GIVEAWAY: Olivia is excited to give away a free copy of her novel to a random commenter. Comment within 2 weeks; winners must live in Canada/US to receive the book by mail. You can win a blog contest even if you’ve won before.

Olivia Newport‘s novels twist through time to discover where
faith and passions meet. She chases joy in Colorado at the foot
of the Rockies, where daylilies grow as tall as she is. Her
husband and two twentysomething children are welcome
distractions from the people stomping through her head
on their way into her books. Find her on Twitter or on Facebook.
Her latest book is the May 2012 historical romance,
THE PURSUIT OF LUCY BANNING (Revell).

1. Take the long way. Shortcuts rarely pay off when it comes to research and preparation. Grabbing a quick fact here and there results in an unpersuasive random sensation in the finished text—which then turns out not to be finished after all. Writing is about more than crafting and reshaping the words that make it to screen or paper. It’s about wisely sifting the possibilities of what to write about in the first place.

2. Be your own nemesis. Writing leaves little time for preening. Criticize yourself. Someone else is going to do it anyway. Being tough on yourself is your best defensive move. Even when you’ve written something to be proud of, outline three ways it could be better.

3. Unpeel the truth. Just because something happened in real life doesn’t mean it belongs in your novel. The catalyzing event is more likely to become the germ of a character’s experience, rather than a verbatim account. The final value may be emotional or spiritual, rather than factual. The truth the novelist seeks goes beyond accurate details.

4. Play chess well. Think three plays ahead. Or four. Or six. How is your character going to respond to the next event you plan to drop into the plot, and how will you counter that reaction by upping the tension? Anyone can learn the rote rules for moving a bishop or a rook or a knight, but the winner patiently waits for the angles to converge.

5. Sign your work. One valuable reason to write multiple manuscripts before trying to publish is pumping up your novelist muscles. Your own review, or the opinions of a few trusted readers, may reveal signature strengths that you can employ strategically in the manuscript you finally sell. Do you excel at creating tension? Unpredictable plot complications? Sympathetic characters? Suspense? Romance? Historical detail? Rather than rushing toward the exuberance of seeing your name on a book, relish the satisfaction of leaving a particular, distinguishing mark.

6. Wear a consistent hat size. Admire, analyze, and adjust, but don’t compare. Avoid reading the work of other authors and thinking you could do sooo much better. If you like an author’s writing, articulate what you can learn from it for your own work. If you don’t like it, be specific about what disappointed. From every reading experience, find the takeaway that will make your own writing stronger. No matter your degree of success, keep a level head about steady hard work.

7. Stuff cards up your sleeve. Always have something else to move on to. The market is not always ripe for the idea you have, and you can’t expend all your creative energy dragging it around from agent to editor. Or you may get 20,000 words into a project and realize the trajectory is into the dumpster. Move on. When you do sell a project, be ready with six more ideas. Always have something up your sleeve that you’d love to write.

GIVEAWAY: Olivia is excited to give away a free copy of her novel to a random commenter. Comment within 2 weeks; winners must live in Canada/US to receive the book by mail. You can win a blog contest even if you’ve won before.

Don’t let your submission be rejected for
improper formatting. The third edition of
Formatting & Submitting Your Manuscript
has more than 100 examples of queries,
synopses, proposals, book text, and more.
Buy it online here at a discount.

GIVEAWAY: Regina is excited to give away a free copy of her novel to a random commenter. Comment within 2 weeks; winners must live in Canada/US to receive the book by mail. You can win a blog contest even if you’ve won before.

Regina Jennings is homeschooling mother of four from Oklahoma.
She enjoys watching musicals with her kids, traveling with her
husband and reading by herself. Regina graduated from Oklahoma
Baptist University with a degree in English and a history minor.
She has worked at The Mustang News and First Baptist Church
of Mustang, along with time at the Oklahoma National Stockyards
and various livestock shows. For more posts by Regina or
information about her novel, SIXTY ACRES AND A BRIDE (Feb. 2012
Bethany House), please visit her website – find her on Facebook or Twitter.

