my manuscript again, whenever I got a comment that seemed apt. And I sent out a new query the day after any rejection arrived. To keep going, I amused myself by jotting into my chart outrageous or damning bits from agents. The worst were handwritten scrawls right on my original query letter, sent back after requesting my full manuscript. Given that I paid all that postage back and forth, you’d think I might rate a piece of the agent’s stationery. This happened twice. Both agents are prominent. Call it sour grapes, but I think I’m lucky those two said no. Oh, and the pompous form rejections. Cue the tubas: We are sorry we are unable to use your material. There are many reasons to decline a manuscript, etc.

THREE YEARS, THEN...

I got contacted by Stephany Evans of FinePrint Literary Management. She loved the first fifty pages of my novel and wanted to see the rest. I Fed-Exed. She responded within a week with an offer. That’s when I brought my secret plan out into the light. It was simple. Before signing, I asked for a meeting, face to face, on my own dime. It was cheeky. I asked her for references and I called the references. All of them.

Now, it happens that Stephany’s office is in New York City, and I live in the middle of the country, in a river town south of St. Paul, Minnesota, so the face-to-face meeting was not a casual stroll across the street for me. I knew, within ten minutes of meeting her, that Stephany’s offer was my big break, but I played out my plan, every step of it, because, for me, the agent relationship is such a big deal. I played it carefully because we were setting the tone for something fine and mutually rewarding. And I played it quick: I checked those references and signed within a week of meeting Stephany, and all I’d hoped has unfolded since then. The Rose Variations was published by Soho Press in 2009 and the paperback will land in early 2010. I was lucky, yeah. But I played an active part in my luck.

Marisha Chamberlain

Agent Sara Crowe's Call for Young Adult Submissions

Chuck — Mon, 02 Nov 2009 01:23:16 GMT

Sara Crowe, an agent with Harvey Klinger, Inc, recently posted an in-depth post concerning exactly what she looks for in a young adult submission. Fascinating stuff, considering this is exactly the kind of thing writers need to see to pinpoint the best fits for their work.

Here's some example text from the post: "I am sure I have said in some places that I am not looking for fantasy or historical - but that is not quite true. I don’t rule anything out because its historical or fantastical. Contemporary often speaks more to me because I respond to the realism of that writing, its emotional truth, but when a story is out of this world and fantastical, it can still work for me - as long as I can believe in the characters and the world they are living in." See the entire post here.

Want more on this topic?

New agent seeking kids stuff: Teresa Kietlinski of Prospect Agency.

New agent seeking kids stuff: Beth Fleisher of Barry Goldblatt Literary.

New agent seeking kids stuff: Adriana Dominguez of Full Circle Literary.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

Agent Advice: Erin Murphy of the Erin Murphy Literary Agency, Inc. (Part II)

Chuck — Sun, 01 Nov 2009 19:14:15 GMT

This interview with Erin is
Part II. Read Part I here.

"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 kids agent Erin Murphy of the Erin Murphy Literary Agency, Inc . Erin specializes in kids book and has agented for 10 years. She's based in Arizona.

She is seeking: Erin has a unique submission policy and only likes queries from writers she has met at one time or another, or writers who come through an impressive referral. She seeks kids books—young adult, middle grade and picture books.

How Do You Wokka-Wokka?
is a picture book Erin represented.

GLA: Let's talk picture books. These are very difficult to get published, it seems. What can writers do to enhance their chances?

EM: I know it sounds simplistic, but write the very best picture books you can. I think the market contraction has been a good thing, for the most part. I'm only selling the very best picture books my clients write—but I'm definitely selling them. Picture books are generally skewing young, and have been for some time, so focus on strong read-alouds and truly kid-friendly styles. I'm having a lot of luck with projects that have the feel of being created by an author-illustrator even if the author is not an artist, in that they're fairly simple, have all kinds of room for fun and interpretation in the illustrations, and have a lot of personality.
    A year or two ago, I had an early inkling that meatier, more story-based picture books might be coming back around, but then the economy crashed and that went out the window. It will happen eventually, and I will be glad, because I love those stories, too, but they're darned hard to sell right now.
    I see a lot of picture book manuscripts that depend too heavily on dialogue, which tends to give them the feel of a chapter book or middle-grade novel. The style isn't a picture book style.

GLA: Kids writing is one of those worlds where plenty of people still go straight to editors and sell things. Do you find that agented writers can secure better deals and advances?

