Upcoming Agent Spotlight Interviews & Guest Posts

  • Ashlee MacCallum Agent Spotlight Interview and Query Critique Giveaway on 9/10/2025
  • Renee Runge Agent Spotlight Interview and Query Critique Giveaway on 10/6/2025
  • Sophie Sheumaker Agent Spotlight Interview and Query Critique Giveaway on 10/15/2025
  • Mara Cobb Agent Spotlight Interview and Query Critique Giveaway on 11/12/2025
  • Carter Hasegawa Agent Spotlight Interview and Query Critique Giveaway on 11/19/2025

Agent Spotlight & Agent Spotlight Updates

  • Agent Spotlights & Interviews were all edited in 2021. Every year since then, I update some of them. I also regularly add information regarding changes in their agency as I find it. I have been updated through the letter "N" as of 1/26/2024 and many have been reviewed by the agents. Look for more information as I find the time to update more agent spotlights.
Showing posts with label Resources. Show all posts
Showing posts with label Resources. Show all posts

This and That

Hey all! I have a few things to share...

SA Larsen at Writer's Ally is holding a Halloween-themed short story contest. It runs until October 29th and she has some GREAT prizes such as:
  • A SIGNED copy of WE HEAR THE DEAD by author Dianne Salerni.
  • A 'PIMP MY SCENE' critique by Stephen M. Giles, author of THE ADVENTURES.
  • SWAG from New York Times Bestselling Author Kiersten White, author of Paranormalcy.
  • FIRST FIVE PAGE critique by Terry Lynn Johnson, author of DOGSLED DREAMS.
  • FIRST CHAPTER critique by Susan Kaye Quinn, author of LIFE, LIBERTY, and PURSUIT.
  • A QUERY critique by the author of ACROSS THE UNIVERSE, Beth Revis.
  • A FIRST FIVE PAGE critique by Helen Ellis, author of THE TURNING: What Curiosity Kills.
Next, the lovely Caroline Starr Rose e-mailed to let me know that the Class of 2k11 will be launching a monthly e-newsletter for booksellers, librarians, and teachers, etc. in November. They'll be featuring their books and offering opportunities for subscribers to win free copies. If you're interested, head over to the Class of 2K11 site to learn more and sign up!

I've also been meaning to plug Martina and Marisa over at Adventures in Children's Publishing. Their blog has grown into a fabulous resource for children's writers. I'm particularly fond of their Friday "Best Articles This Week for Writers" posts. They're extremely comprehensive and, well, amazing. If you find it hard to follow a ton of blogs, scan through this list each Friday for the best of each week.

What have you all been up to? Any blog posts or contests you want to plug? Make sure you stop back by on Wednesday. I'll be posting an interview with NIGHTSHADE CITY author Hilary Wagner.

Have a great Monday and thank you so much for all the Birthday wishes on Facebook, here, and Twitter!

Word Counts for Children's Books

WordsI received a request awhile ago to do a post on word counts for different age categories in children's lit.  Since opinions vary greatly, I did some research to verify the numbers in my head.  This is what I came away with.  Though, please note that most of the sources I found had slightly different numbers (and I think I'm missing a couple sub-categories).  Check out the links I've provided below and read the comments of this post.  I'm sure my readers will chime in with their knowledge and opinion!

***

Board Books: 0 - 100 words.

Early Picture Books: 0 - 500 words.

Picture Books: 50 - 1,000 words.  1k is pushing it.

Nonfiction Picture Books: 500 - 2,000 words.

Early Readers:  200 - 3,500 words, depending on age level. 

Chapter Books: 4,000 - 10,000 words.

Hi-Lo Books: 500 - 50,000 words, varies greatly depending on age level. A large number fall between 500 - 20k words.  Some 60-90k YA books get classified as Hi-Lo, but I don't think they were specifically written for the category.

Middle Grade: 25,000 - 45,000 words, usually around 35-40k.  Longer word counts allowed for fantasy, sci-fi, historical.  Up to 60-70k is probably safe (though there are even longer exceptions).

Young Adult: 45,000 - 70,000 words.  Longer word counts allowed for fantasy, sci-fi, paranormal, historical. 80-90k is safe (there are some as high as 120k, but I recommend staying below 100k, if possible).

Nonfiction MG/YA: 5,000 - 70,000 words, varies greatly (with some exceeding 100k) depending on the type of book and age level (I recommend researching similar titles to what you're writing/proposing to find appropriate range).  Memoirs seem to fall within the same range as novels for their age group. 

***

We all know there are exceptions, but I wouldn't count on being one.  I recommend staying within (or close to) the recommended word count for your age category/genre unless you've received a lot of feedback verifying it needs every word (or doesn't need more if you're low).  There are a lot of agents that will reject on atypical word count alone.

From my own experience as an intern, I tend to be more critical of YA manuscripts exceeding 80-90k and have to be blown away to want to read a full that length or longer.  While some need the length (and those tend to stand out) most simply need more revision and tightening.

Sources/Further Info:

Manuscript Length at Kidlit.com

How Long Does a Book Have to Be at Writing for Children and Teens.

Word Count For Novels and Children's Books at the Guide to Literary Agents Blog.

From Picture Books to YA - Information to Get You Started at QueryTracket.net.

Counting Chickens - A Few Words About Word Counts at Hope Vestergaard's site.

On Word Counts and Novel Length at The Swivet.

Word Counts at Stacy Whitman's Grimoire.

Hi/Lo Books: Writing for Reluctant Readers at Writing World (stated count of 400-1200 words).

Hi-Lo Books for Upper Elementary Grades at ALA (example titles ranging from 10-90k words).

Writing for Children - Age Categories Determine the Guidelines for Your Children’s Book at Suite 101.

For non-fiction MG/YA I looked at 2009 nonfiction mg/ya nominations for YALSA and the Cybils.

Tip!  Use Renaissance Learning to research word counts on existing titles.  I recommend looking at a large variety to avoid exceptions.

Elizabeth Gilbert - Nurturing Creativity

Because it's too awesome not to share further, I nabbed this video from YA author Stephanie Perkins (Natural/Artificial) who got it from Stella. Thanks girls!



If you're reading from a reader, click through.

Omit Needless Words & Tighten Your Writing Part III

 

Part III in my tighter writing series.  If you haven't read Part I and Part II, please do. 

REDUNDANCIES:

Remember those redundant adjectives?  I wanted to return to that and address redundant phrases / expressions because it's not always the modifier that needs to go. There are a lot of ways to be redundant. 

Examples:

The reason is because I like you.

Becomes:  The reason is, I like you... OR Because I like you.

Each and every one of your words should count.

Becomes:  Every word should count.

He nodded his head and reached for a pen with his hand.

Becomes:  He nodded and reached for a pen. 

Looking back in the past, I realized it was me who introduced them for the first time.