If you were an agent would you want to represent an aspiring novelist whose professional claim to fame was that she weighed pigs at the Oklahoma National Stockyards?

That’s what I thought.

When I decided to write my first book I had no contacts. I didn’t know a single author. There were no friends to introduce me to an agent and no opportunities to cross paths with literary types at cocktail parties (do they still have those in the big city?). I was blazing across new territory.

Or that’s how I felt, but I saw evidence that others had been there before. Their desperately carved messages scarred the canyon walls—Agents don’t look at emailed submissions. You have to know someone to get published. No one signs newbies unless you’ve been on TV wearing a swimsuit… and America’s Funniest Videos doesn’t count.

But among the doomsayers were those dispensing encouragement as well—Learn the art of querying, Go to conferences, Miracles happen. And a miracle was what I needed.

ON A QUEST

I’d had my eye on a certain writer’s conference, one that would be attended by an editor with my dream publishing house and several agents I’d been stalking. Was my writing good enough? We would soon find out because my husband bought me a ticket for my birthday. In a few months I’d be pitching my novel to a real-life, fire-breathing, rejection-shooting agent.

That would be great, wouldn’t it? The only problem I saw was that the week after conference every agent in attendance would be flooded with submissions. Their normally empty inbox (yes, I was that naïve) would suddenly be filled with proposals from optimistic conference-attendees. How could a greenhorn like me get noticed?

A TRULY TERRIBLE IDEA

My original solution was to send my proposals before conference. I’d read that it could take three months for an agent to respond, so I’d submit two months before conference. Then when Ms. Agent became my new best friend at conference, she would remember my submission…or even better, she’d go back to her hotel room and there it’d be—the next in the queue.

Awful plan. Before the conference I’d already heard back from a couple of agents. Rejected before I’d even stepped foot in the sacred Appointments Galley. Why weren’t they procrastinating like they’d promised? In fact, I’d requested an appointment with one of these deniers. What now?

And it got worse. At the conference, the line, “Hey, I submitted to you a few months ago, do you remember it?” earned blank stares all around. Only one person asked me to resend and then I learned the trick… there’s a magic phrase they’ll tell you to put in the RE: line if you meet them at conference. That phrase can be the difference between a quick scan and a thorough consideration.

Expensive mistake, but I still had a shot at an editor.

AVOIDING DISASTER

The editor appointment had the potential to be a total catastrophe. I’d scored a meeting with my dream publisher, a leader in historical romance, and the one I’d had in mind when I wrote Sixty Acres and a Bride. Thankfully, God granted the miracle I was praying for and they requested the full. Before long it’d passed the editorial board and was moving on to the pub board, and this is where I saw something amazing happen. Even better than the secret conference code on the email is the opening line—This manuscript is being presented to the pub board next week. Doors opened and I signed with Rachel Kent from Books and Such Literary Agency.

Rachel walked me through the signing of a three-book contract and continues to help by brainstorming, finding marketing opportunities and protecting my editor from some of my half-baked ideas. I’ve discovered how much an agent does even after the contract is in hand.

WHAT I LEARNED

I’d like to think that my manuscript would’ve been chosen out of an agent’s slush pile even without a publisher’s interest, but I’ll never know… and I can live with that.

I can also live with the mistakes I made along the way, knowing that they didn’t keep me from my goal. Getting off-course isn’t cause for panic, because when you need one, an agent will appear.

So that’s the message I’m carving in the wall for the next traveler—Have faith. Work, learn and when the time is right it’ll happen. Enjoy the journey.

GIVEAWAY: Regina is excited to give away a free copy of her novel to a random commenter. Comment within 2 weeks; winners must live in Canada/US to receive the book by mail. You can win a blog contest even if you’ve won before.

The biggest literary agent database anywhere
is the Guide to Literary Agents. Pick up the
most recent edition online at a discount.

If you can’t answer these questions with a confident yes, we have a great new webinar for you. Larry Brooks, the creator of Storyfix.com and the author of Story Engineering, is teaching “The Elements of Story: Transforming Your Novel from Good to Great,” on Thursday, June 7, 2012. The new webinar also comes with a personal critique for all attendees.