EM: Well, I'd hope so, or we agents aren't doing our jobs! But having an agent is definitely not required to be successful in children's books, and advances aren't the only (or even the best) way to measure success. It's a very personal decision.

GLA: Do you also take submissions for juvenile nonfiction?

EM: I do represent nonfiction projects; Chris Barton is a primary example from my client list. One of the sales I'm currently negotiating for another client is for a middle-grade nonfiction piece. I don't ever picture a time when a huge percentage of my clients are focused in this area, though, and I already work with a few writers of nonfiction, so the odds are lower there for new writers subbing to me.

GLA: You have an associate agent: Ammi-Joan Paquette. Does she have different tastes readers need to know about? Same submission procedure?

EM: Same submission policy. Our tastes overlap quite a bit, so the agency identity didn't drastically change when Joan came on board, but of course we do have some differences. I'd say the main similarity is that we both love heart-driven stories. Joan is really talented with rhymed and metered picture book texts; I know a good one when I see it, but Joan is terrific with these and getting them into really strong shape. She is more drawn to paranormal YA, dystopian, and the like than I am; I am more open to historical (so long as it's not purely historical-for-the-sake-of-the-setting).

GLA: You've been in business for many years as an agent and editor. How do you see the industry and kids books changing? What do serious writers need to know?

EM: I think the thing I'm most focused on now is that the industry requires you to hone your craft. For many years, SCBWI was all about learning the market, and that's definitely important—but it seems to be harder and harder to find writers who have really let themselves sink into their craft, into developing as writers, and give the process the time that it takes.

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

EM: I am not scheduled for any conferences in 2010, I'm afraid—and I hope to keep it that way so I can conquer this reading pile at last! The next conference I'm scheduled for is SCBWI Florida in Miami in January 2011. Joan will be at Missouri SCBWI on March 20, 2010, and NESCBWI on May 14-15, 2010.

GLA: Will you accept queries from those who don't meet you at conferences? Or is it best to meet you first or have a connection? Either way, what do you want to see and how do you want to see it?

EM: I have a pretty closed submission policy, which allows me to spend most of my time focused on my current clients. I don't accept unsolicited queries or submissions. If you go to a conference where I speak, or if you have a referral from someone I know, I will be happy to take a look. I prefer queries via e-mail.
        By the way, I don't put an expiration date on the offer for conference attendees. I'd much rather that a writer wait until a submission is truly ready than rush and get something undercooked to me in a certain window. I've received queries and submissions from people I met at conferences years ago, and I really respect the confidence it takes to reach out after all that time. I also find that those people have had long enough to get to know the business and develop their craft that they are generally more ready for representation.

GLA: What's something writers would be surprised to learn about you personally?

EM: Hmm! That's a hard one! Well, I just mentioned to a group at the Southern Ohio SCBWI Conference that I have a famous relative, so this won't be surprising to those folks, but perhaps it will for others: Allison DuBois, the Phoenix psychic who inspires the Patricia Arquette character on the TV show "Medium," is my second cousin through my maternal grandmother. At the beginning of her book Don't Kiss Them Goodbye, she talks about the great-grandfather who appeared to her after he died when she was a child, and was her first experience with the afterlife; that was my great-grandfather, too (and I had my own weird experience at his wife's, my great-grandmother's, funeral a few years later!). If she and I have met, though, it was when I was too young to remember; we haven't crossed paths as adults. I like to claim relational psychic ability when it's handy, though!
        Oh! And I can't wear a watch, because I make it stop, and it can't be started again; my maternal grandmother is the same way, so there's definitely something unusual going on in the DNA on that side of the family.

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

EM: Claim your spot in this world of children's publishing with confidence. Read what is coming out now; take advantages of the industry resources and insights the Internet provides; network how you can; stay in touch with the things that interest kids, and with kids themselves. But write for you, above all else. If you don't appeal to your own inner child, how will you ever be happy writing for kids?

Erin Murphy

Want more on this topic?

Interview: Kids agent Joe Monti of Goldblatt Literary.

Examine great high concept hooks for children's books.

New agency seeking kids work: Rodeen Literary Management.

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! >

The "Dragonslayer" Synopsis

Chuck — Sun, 01 Nov 2009 18:23:00 GMT

I always tell people that if they're confused as to how a novel synopsis should look, simply go to Wikipedia. Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis. A lot of them are too long; a lot of them are poorly written; but some are good - and you will get a sense of how they work.

Or - you could just let find good ones for you. The first great synopses I edited and posted were Starman (see that one here) and Peggy Sue Got Married (see that one here). This time it's Dragonslayer, a fantasy! I know a lot of people are writing fantasy stories and it's a category I don't read as much as I should.