Becomes:  Looking back, I realized I introduced them.

I tried to warn her in advance that the weather conditions were likely to be quite severe

Becomes: I tried to warn her the weather might be severe. 

This is a good example where I might use a complimentary "that" as a beat ("I tried to warn her that...").  I also exchanged "were likely to be" for "might" to tighten further.  

Here is great list of redundant expressions (pleonasms)that will show you just how prevalent they are. 

***

On a similar note, make sure you're also on the look out for sentences where you just plain repeat yourself.  If two sentences give us the same information, even if they're worded differently, chances are one of them can go.  I see this (and do this) a lot in transitions from internal thought to dialogue.

A quick example:

Wow, was he reading Jane Eyre?  I snatched the book from him.  "Are you reading Jane Eyre?"

You could take the internal thought off all together (which I would do if you're trying to shed word count) or replace it with something less repetitive.

Could become:  Was I seeing this?  I snatched the book from him.  "Are you reading Jane Eyre?"

***

SUBTLE REDUNDANCIES, or SPECIFYING THE OBVIOUS:

The other thing I wanted to expand on is specifying something to the point of subtle redundancy.  Like using the word "there" to reemphasize where your character is, or in the above sample where I specified it was the character's head that was nodding or hand that was reaching, there are a lot of instances where you can be redundant without realizing it. 

Examples:

1)  In the garage, she walked over to the tool bench to grab a hammer before heading over to get in the car. 

This could be a lot tighter.  Look at the base words.  We want the reader to know she's in the garage, grabbing a hammer, and getting in the car.  We don't need the small movements or specifications. 

Becomes:  In the garage, she grabbed a hammer and got in the car. 

If she was skipping or running, that'd be worth specifying but if nothing out of the ordinary is happening we know she's walking around.  We don't need to know the hammer was on the tool bench unless it's important.  And just like that, twenty-two words becomes twelve. 

2) Sarah really wanted to see what was happening outside.  She turned toward the window and looked down and out toward the scene.  The gardener was yelling at a cat!

Again, we don't need the movements, and we know she'll be looking outside at a scene if she looks out a window. 

Becomes: Sarah wanted to see what was happening.  She looked outside.  The gardener was yelling at a cat!

You could keep mention of the window but it's one of those things that's sort of obvious if we know Sarah is inside.  It all depends on scene setting, really.  When tightening like this, do make sure you're tweaking things, adding conjunctions, stronger words, etc. to adjust the flow and cadence.  You risk sounding stilted if you don't account for cut words.

Compare this to the original sentence: Sarah looked outside to see the commotion.  The gardener was yelling at a cat!

It all depends on your style, the flow, and the information we've already been given.  Sometimes you need these details just for the sake of pacing. That's okay!  Just make conscious decisions and you'll be golden.

***

Thoughts? Questions? Examples?  Leave your smarts in the comments!

Writing / Research Tip Tuesday #25

After reading Heather's tip last week on versioning, S. Kyle Davis sent in some tips he's found extremely useful for novel writing. There's some really great stuff here. Please visit Kyle's website after enjoying the read!

1) Google Docs (https://docs.google.com/)
I found Google Docs several years ago, and have been using it religiously ever since. Google Docs is a simple online office suite that can create documents, spreadsheets, and presentations. It can even export to .doc, etc. I used Google Docs to write The Ledger Domain.
The documents in Google Docs are stored online and are accessible anywhere with an internet connection. This is a GREAT feature. Going to your in-laws’ house for a few days? No need to take the laptop with you. If they have a PC you can use with an internet connection, then you can access your files and work on your book. Do they have a Mac (*shudder*) or a cheap PC without MS Word on it? No problem! All they need is a web browser, and any of them will do.
Be aware that they do limit the size of each file, so you can only put five or ten chapters in each document. Of course, you should be doing that anyway. Large files can corrupt easily, and it would be terrible to lose the entire novel!
Another great thing about Google Docs is versioning. Heather mentioned the benefits of saving multiple versions of your document with all your changes. Well, Google Docs does this automatically, and it’s easy to roll back to a previous version, copy that paragraph you want to retrieve, or even compare the versions to see what you’ve changed.
One final thing about Google Docs. It is easy to share your manuscript with friends and family. I had several people that were reading my book as I wrote it. I didn’t like the idea of just sending my files out into the nexus, even though I obviously trusted my friends. With Google Docs, you can share your documents with anyone with a Google Account, but they can’t resend it, as it’s stored in a secure location. When I did this, I typically waited until I’d completed a chapter, and then copied that file and created a new one, and then shared the chapter with my friends, preserving the one I work from so that I could make additional edits, etc. You can even just allow them to “view” the document, so that it appears like a web page, and they can’t edit it or make changes.
It’s a great tool, and it’s served me well.

2) Microsoft Office Live Workspaces (http://workspace.office.live.com/)
This tool is similar in many ways to Google Docs, only by Microsoft. It is a latecomer to the game, but it is a great and powerful tool. It offers versioning and sharing, just like Google Docs, and lets you store and edit your files. The one thing it doesn’t have (yet) is online editing ability. This is coming, but currently Live Workspaces only works with Microsoft Word (or other MS Office files). However, there are advantages to this.
To use Live Workspaces, you need to have a small app on the computer that allows Workspaces to work with MS Office. Then, when you click “Edit” in the Workspaces website, it will open the file in Word.
Alternately, you can download the Office Live toolbar for MS Office. If you are like me, you don’t like downloading extensions to your applications, but this one is a great one! When you have the toolbar, you don’t have to reopen the Workspaces website (unless you’re at your in-laws again... man, you visit them a lot, don’t you?). The Office Live toolbar has an Open dropdown and a Save dropdown, which lets you choose the workspace you want to open the file from or save the file to. So, Office Live becomes shared internet storage, only with built-in versioning and sharing. It is part on-line storage and part file management.
I have been using this more recently, mainly because it has only been around recently. However, the workflow I adopted has been to finish my first draft in Google Docs. It doesn’t have the grammar checker, which I don’t use for the first draft anyway. When I’m in “writing mode” for that first draft, it’s good to just be able to get it down, and Google Docs is great for that. However, once it is time to really get down and polish, I move to Office Live. I can format into manuscript format, edit the grammar and style, etc.

3) Online Storage
Speaking of online storage, if you haven’t saved a copy of your manuscript onto some sort of online storage location, you really need to. An online storage site will give you a few gigabytes of online storage where you can upload files and access them from anywhere. I don’t use online storage as part of my regular workflow, but I do use it as a backup. The one I use is owned by Microsoft, so you can bet that it is less likely that their memory is going to be lost than the files on your home hard drive. It’s a smart idea to make sure your manuscript is saved in multiple locations so that you always have a backup.
I use Skydrive (http://skydrive.live.com/), which you can use if you have a MS Live account. A simple Google search for free online storage will give you many others.