DETAILS

The event happens at 1 p.m., EST, Thursday, June 7, 2012, and lasts 90 minutes. Each registration comes with access to the archived version of the program and the materials for one year. You do not have to attend the live event to get a recording of the presentation. In all WD webinars, no question goes unanswered. Attendees have the ability to chat with the instructor during the live event and ask questions. You will receive a copy of the webinar presentation in an e-mail that goes out one week after the live event. The answers to questions not covered in the live presentation will be included in this e-mail as well. Sign up here.

ABOUT THE CRITIQUE

All registrants are invited to submit a short outline of your novel for critique. Submissions limited to two pages, addressing the following Elements of Story:

1. What is the CONCEPT of your story? How have you evolved your initial idea to the level of a compelling concept?
2. What is the primary need/quest/journey of your HERO in this story? What obstacles stand in your hero’s way?
3. How, and where, are you executing the primary pivotal scene (moving from “set-up” to hero’s full-blown confrontation with her/his problem)?
4. What about this story energizes you? What will separate it from the crowd of well-written stories being submitted/sold in the marketplace? Sign up here.

This level of critique is available regardless of where you are in the process—either a finished story, or a story under construction. All submissions are guaranteed analysis and a written critique by instructor Larry Brooks.

ABOUT THE WEBINAR

Ask any agent or editor what they’re looking for in a novel, and the answer is always the same: “good writing.” They seek a great story, plain and simple—and how one can compose a great story is what this new webinar is all about.

This workshop targets all skill levels, from beginner to published author. It will break storytelling – both process and end-product – into component elements through mission-driven criteria. It will separate storytelling into two realms: the search for story… and the execution of story, with a discussion of inherent risks and available opportunities.

A story lacking in several specific elements (which will be clearly defined and discussed) will not compete in the market, no matter how well written. The converse is also true: a story with depth and huge potential must be expertly executed to compete. Good is no longer enough in today’s publishing market (both traditional and self-published). Both stories and execution must rise to a level that becomes clearer and reachable once a writer understands what these elements are, and how to blend them within the artful voice of their prose.

This workshop will deliver a clear picture of what it takes to write a great story, and how to harness these forces within the writing process. Sign up here.

WHAT YOU’LL LEARN:

• What makes a story work—what makes a story good as opposed to great.
• How and why the “search for story” and the “execution of story” are different aspects of the overall process, and why shortcutting or blindly blending them makes the goal more difficult to reach.
• How and why to take a “mission-driven” approach to your writing process.
• How to apply this process with equal effectiveness, whether you’re an organic writer (a “pantser”) or a story planner/outliner.
• A breakdown of the five key “forces” that make a story compelling.
• A breakdown of the six core competencies involved in harnessing those forces within your narrative sequence.
• How to use this context to empower your pitch with magnetic appeal.
• What separates an aspiring writer from a contracted author in this field.
• How to start, and how to know when you’re done and ready to submit your work. Sign up here.

INSTRUCTOR

Larry Brooks is a best-selling author of five thrillers, and the author of the writing book Story Engineering: Mastering the Six Core Competencies of Successful Writing (2011, Writer’s Digest Books). He is also the creator of Storyfix.com, named by Writers Digest as one of the “101 Best Websites for Writers” the last two years. He speaks frequently at writing conferences and offers story and manuscript review services. His new writing book, The Search for Story, will be published in early 2013.

QUESTIONS? Please contact writingwebinars@fwmedia.com.

Sign up here.

About Rachel: Now a literary agent at the Irene Goodman Literary Agency, she was most recently publicity manager at St. Martin’s Press. Find her on Twitter. Rachel Ekstrom’s decade of experience working in the publicity departments at St. Martin’s, Minotaur Books, and Penguin’s Dutton and Gotham imprints has given her an insider’s view of the publishing industry. With a knack for book promotion, she’s honed her skills building the careers of debut authors and #1 New York Times bestsellers.