Look at the synopsis below. Note how the reader can get lost with a lot of names, so only five names are mentioned throughout - Galen, Urlich, the King, Valerian and Elspeth. Also notice how the kingdom is not named nor is the dragon. Remember: more names and places = more confusion. Keep it simple. I consider Dragonslayer to be adult fiction, but this is not far from YA fantasy either. If Galen were, say, 16 years old, then this would be YA. Fantasy is hard to summarize; even after I edited the heck out of this, it was still 125 words long. For what it's worth, see the synopsis below.

Galen in Dragonslayer

A sixth century post-Roman kingdom is being terrorized by a 400-year-old dragon.

A group of men from the kingdom travels far to the house of ULRICH, the last sorcerer in the land. The frail Ulrich is assisted by his young apprentice, GALEN, who also seeks to be a wielder of magic. The men of the expedition explain that they need help, and how the dragon is only appeased by an offering of two virgins each year. The wizard Ulrich, despite foreseeing his own death, agrees to help. Before he can leave his home, however, a skeptical man in the group demands proof of sorcery. Ulrich invites the skeptic to stab him to prove his magical powers. The wizard dies instantly when stabbed, however, much to the horror of Galen. The young apprentice burns his master’s body and collects the ashes.

When the dead wizard’s amulet begins to obey Galen’s Latin incantations, the ambitious apprentice decides to take up the task of defeating the dragon. On the journey to the kingdom, Galen discovers that a smart young man in the expedition, VALERIAN, is actually a girl in disguise. She was passed off as a boy to spare her “the lottery,” where virgins are chosen at random for sacrifice to the dragon. Valerian suspects daughters of the wealthy are secretly kept out of the lottery, as well. Arriving at the kingdom, Galen inspects the dragon’s lair and blocks the entrance by causing boulders to fall. Though a clumsy and overconfident move, the landslide appears to cause a successful entombment. The village celebrates Galen’s success and Valerian abandons her manly disguise. The feast is interrupted by the KING, who guesses that they boy is not a real wizard and that the “entombment” has only served to anger the dragon (alluding to similar exacerbations by those who ruled before him).

The king confiscates the amulet and locks Galen away. The king’s daughter, ELSPETH, visits Galen, who informs her of rumors the lottery is rigged. The King himself confirms these rumors. Meanwhile, the dragon has stormed its way through the rubble and emerges with a vengeance. An earthquake ensues, and a priest who confronts the dragon is incinerated. The dragon attacks the village with fireballs; much is destroyed. In the confusion, the king’s daughter releases Galen. The next morning, the King reinstates the lottery.

Galen, meanwhile, is hiding with Valerian while plotting to reclaim his amulet. At the lottery, Elspeth rigs the draw so that only her name can be chosen, in reparation. The King is appalled but unable to overrule the decision. When Galen is caught searching for the amulet, the monarch returns it to him so that he might save Elspeth. Galen uses magic to enchant a heavy spear (dubbed Sicarious Dracorum, or "Dragonslayer") to pierce the dragon's armored hide. Meanwhile, Valerian gathers dragon scales and makes Galen a fireproof shield. She also discovers that the beast has a brood of dragonets.

Galen sets out to rescue Elspeth. Before he leaves, he shares a tender moment with Valerian and they kiss. At the lair, Galen frees Elspeth, but she chooses to sacrifice herself and die. Galen slays the dragon babies before confronting the beast itself. After wounding it, Galen breaks his spear, and only the shield saves him from incineration. The villagers fear another attack is imminent and leave the village, turning to religion and priests. As Galen and Valerian prepare to leave, the amulet gives Galen a vision that reveals his master, Ulrich, had planned everything from the beginning. The old sorcerer was too frail to make the long journey himself, so he had his apprentice make the trip for him by carrying his ashes. Galen releases the ashes in a lake of fire and Ulrich is resurrected.

Despite the disappointment of realizing he had no powers after all and was merely channeling Ulrich via the amulet, Galen is overjoyed to have his master returned. Ulrich reveals he is not back for long, and that Galen must destroy the amulet when the moment is right. As the sun is eclipsed, Ulrich battles the dragon; the beast soon grabs him and flies away. As instructed, Galen destroys the amulet, causing Ulrich to explode and the dragon with him. The King arrives at the scene and claims glory for himself. As Galen and Valerian leave the kingdom together, Galen reflects again on how he had failed to conjure any real magic. But when he says, "I just wish we had a horse," a white horse appears out of nowhere to take the incredulous lovers away.