Wow, Kyle! These are some great tools. I wasn't aware of Google Doc's versioning or sharing capabilities. I'll definitely be checking all these features out now. Thanks!

Omit Needless Words & Tighten Your Writing: Part II

 

Continuing my series on needless words and tighter writing, we have part II.  Feel free to review Part I here.  As ever, I suggest grabbing your manuscript and applying what you've learned while it's fresh in your mind.  Make it stick!

THAT and THERE:

That:

The word "that" has three functions. It's used as a demonstrative pronoun, to introduce a restrictive clause, and as a complimentizer.

A demonstrative pronoun acts as a noun or pronoun.  It is often acting as the subject.  You need these "thats."

Examples:

That won't let you down.  If fact, that will outlive the other.

Hey, I wrote that!

That he didn't try was the problem.

A restrictive clause limits or specifies the identity of the subject in some fashion.  You need the "thats" that introduce one of these clauses.

Examples:

The apple that didn't have mold fell to the ground.  (Not that apple but that apple.)

That car that sped across the grass, didn't you see it? (Not the car on the street, the one on the grass.)

Those are the ones that can stay.  So which ones go?  The "thats" that are meant to compliment.  The majority of them will be empty in purpose. 

Examples:

I felt that he was an untrustworthy man.

It was apparent that I was late.

I hope that this makes sense.

When was it that you were going to come over?

Sometimes, however, a complimentizer is needed for cadence or respite and you just can't let it go.  If you find one that could go but you're reluctant to delete it for some reason, say your sentence out loud to see if you're using it as a sort of pause.  If so, it should probably stay as a stylistic choice.   Just make sure the sentence really needs it!

There:

The word "there," as you know, refers to a place (concrete or abstract).  Most "theres" are okay and needed but oftentimes a sentence with "there" could be strengthened/tightened.  Particularly, I see a lot of writers use the word "there" to reemphasize location when it's not needed.

Examples:

There was nothing there.  Change to: Nothing was there.

She laid there on the bed and cried.

He leaned there on the locker, afraid to go to class. 

He came out of there and faced me.  (Either delete or use a concrete noun in a case like this.)

While you're examining your "theres" make sure you're using them in concrete ways.  Should it be "there"? or should you be giving "there" a name?  Do you even need to reference location again?

***

An example of tightening and revision using "there:"

My house was like a circus, loud and animated.  Then there was Grandma's house, such a quiet, peaceful place.  I loved visiting there.

Becomes:

My house was like a circus, loud and animated while Grandma's house was a quiet, peaceful place. I loved visiting.

My house was like a circus, loud and animated, but Grandma's house was quiet and peaceful.  I loved it. 

ETC.  There are many ways to rewrite it; the point is that I didn't need either "there" from the original sentence. Though, the first could stay if you wanted the emphasis and conversational tone.  I'd definitely launch the second.  Again, it comes down to examining what you want/need versus what came out when the words were flowing. 

***

So, for both That and There, I recommend hitting Crtl F, doing a search for each, and examining all your uses.  If you find an empty "that," delete!  If you find a "there" that (extra points if you can tell me what "that" I just used) makes location redundant, delete!

As before, please leave your examples, smarts, and thoughts in the comments (and correct me if I'm wrong on anything)!

Omit Needless Words & Tighten Your Writing: Part I

 

You hear it all the time, "omit needless words," "tighten your writing," and maybe you're thinking, huh?  What words?  How?  What don't I see?  How do I learn?  I'm going to try and point out some things to look for, but I don't think the knowledge won't will really soak in unless you're willing to you'll treat it as an exercise and get into it.  So grab a few pages of your manuscript (double or triple spaced) and a red pen and get ready to wage war on extraneousness.  This will be is a series, so keep your pages and mark them up as we go.

Disclaimer:  I am no expert at this. I'm just trying to share what I've learned and may make errors or omit important info in doing so.  Please add to the lessons in the comments!

ADVERBS AND ADJECTIVES:

The Adverb: 

An adverb modifies a verb, adjective, or another adverb.  They often end in -ly, but don't always, and tend to qualify, intensify, or downtone what you're saying.  They also ask a question such as, How? When? Where? How much? or Why? 

The cat jumped quickly leapt onto the couch. 

The boy walked slowly and carefully tiptoed out of his room.

John ran quickly from fled the scene.

"Get rid of those words!" she said loudly and hastily shouted.

I really want you to understand this.

It's very quiet here.

This is really, quite fun.

Sometimes you need adverbs to convey something more than your base words do alone, but if they're not adding to the sentence, cut!  Check them all, especially your -ly words.  Remember: Weak verbs depend on adverbs.  If you feel you need an adverb, examine your verb before moving on.

Here are some adverbs to look for:  very, not, too, really, basically, in a sense, rather, quite, extremely, totally, essentially, somewhat, almost, a bit, a little bit, nearly, severely, sort of, kind of, etc.

The Adjective: 

An adjective describes a noun or pronoun and tends to answer a question such as What kind? How many?  How exactly? or Which?  Adjectives are interesting because sometimes you're removing one to tighten a sentence and sometimes you're adding one. 

An adjective needs to go if your noun or sentence implies the description your adjective offers (is redundant).  Make sure your adjective is telling us something your noun absolutely cannot.

Examples:

The icy icicle hung from the ledge.

The fragile glass shattered.

The hot summer sun seemed stagnant that summer day.

It was a horrible, horrible crime to shoot that woman.

The small baby didn't like the harsh cackle of the evil witch. 

The loving mother hugged her child and said, "My heart is yours."

He was a furious, violent, and rabid man. (In this case I'm getting rid of two adjectives and keeping one that implies the other two).

An adjective should be added if it can replace a clause or phrase and still convey what you want to convey.

Examples:

The woman was very intelligent and knew all about knowledgeable in physics. 

With little thought or care Irresponsibly, the couple left the dog on the side of the road.

He was deserving of deserved the award.

The haze of the atmosphere atmospheric haze was thick.  (Watch out for "of the.")

A large number of Many students love her. 

It was within the realm of possibility that possible she had magic. 

And so on and so forth. 

***

Here is an example of a sentence that could be edited of adverbs and adjectives:

A harsh, wicked wind swept quickly through the empty streets that cold, stormy night and made a loud, mournful sound outside my thin window.

Becomes:

Wind swept through the streets that night and howled outside my window. 

Or:

That night, wind swept through the streets and howled outside my window.

Not the greatest example, but do you see how much faster it reads?  How many less words it uses?  "Harsh, "wicked," and "quickly" are implied by the action of the wind sweeping through the streets.  "Empty" is almost a given and doesn't seem to be relevant.  "Cold" and "stormy" are implied.  "Loud, mournful sound" needed to be replaced with a strong verb.  "Thin" is redundant.