She is seeking: women’s fiction, YA (contemporary and paranormal), thrillers, mysteries, romance, historical fiction and the occasional quirky work of nonfiction. She’s looking for books that will make her heart beat faster than it does when she’s biking through Manhattan traffic.

How to contact: E-query rachel.queries (at) irenegoodman.com. Email a query letter and the first 10 pages, along with a synopsis (3-5 paragraphs) and bio, in the body of an e-mail. The email addresses for this purpose are listed below. Please do not e-mail Rachel at her personal e-mail address, and do not submit to more than one of our agents. “You should receive an automated reply once you send your query. Because of the high volume of e-mail submissions we receive, we will only respond to your query if we are interested in seeing more, usually within 6-8 weeks; please don’t follow up and do not call.”

The biggest literary agent database anywhere
is the Guide to Literary Agents. Pick up the
most recent edition online at a discount.

1. Mandi Harris for LITTLE GOSPEL

2. Sarah Salmon for THE CHILI IS NOT THE WHOLE CURRY

3. Annamaria Elsden for ALMOST WINTER

Congrats to the winners! They each get a small critique from Lauren as well as a one-year subscription from me for WritersMarket.com. Keep your eyes peeled to the GLA Blog, as our next contest will start with a week or two!

This week it’s Jim Kraus, author of THE DOG THAT TALKED TO GOD (Abingdon Press, 2012).

Jim Kraus is a longtime writer and editor who has authored or co-authored more than 20 books, both fiction and nonfiction. His best-selling humor book, Bloopers, Blunders, Jokes, Quips, and Quotes, was published by Tyndale House Publishers, sold more than 40,000 copies and inspired several spin-off books. Jim, and his wife, novelist Terri Kraus, and one son, live in the Chicago area.

Also residing with them is a sweet and gentle miniature schnauzer named Rufus. Coincidently, Rufus is also the name of the dog in Jim’s latest book, The Dog That Talked to God. The idea of the last book came from Jim’s twice-daily walks with his dog, Rufus. “I tend to think through problems as we walk, and I sometimes, softly, pose questions to the noble dog Rufus. And if he could, he would answer them. I know he wants to. Sometimes I give his answers a voice. And I imagined that most pet-owners do the same thing. The idea of a talking dog didn’t seem so far-fetched. And the story grew from there.”

Currently own dogs? Tell us their names, breeds and one amusing fact per dog.

Yes, we currently cohabitate with a miniature schnauzer named Rufus. We also live with an ill-tempered Siberian cat named Petey.

In one sentence, what is your book (or latest dog-related book) about?

The title says it all—The Dog That Talked to God. Rufus begins to talk to his owner, Mary, a widow who lost her husband and son in a car crash, and claims that he also talks to God.

When did it come out?

The book was released in March 2012 by Abingdon Press. Publishers Weekly gave it a very nice review and it hit #20 on the Bookscan list of Christian Fiction. It also debuted at #15 on the Christian Bookseller Association’s Best Seller list.

What inspired you to write this book?

Rufus and I take walks through the neighborhood twice a day, morning and night. While we walk, I sometime pose questions to the noble dog Rufus—and quietly voice his answers back to me. I started to wonder what would happen if Rufus actually spoke. The book took off from there.

What kind of writing, if any, were you doing before the book?

I’ve written or co-written over 20 books, mostly fiction titles—some historical, some contemporary relationship stories, and a few thrillers.

How did you find your agent?

Chip MacGregor from MacGregor Literary is my agent. Chip and I have known each for a few decades. When I started writing (I work for a publisher—so that helps) I did not use an agent. But I don’t like the business end of deal-making—so I asked Chip if he might consider representing me and the rest is history.

What has been the biggest surprise or learning experience you’ve seen through the process of seeing your book(s) get published?

Since I have done a fair number of books, there were no surprises—other than this dog book taking off so quickly. Like the experience of most authors, you spend a year writing the book, give it to a publisher and it disappears—until they send it back and let you know you have a week to make corrections. (Actually, the good folks at Abingdon have been a dream to work with. They may be a smallish publisher—but they have treated me as one of the team. That’s unusual—and so appreciated.)