Want more on this topic?

How to Write a Novel Synopsis.

Buy the book Give 'Em What They Want.

Read the Starman synopsis - a great example of a summary.

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!

Cover Band Soap Opera: "Alive" by Pearl Jam

Chuck — Sun, 01 Nov 2009 00:12:36 GMT

For anyone who follows the ridiculous adventures of my Cincinnati rock cover band, you may have noticed that I don't put video up of us. Truth is, I'm self-conscious. Someone missed a note, or this didn't sound right, or that's blurry, blah blah blah.

Well, no more of that. This is my band playing "Alive" by Pearl Jam at a recent fall show. That's me playing guitar on the right.

> >

Agent Advice: Erin Murphy of the Erin Murphy Literary Agency, Inc. (Part I)

Chuck — Fri, 30 Oct 2009 13:38:57 GMT

This interview with Erin is
Part I. Here is Part II.

"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 kids agent Erin Murphy of the Erin Murphy Literary Agency, Inc . Erin specializes in kids book and has agented for 10 years. She's based in Arizona.

GLA: How did you become an agent?

EM: I was editor-in-chief at Northland Publishing and its children's imprint, Rising Moon, here in Flagstaff, Ariz., before going out on my own as a freelance editor. When lots of children's writers reached out to me and asked me to critique their manuscripts, distill/interpret comments they'd received from editors, and the like, it was a short hop to helping them sell the manuscripts to publishers. I didn't set out to become an agent, but it turned out to be a good fit for me. I love my job.

GLA: What are some sales you're excited about?

EM: I keep my recent sales list updated at Publishers Marketplace. I am so excited about the releases my clients have coming out early in 2010—it's going to be a banner year!
       Really lively, fun picture books: Jean Reidy's Too Purpley!, Chris Barton's Shark vs. Train, Audrey Vernick's Is Your Buffalo Ready for Kindergarten?
    Great chapter books and middle grade: new Theodosia and Nathaniel Fludd books by R.L. LaFevers; the latest Effie Malone book by Mary Hershey; stunning debuts from Olugbemisola Rhuday-Perkovich (Eighth-Grade Superzero) and Sarah DeFord Williams (Palace Beautiful); Laura Resau's first middle-grade story, Star in the Forest (Laura's YA, The Indigo Notebook just released last week!)
        Keep-you-riveted YA novels: The second half of the Oathbreaker duo, Prince Among Killers, by S.R. Vaught and J.B. Redmond; debut YA author C.J. Omololu's Dirty Little Secrets, about the daughter of a hoarder; the latest gorgeous read from Heather Tomlinson, Toads and Diamonds.

GLA: Why do you love kids books? What draws you to them?

EM: I love the clear connection between story and reader. There are so rarely filters the reader has to work through, layers of pretense or literary ambiguity that makes reading a scholarly exercise—but re-reading brings new meaning and new understanding, so it doesn't have a lack of richness. Emotion is so clear, whether it is pain or delight. Reading children's literature feels like tapping into something primal. I constantly have in mind the new readers out there, coming to new books; it is so satisfying to help writers to reach them!

GLA: Concerning YA and MG, what do you find yourself drawn to?

EM: Unforgettable characters; stories with heart; emotional transformation; strong relationships; laughter; tight plots that surprise me; worlds I don't want to leave. I like to connect with the protagonist, so disaffected characters have to let the reader behind the mask to catch my heart. I don't tend to get on the bandwagon—I'd rather turn the conventional story or the hot new thing on its head—so I'm rarely intrigued by a pitch along the lines of "Twilight meets X" or "the next A-List." I've been seeing a lot of stories for middle-graders that feel as though they would have fit in perfectly with new releases ten or twenty years ago; they are missing a freshness and a smartness that today's successful middle-grade stories need to have. For YA, I see a lot of stories that are supposedly about teens, but the characters feel 11 or 12 to me.
        I'd love to see solid, well-constructed mysteries with strong characters for either age; more romance (sweet young love for middle-grade, intense sparking for teens); and characters who reflect the splendid diversity of today's children (multicultural, biracial, homosexual, struggling with gender issues; with single parents, gay parents, grandparents doing the parenting; with half-siblings, siblings much older or younger than themselves; in nontraditional situations like house-sharing or single parents filling in for each other to cover gaps; religious, spiritually seeking, or forging their own spiritual paths) in a way that is fully integrated into character and story, not tacked on, not preachy, and not treated as a problem.
        I tend to like fiction that others might find "too quiet," but encourage writers to find a way to give them hooks—which doesn't mean throw in a werewolf or change the setting to somewhere more hip, it means give the story something to hang a description on, something that makes for an eye-catching cover and title. Can you still describe it in one sentence even if it's character-driven and quiet? With the right "something," yes.