The one adjective I might keep is "wicked."

That night, a wicked wind swept through the streets and howled outside my window. 

The key is not to cut and tighten everything that could be tightened, but to examine whether keeping, discarding, or adding an adverb or adjective best conveys your intent for the sentence in as few words as possible. 

In the comments, please add examples, knowledge, and your own findings in regard to adverbs and adjectives!!  Part II is now available. 

THE CALL or, What to Ask a Literary Agent When Offered Representation

 

403_question markGiven the nature of this blog and my general advocacy of doing research and making informed decisions about literary agents,  I've long wanted to do a post on  THE CALL, THE E-MAIL or, What to Ask a Literary Agent When Offered Representation.  I can't speak from experience yet, but I can give you the list of questions I've been creating for myself.  And we can discuss! 

A couple notes about the questions before I continue.  Depending on the agent, I might already know some of the answers and therefore wouldn't bother asking those questions.  I also expect a lot of these questions would run together and be cross-answered naturally, so while it seems like a lot of questions, I don't think I'd have to ask them all word for word.  At the bottom, I'm listing out the posts that helped me develop my list.

***

What do you think of my work?  What are the strengths and weaknesses of the manuscript?  Do you think it will stand out in the marketplace?  How ready is it?

Are you an editorial agent?  If so, to what extent?  What are you thinking in terms of revision?  How collaborative are you?

Will I be working solely with you, or will there be times I'll work with an associate or assistant?  If so, please elaborate.

How many clients do you have?  Are you confident you have enough time and energy to add another client to your roster?  If it's not already full, how many clients do you wish to have on your list eventually?

Do you represent clients book by book or on a career basis?  Are you confident that we have a great chance of making a career-long match?

Will you work with me on career planning and marketing?  Do you work with a publicist?

How much of my genre do you handle?  What's your approximate success rate?

What happens if you can't sell this manuscript?  What if you don't like my future projects and ideas? 

Would you still support and represent me if at some point I wrote outside of my current genre?

Do you have a plan for submission in mind already?  Which houses/editors do think will be a good fit for this project?  How many editors do you plan to submit to initially, and how many do you plan to submit to overall if it does not sell as soon as hoped?

I know it varies, but what is the expected turn-around time for an editor during the submission process?  How long will you allow a project to languish before you'll nudge?

How open are you with information during the submission process?  Will you keep me updated as rejections and offers come in?  Will I know exactly who you're submitting to at all times?  Are you willing to share the rejections with me?

What is your preferred method of communication?  How often are you in contact with your clients?  How soon can I expect an answer to any given e-mail?  How about a revision or new project?

What are your business hours?  When do you prefer to be contacted?

Do you have a verbal or written contract?  What do the terms and agreements include?  What is the duration of the contract?  If it's written, would you be willing to go through it word-for-word with me if I felt that was necessary?

Are there any situations where you'd make decisions on my behalf? 

If for some reason we need to part ways, how will this be handled?  Are there any stipulations I should be aware of?  For what reasons would you terminate a client?

If a situation should arise where you are no longer able to represent my work, do you have a plan for me?  Or will I need to seek new representation on my own?  What if I'm in the middle of the submission process?  How would I proceed?

How are subsidiary rights handled within your agency?  Would you say your agency is strong in subright sales?  Do you see potential for my project in this regard?

What are your commission rates?  Are they the standard 15% domestic and 20% foreign/film?

What is your procedure for processing and disbursing client funds?  How soon will I receive my share when payments are received?  Do you keep different bank accounts for author funds and agency revenue?  Will I receive a 1099 at the end of each year?  Will I have full fiscal disclosure upon request? 

Will you be billing me for any submission costs (supplies, etc)?  If so, what should I expect?  How will those costs be charged to me?

How long have you been an agent?  What do you love about it?  Dislike about it?

Generally, what do you expect of your clients in a given year?  What do you feel makes for an ideal agent-author relationship?

What are a few of your recent sales? 

What if another client and I approached you with a similar idea?  How would you move forward in that situation?

Would you allow me to contact a couple of your clients?  Specifically, one you've sold at least one project for and one you you've yet to sell for?  What about publishers you've worked with?

Do you belong to any organizations?  The AAR?  Are you listed on Publisher's Marketplace?  If so, do you report the majority of your deals to them?

What questions do you have for me?

***

Here are the posts that helped me develop my list:

"Preparing for THE CALL" at Writers Musings.

"What Can I Expect of My Agent" at Editorial Ass.

"How to Interview a Literary Agent" at Writing for Children and Teens.

"Getting THE CALL" at Rants and Ramblings of a Literary Agent.

"Questions to Ask an Agent" at Rants and Ramblings of a Literary Agent.

"Before You Hire a Literary Agent" by Michael Hyatt.

"Questions to Ask a Potential Literary Agent" at Squidoo.

"Questions to Ask Literary Agents" at Quill Driver Books (reprinted from the AAR).

***

What do you think?  Do you want to discuss any of the questions?  Add your own?  Talk about your own experience with THE CALL?  Please do!  Also, if you're interested in writing a guest post about your experience interviewing one or more literary agents before hiring one, please e-mail me. 

Log Lines! Book Summaries!

Did you know that a lot of newer books have one-sentence summaries (a.k.a log lines) on the copyright page?  I don't know how many books I've been living under, but I only made this discovery a few months ago.  Now I check every time.

Let me give you a sampling from some YA books I have in front of me.

***

Audrey, Wait! by Robin Benway:

"While trying to score a date with her cute co-worker at the Scooper Dooper, sixteen-year-old Audrey gains unwanted fame and celebrity status when her ex-boyfriend, a rock musician, records a breakup song about her that soars to the top Billboard charts."

The Miles Between by Mary Pearson:

"Seventeen-year-old Destiny keeps a painful childhood secret all to herself until she and three classmates from her exclusive boarding school take off on an unauthorized road trip in search of "one fair day."

The Hunger Games by Suzanne Collins:

"In a future North America, where the rules of Panem maintain control though an annual televised survival competition pitting young people from each of the twelve districs against one another, sixteen-year-old Katniss's skills are put to the test when she voluntarily takes her younger sister's place."

Viola in Reel Life by Adraina Trigiani:

"When fourteen-year-old Viola is sent from  her beloved Brooklyn to boarding school in Indiana for ninth grade, she overcomes her initial reservations as she makes friends with her roommates, goes on a real date, and uses the unsettling ghost she keeps seeing as the subject of a short film--her first."

Speak by Laurie Halse Anderson:

"A traumatic event near the end of the summer has a devastating effect on Melinda's freshman year in high school."

Wintergirls by Laurie Halse Anderson:

"Eighteen-year-old Lia comes to terms with her best friends death from anorexia as she struggles with the same disorder."