Tell me about a fun moment or proud experience you’ve had with your book and readers since the book was published.

I have received many e-mails from people who say they identified with the pain and problems of the main character and appreciated how she worked her way through the trouble—and how wonderful having a dog in one’s life truly is.

What are you doing to reach out to readers and dog enthusiasts?

I’m not great at self-PR . . . but Abingdon has worked hard to get dog owners aware of the title, advertising on several dog-related web sites and getting reviews from bloggers who have dogs.

Think of your dog (or a past dog perhaps). If you could compare them to one celebrity, who would it be?

Rufus is just like Don Knott’s nervous character on the old Steve Allen show. I know that dates me—but Rufus is a gentle soul who does not like surprises and does not handle new situations all that well.

Favorite of these dog movies? — “Best in Show,” “101 Dalmatians,” “The Shaggy Dog.”

Best in Show. I can be snarky at times. You’ll see that in the book.

Where can people find you on the Internet?

I’m on www.Jimkraus.com.

What’s next up for you, writing-wise?

I’m working on a cat book. Logical next step, don’t you think?

RED DOG / BLUE DOG is a humorous photo collection of
dogs doing stereotypical liberal and conservative things,
assembled all in good fun. It releases July 2012 from
Running Press.

GIVEAWAY: Melanie is excited to give away a free copy of her novel to a random commenter. Comment within 2 weeks; winners must live in Canada/US to receive the book by mail. You can win a blog contest even if you’ve won before.

Melanie Gideon is the author of the memoir The Slippery Year:
A Meditation on Happily Ever After, an NPR and San Francisco
Chronicle Best Book of 2009, and a New York Times bestseller,
as well as three young adult novels. Her latest novel, WIFE 22
(sold in 30 countries and currently in development with Working
Title Films) is forthcoming from Ballantine in June 2012. She has
written for the New York Times, the San Francisco Chronicle,
More, Shape, Marie Claire, the London Times, the Daily Mail
and other publications. She was born and raised in Rhode Island
and now lives in the Bay Area with her husband and son. 

1. Don’t Google yourself. It can only lead to heartbreak. If you simply must know what’s being said about you and your work in the blogosphere, get a friend or spouse or sibling to do periodic Google searches for you. But, and this is very important, insist they curate. Suggest they say things like “Gosh, I don’t see anything but five star reviews. Okay, maybe a few four stars sprinkled in.” Suggest they don’t say things like “Why does @gogirlcrunchy hate you so much?” Tip: don’t be in the same room when said loved one is doing Google searches. And if you are in the same room, do not, I repeat do not look at the expression on their face as they scan the results.

2. Don’t compare yourself to other writers. Somebody will always be getting more. More promotion, better reviews, better ads (any ads!) in magazines, more cities (any cities!) on their book tour. And somebody will always be getting less than you. Schadenfreude. It’s a difficult word to both spell (I just had to Google it) and pronounce (I usually just refer to it as “that S thing when you feel really good about somebody else’s misfortune”) for a reason. Don’t indulge in it.

3. Celebrate other writer’s successes. A win for one of us is a win for all of us. It means people are reading, loving and buying books. Other writers are not others—they are your kin.

4. Support your local bookstore and buy books from your local bookstore. Booksellers are the most wonderful, passionate, smartest people in the world and you need to be on their side and if you’re lucky maybe someday they’ll be on yours.

5. Don’t expect everybody will love your work. Rule of thumb is 35% will love it. 35% will hate it. And 35% will be indifferent. I know that adds up to 105% but I’m a writer precisely because I’m so bad at math. My point is this: your job is to write for the 35% who love your work. Period. Forget about the rest.

6. Write something you’re passionate about. Something that you’re willing to work on for the next three years because at a minimum that’s how long you’ll be living inside that story.

7. Writing is a long apprenticeship. I wish I had known this when I started out. I’ve written five books and have been at this for twenty years now. Some people have success right out of the gate. But for most of us it’s a steady uphill climb, filled with reversals, switchbacks and white-outs. But occasionally a supermoon will appear that is so bright and otherworldly it will make you gasp for breath and remember why you began this journey in the first place. Because. You love. To write.