GLA: What are some problematic chapter 1 clichés that you see often in a YA/MG partial?

EM: The biggest thing is starting in the wrong place—either having lots of backstory at the opening, which keeps readers from engaging, or conversely, starting so much in the moment of the story that, again, it's hard to connect with the main character. It can be hard to give enough context and get the story moving at the same time. The other thing I see a lot is "talking heads"—all dialogue, no narrative.

GLA: If someone was chatting you with over dinner and said they have a story but don't understand the line between MG and YA, how would you explain the difference?

EM: Is there a line? It seems to me there is scale more than a line. An editor said to me recently that if the main character is 14, it automatically gets shelved in YA in the chain stores. There's a line. But I work with authors whose light and wholesome novels, with teen MCs, are read mostly by tweens; and others whose novels are populated by middle graders going through such intense experiences that the readership skews to the high end of MG/low end of YA.
        In my mind, the best people to decide who the readers are for any particular book are the kids themselves, and the teachers and librarians who know the kids they work with, and who stay abreast of what is happening in today's juvenile literature. I try to focus on helping my clients making their stories the best stories they can be, rather than fitting them into boxes. The line sometimes feels like a moving target, and the writer has little control over it; better to focus on what you can control, which is how good it is.
        That said, characters should feel as though they are truly the age they are supposed to be—and that age *today*. Kids are more savvy than they used to be even five or ten years ago. They are exposed to more and more at a younger age. Writers should respect their readership accordingly.

My Fair Godmother

Want more on this topic?

Interview: Kids agent Joe Monti of Goldblatt Literary.

Examine great high concept hooks for children's books.

New agency seeking kids work: Rodeen Literary Management.

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!

"20 Tips on Query Letters," as Told by Agent Janet Reid

Chuck — Thu, 29 Oct 2009 17:27:23 GMT

Guest Blog by

contributor Ricki Schultz.

Agent Janet Reid of FinePrint Literary Management gave an intensive workshop on queries at the South Carolina Writers Workshop. Here are 20 tips to writing an effective query, according to the Query Shark herself.

FOR STARTERS

• Be professional. It’s a business letter—not a personal letter.

Regarding salutation and tone, err on the side of caution because formality is never out of place.
“Dear Agent” or “To Whom It May Concern,” however, is too impersonal.
Pet peeve: If you’re querying an agent’s direct e-mail (i.e. “janet@” and you address the query “Dear Agent,” you don’t come across as being too smart.

• Be comfortable with computers. Publishing is moving toward the electronic age, so move with it.

Have an e-mail address with your name in it (e.g., SuziWriter@gmail.com). This shows her you are professional. How is she to take you seriously if your e-mail is cutiepiehoneyface@aol.com?
Have your own e-mail account—not one you share with a spouse.
Have a Gmail or Earthlink account. She says AOL is bad for queries because its spam filters sometimes eat e-mails without your knowledge, and you could be missing a reply.
Also, add the agents to your “safe senders” lists to ensure you receive their replies.

• Use a referral. Agents always move referrals to the top of the stack if someone they know vouches for the writer.

Do not, however, quote your rejection letters, friends, critique partners, paid editors, or conference critiques. These comments are not the same as referrals.

THE NITTY GRITTY

Don’t start with a rhetorical question. You’re talking to really sardonic people in New York City, and they’re not going to answer the question how you expect.
Get right to the main character—by name.
Tell who he/she is, and do it in as few words as possible.
Tell what happens to him or her—the initial point of conflict in the book.
Show two choices the main character faces as well as the consequences of those choices. The stakes must be high.

SUREFIRE QUERY KILLERS

“Fiction novel.” A novel is fiction, so when someone writes “fiction novel,” not only is it redundant, it makes the writer sound ignorant.
“Surefire bestseller.” Let the agent be the one to decide that. Declaring your work to be the next best thing shows you know little about the industry—and that you’re probably too arrogant for the agent to want to work with you.
“Film potential.” Janet says, “First of all, you don’t know shit.” (See arrogance comment above) Also, she’s not a film agent. She just wants to know what the book is about.