An Abundance of Katherines by John Green:

"Having been recently dumped for the nineteenth time by a girl named Katherine, recent high school graduate and former child prodigy Colin sets off on a road trip with his best friend to try to find some new direction in his life."

***

Each of those summaries is only one sentence.  It's an amazing thing, isn't it?  So, the next time you're trying to write your own log line, check your bookshelf for some examples that will resonate with you. 

Here are some articles and how-to tips on writing log lines:

How to Write a Log Line by David Macinnis Gill.

Writing a Logline/The One-Sentence Pitch by the QueryTracker blog.

What Do You Look For in a Logline on Ask a Literary Agent.

How to Write a Logline that Sells on eHow.

And for fun, here is a Random Logline Generator.

Do you have any tips, articles, or blog posts you want to share on log lines?  And, if you're feeling up to it, feel free to grab a book or three and post the summary (if it has one) in the comments.  I'd love to grow the list of examples and promote authors while we're at it!

WANTED: Critique Partner for Kareena

Hello, everyone!

classifiedKareena, a YA writer, e-mailed me wanting to know how she might find a critique partner online. I asked if she was interested in posting a "wanted ad" here on Lit Rambles and she agreed! Please read her details below and consider exchanging a few e-mails and pages with her to see if you're compatible.

Note: Comments are welcome; however, derogatory and/or harsh criticisms will be deleted if they arise. That's not what we're looking for with this posting.

***

My needs are simple. I am looking for someone to exchange a few pages with from time to to time and to bounce ideas off. They don't need to be editing experts- I have a friend who does that for me already- I just need someone who is widely read in my genre, who instinctively knows when something sucks or not and who can the grade the level of suckiness on a scale of 1-10, and of course can give some insight into why it sucks.

If they would be available for phone conversations at would be great too. I have skype. Just in case you are not familiar with it Skype is this great program that you can download for free from www.skype.com and once both parties have it on their computers you can talk or free anywhere in the world.

This book is written for teens ages 13-16. I would prefer a one on one critique with someone who writes in my genre (fantasy-science fiction) so I would love it if you placed the wanted add for me. I don't think I am ready to go totally public yet so I think I'll pass on the online critique group for now.

***

Excerpt From the Novel entitled, The Spinner's Wheel, written by Kareena Vassall

Chapter 2

Sara’s discovery

Earth-2010: Wichita Falls, Texas U.S.A

The soft morning light filtered into the sky blue room through filmy white curtains draping the two windows. A fragrant, warm breeze swept though a partially open window rustling the open pages of the science encyclopedia resting on top the bright yellow quilt covering the double bed, tuning the page from a picture of a DNA double helix to one of Halley’s comet.

At the foot of the bed, directly under the small figure huddled under the covers, lay a large brown and white cat sprawled inelegantly on his back, the tip of his tail twitching slightly. The small figure beneath the quilt flung out her foot suddenly and the cat leapt from what was obviously a comfortable spot with a frustrated hiss.

A soft chuckle emanated from the bed, and a small, heart shaped, freckled face framed by long dark red hair raised up briefly off the blue pillowcase and looked down at the disgusted feline glaring at her from the side of the bed and said without sympathy. “I told you to sleep in your own bed Mr. Piddles.” Mr. Piddles sniffed scornfully at her as if she smelled like a wet dog, turned and stalked off towards the corner of the room, his tail held high.

Sixteen year old Sara Gallagher looked to the left of her bed at the small white side table and reached out to shut off the alarm to the clock just as it struck seven. Looking at the clock, she glared and stuck out her tongue at the cheerful face of bug’s bunny whose head was currently cut in half by the long hand of the clock pointing at twelve.

Rubbing her eyes with the cuff of her black and white polka dot pajamas, she swung her legs off the bed unto the fluffy beige carpet and sat up. She peered at herself in the mirror that ran the length of the closet door and began the typical morning ritual of looking for any new freckles that might have miraculously popped up on her face overnight.

After satisfying herself that there were only the usual twenty two freckles adorning her nose, she stood, winked at Albert Einstein who gazed down at her from the poster pasted over the side table, his black pipe perched at the corner of his mouth, and shrugged on her fluffy white dressing gown.

Sitting down at the small dressing table with its heart shaped mirror, Sara carefully pulled back her hair into a ponytail, picked up her rechargeable toothbrush and headed towards her bedroom door. Suddenly, there was a loud crash from downstairs, and her mothers’ frustrated screech resounded through the house as delighted masculine laughter filtered up the stairs.

Sara grinned and threw down her toothbrush unto the bed. This domestic unrest could only mean one thing, her uncle Valerius had come to visit. Wrenching open her bedroom door Sara and Mr. Piddles bounded down the stairs, stopped by the entrance of the family room and watched the proceedings with interest.

Uncle Valerius was hiding behind the blue living room sofa. His muscular, six foot three frame was crouched down low, a difficult thing Sara thought for a man of his size and weight.Vibrant green eyes the exact shade of her mothers caught sight of her.

“Sara” he said with a gleeful smile upon his face, “take cover, your mother is on the warpath again.” He warily raised his head above the edge of the sofa and pointed to the tall, slim woman with the waist length dark brown hair who was currently rifling noisily through the broom closet in the far, right hand corner of the room, no doubt looking for something pointy and dangerous to jab her brother with. Mr. Piddles took one look at this irate vision in bright pink pajamas and ran back up the stairs.

Sara ducked behind the sofa and said laughingly, “you make it sound like she is this way all the time uncle Val, she is only like this when you visit,” she added, both of them wincing simultaneously when a large wooden carving came sailing over the sofa to hit the wall behind, bouncing to the exact spot where Mr. Piddles had been standing. Evidently her mother hadn’t been able to find anything in the broom closet.

Her uncle Valerius looked at the carving with an expression of great sympathy and said, “well I guess I bring out the best in her.” He was obviously enjoying himself immensely.

Valerius pushed out his booted foot and managed, with some effort to roll the bust to him. Indicating to Sara’s white cotton dressing gown he said,

“Lend me that for a minute Sara; I think its time to surrender myself to my fate.”

***

There's your teaser! If you're interested, please e-mail Kareena at kareenavassall(at)hotmail(dot)com. And if you're interested in placing your own wanted ad, e-mail me at agentspotlight(at)gmail(dot)com

Questions From the Inbox

I wrote a YA novel. I am seeking publication. Any tips/advice?

I edited and polished my manuscript, however I am considering professional editing. I am currently seeking a literary agent and have queried several. I understand how the publishing process works. My goal is to publish my novels through a major publisher.

Earlier in the year I decided to join with Eaton Literary Agency. Eaton Literary Agency charges fees. I do not recommend, unless you plan to pay around $5,000.00.

Feel free to post the above information in your blog for other aspiring writers.