GIVEAWAY: Melanie is excited to give away a free copy of her novel to a random commenter. Comment within 2 weeks; winners must live in Canada/US to receive the book by mail. You can win a blog contest even if you’ve won before.

Hook agents, editors and readers immediately.
Check out Les Edgerton’s guide, HOOKED to
learn about writing fiction to pulls readers in.

——————

A WD Editor Will Speak At These Great Writing Events in 2012:

• Jan. 20-22, 2012: Writer’s Digest Conference (New York, NY)
• Feb. 16-20, 2012: San Francisco Writers Conference (San Francisco, CA)
• April 19-21, 2012: Las Vegas Writers Conference (Las Vegas, NV)
• May 3-5: Oklahoma Writers Federation Conference (Oklahoma City, OK)
• June 7-8: Clarksville Writers Conference (Clarksville, TN)
• June 8-9: Carnegie Literacy Books in Progress Workshop (Lexington, KY)
• June 22-24: Crested Butte Writers Conference (Crested Butte, CO)
• July 26-28: Midwest Writers Workshop (Muncie, IN)
• Aug. 2-8: Homeric Writers Retreat & Workshop (Isle of Ithaca, Greece)
• Sept. 13-14: Chicago Writers Conference (Chicago, IL)
• Oct. 20: Books by the Banks: Cincinnati Book Festival (Cincinnati, OH)

DETAILS

The event happens at 1 p.m., EST, Thursday, June 14, 2012, and lasts 90 minutes. Each registration comes with access to the archived version of the program and the materials for one year. You do not have to attend the live event to get a recording of the presentation. In all WD webinars, no question goes unanswered. Attendees have the ability to chat with the instructor during the live event and ask questions. You will receive a copy of the webinar presentation in an e-mail that goes out one week after the live event. The answers to questions not covered in the live presentation will be included in this e-mail as well. Sign up here.

THE CRITIQUE

All registrants are invited to submit a small portion of their writing/novel for critique. Participants should send a character introduction section or a scene of character interaction from a middle grade or young adult manuscript (up to 500 words) after the event. You are encouraged to revise the manuscript first, based on what you learn. All submissions are guaranteed a critique by instructor Mary Kole. Mary reserves the right to request more writing from attendees by e-mail following the event if a manuscript is of the highest quality.

THE WEBINAR INSTRUCTION

Middle grade and young adult novels are the hottest markets in children’s books today. If you want to write novels for readers aged 9-12 (middle grade) or 13+ (young adult), you’ll need to focus on your characterizations first and foremost, because these voracious readers love bonding with protagonists. Because character is so important to the middle grade and teen novels market—if you want to succeed, that is—this entire 90-minute session will be devoted to developing your protagonist, giving them a formidable nemesis, and giving any romance in your book that spark that will draw in your audience.

Successfully hooking an agent (and readers) with your writing takes knowing how to develop characters and make them interact in exciting ways, especially if you want to tackle the extremely popular topic of teen romance. Learn what the middle grade and young adult audiences are looking for, what agents and editors like to see in this marketplace, and how you can capitalize on these needs. You’ll also learn how to make your project and pitch irresistible so you can take the next step toward publication. Sign up here.

WHAT YOU’LL LEARN:

• The essential elements of books written for pre-teen and teen readers
• What your audience wants from characters and relationships
• Why romance is so important in the teen market, and how to create great chemistry
• How to memorably introduce your characters in scene
• What makes for a thrilling and chilling antagonist
• Specific guidelines for writing middle grade and young adult
• How to make your pitch absolutely irresistible
• What separates an aspiring writer from a contracted author in this field. Sign up here.