KEEP IT OUT

Inspiration. You only have 250 words, so don’t waste them. Stick to showing her what the book is about because how you came up with the idea does not interest agents in the query. “It’s the equivalent of making sausages,” she says. “I do not want to see you do it.”
Personal information. It doesn’t matter to agents where you live or how many cats you have.
Sometimes work information is relevant to you being the only person able to write a particular book; however, sometimes the worst people to write certain types of books are those who actually do those occupations (e.g., cops hate cop shows, doctors criticize medical dramas). They know the reality of the job too deeply, and it doesn’t make for good fiction.

TAKEAWAY

A query letter is the foundation upon which your publishing career rests, so remember: You can query too soon; you cannot query too late.

Janet Reid's publishing background includes 15 years in book publicity with clients both famous and infamous. She specializes in compelling fiction, particularly crime fiction, and narrative non-fiction, and she keeps a blog about agenting as well as a query critique blog.

Want more on this topic?

Agent Elaine Spencer talks queries.

What should you write in the bio paragraph of a query letter?

How to write a query letter - the three parts.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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

How to Get an Agent’s Attention (SCWW Guest Post)

Chuck — Wed, 28 Oct 2009 16:59:58 GMT

This is a guest post from Lisa Katzenberger,
on an agent panel at the
South Carolina Writers Workshop.

Eleven agents attended the SCWW conference and four participated in the panel discussion “What Gets Our Attention.” They didn't mention fun things like serving them mashed potatoes in the buffet line or skywriting your query over lovely Myrtle Beach. Instead, they gave us simple advice, a great reminder that it’s not really rocket science. Here are the best nuggets from the session with agents Jeff Kleinman (Folio Literary), Barbara Poelle (Irene Goodman Agency), Jenny Bent (The Bent Agency), and Scott Eagan (Greyhaus Literary).

It’s Not Personal, It’s Business

Just like in The Godfather. At least in the publishing biz, you’re not going to wake up snuggling a horse’s head just because you queried an agent who doesn’t rep your genre. (Probably.) So, keep your business hat on when approaching agents and be professional.

They want to work with someone who understands the business and can represent their agency professionally.
Barbara reminded us that it’s called the publishing industry, not the publishing feelings. Agents understand that there’s a lot of emotion tied to the time and effort an author dedicated to their book. But you have to be able to separate that emotion when querying and see the business side of a decision.
Don’t be funny in a query -- don’t pretend you’re writing as your main character.
A query letter is a business letter – a cover letter to apply for a job. Your resume? Well, that’s the manuscript.

Have a Unique Story

There are no new stories, just different ways to tell them. Make sure you know what’s special about your love story or cozy mystery that makes it stand out from all the rest.

Scott Eagan said he needs a book that’s more than just well-written. He needs a book with a unique twist.
Barbara Poelle encouraged writers to find a unique take on a formula that works.
Jeff Kleinman stressed how no one wants to read a book they’ve read before.
Jenny Bent wants to see your voice in your query letter. She looks for a great opening line and a story that really grabs her.

The Hook, The Book, and The Cook

Barbara Poelle used this catchy line to describe the three ingredients of your query letter. The hook is a one sentence description of what your book is about. Yes, one sentence. Check Publishers Lunch for examples of great loglines. The book: four or five sentences that give more detail about the story. The cook: brief information about you, the writer.

Love Is in the Air

Would you want to marry someone who’s kind of in love with you? Or someone who is head over heels crazy about you and will go to the ends of the earth to make you happy? Don’t be upset when an agent turns down your manuscript because they weren’t fully in love with it. You’re entering a long-term relationship with an agent, and just like a marriage, you want to find the partner who’s crazy about you.

Jeff Kleinman likes to follow this rule of thumb: “Only represent stuff you totally, absolutely love.”
Agents are reading submissions in their free time. They do this job because they love books, just like writers do.
Barbara will reject a book if she doesn’t feel she can be that author’s strongest advocate.
Query agents who represent authors you love to read. Chances are, they’ll dig your type of writing too.

So to get an agent’s attention, be professional in your query and unique with your story. Like a good cook who can rattle a recipe from memory, know your story’s ingredients when selling your book. And if an agent turns you down, don’t get discouraged. Remind yourself that you’re waiting for someone who loves your book as much as you do.

Guest blogger Lisa Katzenberger
runs the Fiction City Blog and
is also on Twitter.

Want more on this topic?

Interview with agent Jenny Bent of The Bent Agency.

Interview with agent Scott Eagan of Greyhaus Literary.

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

Read about What Agents Hate: Chapter 1 Pet Peeves.

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