Now I am reevaluating my options. I am considering to pay for professional editing. But, if I land a literary agent, they can edit the novel themselves.

Ms. McCormick, how do you think I should handle this situation?

-Jessie Rose

Hi Jessie!  Lots to tackle here.  First of all, congratulations on finishing and polishing your manuscript! 

As for Eaton Literary, I'm very sorry you got tangled up in an agency that charges fees.  For future querying, please look up all the agents and agencies on your list at Preditors & Editors.  If the agent or agency isn't listed or there's no information available on them, consider checking with a large writing forum such as AbsoluteWrite for a thread on the agency.  AbsoluteWrite has a comprehensive Bewares and Background Checks forum.  And if you're still unsure, you can always get in touch with me or the staff at Writer Beware.

You mentioned you're considering professional editing.  Here's the thing, do you think your writing is good enough to gain you representation?  If so, then I don't believe you should bother with a professional editing service.  A good line-by-line edit can cost a couple thousand dollars, and a broad assessment hundreds.  If you feel your writing needs a lot of help, however, then it's something to consider.  I'm more likely to suggest joining a critique group, SCBWI, and/or taking some classes though.  To me, it makes a lot more sense to build the tools needed to be a professional writer than to rely on others.  As for agents, only some are editorial and many don't have the time to do line-by-line edits.  Your manuscript needs to be as perfect as you can make it before you query, and then an agent will offer input as needed, per preference.  It's not something you can count on, so I think it's good you're considering your options and evaluating your writing. 

Beyond what I've said here, please check the agent research posts I've done in the right sidebar.  I also highly recommend perusing agent blogs for informative posts on publishing.  Nathan Bransford, Janet Reid, and Rachel Gardner are a few of the best resources out there, but I have a large list of agent and editor blogs in the left sidebar that you can get lost in for days.

All that said, my best piece of advice is this: Google and research everything!  Don't walk into anything blindly if you don't have to.  And don't be afraid to e-mail me more specific questions.  You're doing the right thing by asking and learning!

Now, I'll turn the blog over to my readers and see what advice and tips they have to share.  I didn't have as much time to list resources as I would have liked and I know they'll come through for you.  Thanks for e-mailing!

Writing / Research Tip Tuesday

Today's tip comes to you from Elise C. and features a great, free program to play with. Check it out!

"I'm using this great plot mapping system right now that is free to download called Dia. Here is the link to download it. http://sourceforge.net/projects/dia-installer/ It can be used for anything you need to map and it's all customizable including shapes, colors, arrow placement. It's really fun to fiddle with."

Thanks Elise! I had trouble downloading the program from your link, but this one worked great. Dia seems like a lot of fun (and an absolutely awesome outlet for my procrastination skills) but so far I'm a bit overwhelmed. Can't wait until I have more time to play with it.

Does anyone else use this program? Have any tips or tricks to share? If you download it, please come back and let me know how you like it!

How Do I Format My Manuscript?

There are a lot of different ways to format a manuscript, and a lot of different opinions on how to do so.  I've decided to share the way I do it, and then I'd like to open up the comments for others to share their preferences.  Note:  This is using Microsoft Word.

***

General Page Formatting:

  • 1-inch margins all around (under File -> Page Setup).
  • Double space to "exactly" 24-25 pt (under Format -> Paragraph -> Line Spacing).

Title Page and Page 1 Header:

  • Different first page header (under File -> Page Setup -> Layout tab - Click "Different First Page" under "Headers and Footers." Exit).
  • Add left sided header including full name, address, and contact information (under View -> Header and Footer - align left).
  • Add right sided header including word count (under Format -> Tabs -> Tab Stop Position 6" aligned right, tab over to right side of page).
  • Title in capital letters centered roughly halfway down (about 12 Enters).

Page 2 and On Header / Slug:

  • Click on page 2 and create a left-sided header as before.  Include last name / title of work.
  • Tab right as before and add page numbering by clicking the # button.

Chapters:

  • New page for each new chapter by using a page break (Ctrl / Enter OR under Insert -> Break - Page Break).
  • Chapter title centered in capital letters eight Enters down.
  • Text begins two enters after chapter title.
  • First paragraph of each new chapter not indented.

Text:

  • Times New Roman font.  12 pt.
  • 1/2 inch indent (standard tab) for each paragraph.
  • 2 spaces after period.  Note: This is a habit of mine.  I think the standard is 1 now).

Scene Breaks:

  • Enter down twice from text, center ** or ## symbols and Enter twice again.

***

I developed this standard based on Cynthea Lui's article "How to Format Your Manuscript" (she explains a lot of this better than me), Nathan Bransford's post "Formatting Your Manuscript," and my own preferences.  How do you format your manuscripts?  Any tips, tricks, or links you'd like to share?

Review: FROM THE QUERY TO THE CALL by Elana Johnson

A few weeks ago, I won a copy of Elana Johnson’s e-book, FROM THE QUERY TO THE CALL, just as it was released. I was pretty darn excited. Why?  Well, despite the many, many examples of queries I’ve read online, how-to posts I’ve studied, and attempts I've made, I’ve never been able to write a good query. I love Elanja’s blog (so smart and funny!), and I especially love her voice, so I was eager to see if this e-book would be the eye-opener I needed.

The short answer:  It was.  The long answer:  I’d like to skip today’s WIP post one more week and review it for you.

***

from the query to the callElana Johnson's e-book, FROM THE QUERY TO CALL, is exactly what the title lends you to believe it is; an informative guide that takes you from the basic start-questions of what a query is and isn't and why you need one, to two detailed sections called "Writing a Killer Query" and "Entering the Query Trenches."  By the time you finish its concise, organized, well-written 63 pages, you'll not only understand the anatomy of a successful query but how to research agents, query professionally, endure the dreaded WAIT, and everything after—dealing with rejection and fielding THE CALL. 

Three things I really love about Elanja's book.  1.)  It has everything for the writer just starting to learn about "the process" of seeking representation, but plenty also for the writer who has a good handle on it.  2.)  It is, essentially, said "process" in one well-organized bundle with a handy column ever-present on the side that enables you to jump to the section you want to read or re-read.  No more hours of searching Google and hopping from site to site as you try to piece it all together. 3.)  There are seven well-written query examples used to teach throughout the book and then available in their entirety at the end.  All of which have gained their respective writers representation or resulted in a high percentage of requests.  In other words, all successful.  I learn well by example, so these queries were like the icing on the cake.

There's no telling which section(s) will be the most helpful to you until you buy it and read it for yourself, but for me, it was the meat of the book, "Writing a Killer Query."  The way Elana broke the example queries down and showed me the four elements of a successful query was exactly what I needed.  Many others have done this online for free, sure, but not quite so in depth and certainly not Elana-style.  The big eye opener for me?  Learning I've been missing a very important element in my query—the consequence—and how important that small element really is.