INSTRUCTOR

Mary Kole (kidlit.com, @kid_lit) is a Senior Literary Manager with Movable Type Management (movableTM.com). She’s also on the hunt for exceptional picture books, especially from accomplished author/illustrators. She has sold books to HarperCollins, Simon & Schuster, Penguin, Random House, Marshall Cavendish, and Arthur A. Levin’s imprint at Scholastic, among others. Mary reads submissions for tween and teen novels all day long and will tell you exactly what works and what doesn’t when you’re approaching this exciting, creative, and fulfilling niche in publishing.

Questions? Please contact writingwebinars@fwmedia.com.

Sign up here.

GIVEAWAY: Chris is excited to give away a free copy of his novel to a random commenter. Comment within 2 weeks; winners must live in Canada/US to receive the book by mail. You can win a blog contest even if you’ve won before.

Guest column by author Chris Pavone, author of the buzzed-about
novel, The Expats (March 6, 2012, Crown). The thriller debut received
starred reviews from Booklist (“A must for espionage fans”), as well as
Library Journal (“Brilliant, insanely clever, and delectably readable”),
as well as Publishers Weekly (“Fans of John le Carre and Robert Ludlum
will welcome [this] meticulously plotted, psychologically complex spy thriller”).

1. LAME START

Whatever’s good about your book should be good on page 1, or very few editors are going to get to page 2. If you can’t figure out how to make the beginning of your book compelling, you’re probably not writing a compelling book.

2. ERRORS OF IGNORANCE

Although no one loves a typo, it’s close to impossible to eradicate every single little mistake in a manuscript. Typos are usually forgivable (except in a query letter). But what’s not really forgivable is using words or phrases whose meanings you obviously don’t understand.

3. OVERLY LONG PROPOSALS AND MANUSCRIPTS

Editors read tens of thousands of pages of submissions per year, in their spare time. On weekends, at night in bed, on vacation. If you think any one of them wants to read a 90-page book proposal, you’re out of your mind. Whatever you need to say in a book proposal, say it in less than 30 minutes of reading time. I honestly can’t remember ever rejecting a single proposal for being too short (and I acquired a few books whose proposals were 0 pages long). Say what needs to be said, not more.
As for fully written manuscripts: an editor once confided to me that she refuses to read manuscripts that are longer than 400 pages. None. Automatic reject. And although her stance is the exception, she might be the exception who would acquire your novel if you could trim 150 pages of flab.

4. MARKETING, PUBLICITY & SALES IDEAS

Many writers feel compelled to include a section of business-oriented ideas in their pitches or proposals. “My book should be merchandised in the front of the store, in a stack next to the register.” “Window displays would be a natural fit.” “The Today show and The View are perfect publicity venues for this book.” “You know Restoration Hardware? Or Starbucks? They should put my book on their coffee tables.” These are not helpful, actionable suggestions. They’re insults to everyone who spends their professional lives making and selling books.

5. COVER & INTERIOR DESIGN IDEAS

If you managed to procure a try-out to pitch for the New York Yankees, would you show up to the stadium and present the scouts with a redesigned uniform (“Pinstripes are so 1977!”), and a proposal to move from the Bronx to Coeur d’Alene? Of course not. Shut up and throw your best fastball.

6. THE HARD SELL

Editors are hoping—they’re desperate—to love it. Every time they pick up a new project, what’s in the front of their minds is, “I hope I love this.” It’s their jobs to find something new to love, and their careers are doomed if they can’t. But here’s a type of thought that never, ever pops into an editor’s head: “Oh, well, Joe Schmo says right here in his query letter that his debut novel An Incredibly Great Book is unputdownable and that he’s the next John Grisham, so we should probably just write the eight-figure check now, before he signs with Amazon.” Don’t tell editors how great your book is. Just make it great.

GIVEAWAY: Chris is excited to give away a free copy of his novel to a random commenter. Comment within 2 weeks; winners must live in Canada/US to receive the book by mail. You can win a blog contest even if you’ve won before.

Don’t let your submission be rejected for
improper formatting. The third edition of
Formatting & Submitting Your Manuscript
has more than 100 examples of queries,
synopses, proposals, book text, and more.
Buy it online here at a discount.

This installment features Melissa Flashman of Trident Media Group, LLC. Melissa grew up in Kentucky, graduated from Wesleyan University, and studied in the Ph.D. program in English at Johns Hopkins. She worked as an assistant at International Creative Management (ICM) before joining Trident Media Group. You can find Melissa on Twitter here.

She is seeking: Melissa’s interests vary in terms of nonfiction. She represents narrative and serious non-fiction, especially political, lifestyle, popular science, memoir, pop-culture books, business/economics, and technology. She accepts a group of select fiction including literary fiction and young adult (especially dark, issue-oriented YA with strong character and voice). She’s also interested in literary thrillers, mystery, and graphic novels.

GLA: How and why did you become an agent?

MF: I had a fairly traditional apprenticeship, working as an assistant for Amy Williams at ICM and then Ellen Levine here at Trident. Aside from a story about Jack Kerouac’s agent that the great Ann Douglass told as part of her Beat Generation class at Columbia, I had never given agents much thought but it turned out to be the perfect mix (for me) of business, ideas and storytelling. I think of myself as an evangelist for stories and ideas. Though you wouldn’t guess it from looking at me, I’m kind of a cheerleader at heart.

GLA: What’s something you’ve sold that comes out now/soon that you’re excited about?

MF: David Graeber’s upcoming (winter 2013) book on direct democracy. His ideas are helping to shape the way everyday people and global leaders think about money and debt. He’s also a great storyteller. He can make a book about the history of money come alive.

GLA: Besides “good writing and voice,” what are you looking for right now and not getting? What do you pray for when tackling the slush pile?

MF: I always love epic stories of friends, family, and love that cut to the heart of what it means to be human.

GLA: When it comes to reading a query for a non-fiction book, what’s the most important thing you look for?

MF: Well, if you have a 10-point plan to save America, your book proposal should not be the first time the world hears about it. You should be recognized as an authority on the subject you wish to write about. To put it another way, no one wants to hear my manifesto on college athletics or the European debt crisis.

GLA: What draws you to graphic novels and what do you look for?

MF: Same thing as non-graphic novels though I think graphic novels can be a great format for a smaller slice of life. I would love to see more graphic novels by women.

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GLA: You represent a small selection of fiction including YA that’s dark and issue-oriented. Are there any serious topics that draw your interest and likewise, are there any darker teen topics that you steer away from?

MF: Before I worked in publishing, I was a trendhunter and analyst for the young adult category. I also worked on teen girl advertising campaigns and creating teen characters for big entertainment brands. That period of life continues to fascinate me because it’s the age where girls come into contact with many possible future selves. For me, nothing is out of bounds so long as it is well executed. When I was in fifth or sixth grade my favorite book was Go Ask Alice which made me wonder if maybe my friend’s babysitter was a cokehead (because she had a mustard stain on her white polo shirt, just like Alice) but it didn’t make me want to run away and become a cokehead, so yes, I’m game for anything dark.

GLA: You studied in the Ph.D. program in English at Johns Hopkins University. How does your background in English help you as an agent when it comes to spotting a good book with potential?

MF: I do represent New York Times columnist Stanley Fish who, though no longer at Hopkins when I was a graduate student, did develop the idea of reader response theory. Perhaps in a related manner, I was trained to think about how different audiences (editors, reviewers, book clubs, booksellers) will respond to different novels and why.

GLA: Considering your background in English, what’s your biggest pet peeve you see in queries?

MF: Unfocused queries and the term “fiction novel.”

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

MF: I’m a big college basketball fan and I love stories about sports set in a specific locale. If I could find a novel like “Friday Night Lights,” I would be thrilled. I know I’m not alone when I say Coach Taylor and Mrs. Taylor are my favorite T.V. couple!

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

MF: I’m sure it has been said before but the best queries are the ones that are pitched to agents who share your sensibilities. Don’t pitch an agent who specializes in science fiction a think book about financial markets and vice versa. That said, I represent teen fiction and books on the economy so as a writer you’ve got to do your agent homework.

This agent interview is by Brittany Roshelle Davis, a
freelance writer and aspiring author. You can visit her
blog, The Write Stuff, or follow her on Facebook.