Believe it or not, there's a cherry on top all that cake and icing. If you buy FROM THE QUERY TO THE CALL, Elana will critique your query either by e-mail or on her Query Ninja blog.  Not only are you bound to learn a lot from this book, but you'll get a personalized, hands-on lesson too, if you wish.  Pretty darn good deal, and a great opportunity. 

Congratulations on a fabulous e-book, Elana, and thank you so much for the insight and knowledge you've put into a neat, accessible package and provided so many.

***

Have you read FROM THE QUERY TO THE CALL?  If so, please leave your thoughts in the comments.  Haven't read it?  Feel free to ask any questions you might have.

How To Tips: Author Bio

Let's talk author/writer bios.  I've been trying to write a keeper for months.  It's ridiculous, I know.   The problem is, I'd like to have a quirky, interesting bio and I haven't figured out anything good to say that's, well, quirky or interesting (and I call myself a writer?).  Also, seeing as I don't have any publishing credits or impressive MFAs or anything, whatever I come up with just seems empty. 

Here are some tips I've come across:

  • Write in third person.
  • Include pertinent credentials, experience, and/or awards (but be selective if you have a lot).
  • Mention other works you'd like people to find, if applicable.
  • Choose professional titles over personal titles.
  • If you lack credentials, consider mentioning any pertinent organizations you belong to (SCBWI, RWA, etc).
  • If you lack credentials, keep it simple and just say a few lines about yourself.
  • The average length seems to be 150 words, though it varies depending on what it's for.

If you're struggling to write your own bio, and are interested in examples, Book Browse, has a large collection of author bios to check out.

Here's an example of a bio I LOVE (not a children's author, but still, great stuff): 

Lorelei Shannon was born in the Arizona desert and learned to walk holding on to the tail of a coyote. She was a strange, fey child who kept to herself, and could often be found feeding flies to a big praying mantis in her mother's rose garden. Lorelei is now a horror writer, computer game designer, sculptor, and goth grrrl. She lives in the woods outside Seattle with her beloved husband, two beautiful sons, three big, hairy dogs, and an immortal goldfish.

What do you like in a bio?  Have any thoughts or tips you'd like to share?  If you're like me, and don't have anything much to say, what have you included?

Friday Randomness

I made some great progress on my revisions today. There were even about seven seconds that I felt the potential of the story.

In other news:

Tyler was kind enough to give me the fabulous idea of spotlighting the agents that will be doing breakout sessions at the SCBWI Summer Conference in LA this August. So look forward to spotlights on Daniel Lazar (Writer's House), Steven Malk (Writer's House), Jen Rofe (Andrea Brown), Marietta Zacker (Nancy Gallt Lit), Sarah Davies (Greenhouse Lit), Jamie Weiss (Andrea Brown), Kelly Sonnack (Andrea Brown), and Stephen Fraser (Jennifer De Chiara Lit) in the upcoming weeks (not necessarily in that order).

Sherry Dale Rogers over at her blog, Excuse me, does this blog make my butt look big? (or Splatt Way of Life), is holding a contest. It's a simple contest that won't tax your brain (well, it might if you've been writing or revising for a few hours) and you can win a $50 Amazon gift card. Woot!

I'd also like to point your attention to Rhonda Stapleton's blog, Just Your Average Crazy Writer. She put up Chapter One of her upcoming debut novel Stupid Cupid. Yay! Rhonda is also having a contest for a $10 bookstore gift card. All you have to do is tell her romantic or not-so-romantic stories. Isn't that fun?

ETA: Rhonda has also been doing a fabulous blog tour of 2009 debut authors on her blog - make sure to check out those posts, too!

QueryTracker still has its 2nd Anniversary Celebration going on.

Check out the The Worst Review Ever blog to remind yourself how subjective this business can be. You might even gain some perspective on your own (or future) reviews.

Catch up on all the fabulous posts that have been going up on Agent Rachelle Gardner's blog (each word is a seperate link, BTW).

And so much more that I'm probably forgetting.

Have a great Memorial Day weekend!

Researching Literary Agents Part II

In Part I we covered the best sources for finding literary agents.  We learned to weed out those agents who are closed to submissions and/or don't represent our genre.  And we've got a list of prospective agents ready or in the works. In Part II we'll be covering how to assess an agent or agency's legitimacy.

Your main interests are:  Making sure an agent/agency is legitimate, has a respectable name in publishing, and has verified sales.  I'd recommend checking at least three of the following before contacting an agent.  I'd also recommend keeping notes of interest on each agent as you research to help you prioritize later.

Check with the Association of Author's Representatives:

You don't necessarily have to do this first.  I've noticed that more and more agents are choosing not to be members (for a variety of reasons), and a lot of new but perfectly respectable agents just haven't met the criteria to join yet.  Don't be alarmed if some of the agents on your list are not members.  Just put a mark next to their name and carry on. 

However, it is a good starting point.  You might first consider familiarizing yourself with the AAR by reading the following:  About the AAR, Canon of Ethics, and Membership Criteria.  While word of mouth is an excellent vessel for information and opinion, you should make a habit of verifying the legitimacy of something by learning about it and coming to your own conclusions.  Now, use the search function and see which agents on your list are members.  If they are, mark that down somehow, perhaps by writing "AAR" next to their name. Make note of any specific information you can gleam from their profile.  If they aren't a member, mark that in another way.

You've just taken your agents through their first checkpoint.  But don't stop here.  I mentioned that market guides can have errors and scams.  Well, the AAR can have bad apples, too. 

Look to your friendly watch-dogs right here on the net:

Predators and Editors is a great place to go next.  P&E offers quick, reliable information for a second checkpoint.  Once again, I'd recommend familiarizing yourself with the site by reading their Rating Criteria.  You'll need this information to fully understand how the agents are being rated. 

Once you're ready to proceed, find your listed agents by first name in the directory.  If the agent is not recommended for any reason, I would personally scratch them off the list.  However, if you're iffy about the reasoning, you can always continue to research the agent.  Please note, however, that legitimate agents should never charge fees.  If any of your agents are noted to charge fees I'd highly recommend that you do not proceed.  While you're there, you'll be looking for agent rating, notes on the agent, if they have verified sales, etc. Make notes on your list as you see fit and carry on. 

You can also check with Writer Beware.  There is an invaluable amount of information available on the Writer Beware web site (including information on agent research) and Writer Beware will keep you up-to-date on schemes, frauds, unreliable agents, and information on how to protect yourself from the aforementioned.  You can familiarize yourself with there mission statement by reading About Writer Beware.  If your research reveals little about an agent and you're still unsure, you can e-mail Victoria Strauss (awesome WB staff member) and she'll check the archives for you.  Or you can use this (free) Agent Verification Service

Check out trusted industry resources:

Publisher's Marketplace is a great place to go for information.  If you're a member, you can see agent and agency profiles (editors, publishers, and authors, too), look up previous sales, clients, and publishing history, etc.  If you're not a member, it's still worth your time to check out.  Some agents and agencies have public pages and keep their recent sales and clients updated, and you can also sign up for Publisher's Lunch, a free newsletter that is e-mailed daily.  Also, consider signing up for at least a month or two of paid membership while you're doing your research.  Payment is month-to-month and you can cancel your subscription at any time. 

Another great site to check out is Agent Query, which is generally viewed as one of the best and most reliable resources for writers on the net.  Recommended by both Writer Beware and Writer's Digest.  They have a searchable database that offers generally up-to-date agent profiles.  They also have interviews, live-chat transcripts, message boards, networking opportunities, etc.  It's also free.

Google is your friend:

Google offers a variety of useful resources.  You can start by going to Google Groups and doing a quick search on your agents.  Sometimes you can find some great, pertinent information through questions and discussions about agents that have been posted.  After you've done that, you might choose to do a Google Book Search.  If you type an agent's name into the search box with quotations, you can often find snippets of acknowledgements where an author's agent has been mentioned.  This is a good way to 1) Check an agent's legitimacy. 2) See who an agent's clients are if you're unsure. 3) See how authors are describing their agents in the acknowledgements. 4) Check past sales.  This also works (sometimes) with Amazon's "Look Inside" feature. Beyond this you have your regular ol' Google search, which is equally if not more helpful.  I usually search for an agent by name-only and then also with the word "agent" or "literary agent" with it.  As a general rule, I look through 6+ pages, usually close to 10.  This might seem like a bit much, but I've found some hidden treasures farther into the pages than one might generally look. 

Check the buzz:

I'd highly recommend checking one or more message boards to see what people are saying about the agents you're interested in.  You may have already done this during your Google search as the boards will often come up.  If not, the Absolute Write Water Cooler has a Bewares and Background Check forum including a great index that you can check.  The Verla Kay Children's Writers and Illustrators Message Board also has certain boards where you can read about agents and their response times.  Another tip:  If you sign up for Query Tracker (it's free) you can read comments people have left after querying an agent.  This can help you get a sense of how an agent responds to their queries, the taste they leave in writers' mouths, and what you might expect when you send out your own query.  Keep in mind, however, how subjective this area of research can be.

You can do even more:

If you have any friends or acquaintances that are agented (online or in a critique group, perhaps), you can always ask them who their agent is, how they like their agent, and how the agent works.  You can also ask if they have any knowledge of the agents on your list or if they've had any experience with them, i.e. if they've queried them or met them at conferences, etc.  I would not recommend trying to get an "in" with anyone's agent unless they offer.  You're only heading in to awkward territory (for many reasons) if you do.

Go to conferences.  A great way of expanding your list and meeting legitimate agents is to go to conferences and network if it's within your means.  I'd recommend, however, that you get a good feel for how the conference is run and make sure you know how to handle yourself.  If you actually meet with any agents and cannot handle yourself professionally and competently, you might lessen your chance with an agent rather than increase it.

Keep an eye out for publishing news and interviews.  Publisher's Marketplace and The Guide to Literary Agents blog are great for this.  New agents and agencies are generally more open to expanding their lists than the veterans, and they spring up all the time.  So, if a new agent/agency has a decent publishing history (or has worked with a respectable house) and you've made sure they are not a scam, they would be excellent to target if they meet your criteria.

Final tips:

  • Resist agencies that advertise.  Respectable agencies usually don't need to.
  • Never trust one source of information.
  • If you're unsure about an agent, it's better to pass over them or continue researching.
  • Learn how the publishing industry works before querying.
  • Educate yourself about scams and warnings signs.
  • Try to get an idea of each agent's reputation - a legitimate agent is not necessarily a good agent.
  • Care about yourself and writing enough to find a good match.  

Hopefully everyone on your list so far has shaped up to be a good and legitimate match.  If you didn't do this before you began your research, you might begin to consider the things that are important to you in an agent, i.e. years of experience, track record, reputation, personality, if they are editorial, etc.  Using the Google and message board methods mentioned above, you can do even more research to try to answer your interest-specific questions.  Once you've found out everything you can, which is sometimes limited, I know, begin to prioritize your list.

In Part III we'll take a look at agent specifics, submission guidelines, and personalizing queries.  If there is anything else you'd like me to cover, let me know in the comments!  Also, I'm probably forgetting plenty here.  If you have some other nuggets of advice, please speak up!

Researching Literary Agents Part I

So you've decided that you need a literary agent. 

"But, but, but how do I find out who's who and what they represent?"

Note:  I'm assuming you are prepared with the following or are going to be before you query: A completed manuscript (or non-fiction proposal and sample chapters, etc.), a synopsis, and a query, all of which should be edited and polished.  You might also want to have a pitch/log line, cover letter, and author bio prepared.

1) Consider market guide books first.

We all love how handy and convenient the Internet is, but it's not always a reliable source of information.  Market guide books tend to be a much safer bet as the editors work hard to weed out bad agents, but be aware that they too can have errors and scams despite the efforts of their editors.  A quick Amazon search reveals a healthy list of guides including 2009 Writer's Market by Robert Brewer, 2009 Children's Writer's and Illustrator's Market by Alice Pope, 2009 Guide to Literary Agents by Chuck Sambuchino, Jeff Herman's Guide to Book Publishers, Editors, & Literary Agents 2009 by Jeff Herman, etc. All very reliable and highly recommended market guides. 

Tips:

  • Check with your local library - they may have what you're looking for.
  • Don't use an outdated guide if possible.
  • Use a well-known guide if possible.
  • Make sure you obtain a guide that covers your market. 
  • Get a hold of more than one market guide if you can. 

 2) Books like yours and books you like.

If you know of any books like yours, try to find out who agents them.  Check the acknowledgments in the book, the author's web site, search Publisher's Marketplace online, and/or do a Google search.  This information is usually not hard to come by if the book has been published in recent years.  It also doesn't hurt to see who agents your favorite authors and/or books either - they may represent your genre. 

 2) The Internet (use with an intelligent brain for best results).

There are a lot of resources on the Internet for writers seeking representation.  A whole heck of a lot.  And not all of it is reliable, maybe not even a lot of it.  This is why you must tread carefully and never trust a single source of information.  Thorough research is the name of the game. 

That said, Query Tracker, Agent Query, and Lit Match are online agent databases.  You can also search the Association of Authors' Representatives, Inc. (the members of which are almost always legit - more on that later.).

"OK," you say. "What now?!?"

With your guide(s) and/or database at hand, compile a list of agents who are open to submissions and represent your genre.  It is a complete waste of your time and the agent's time if you query someone who is closed to submissions, doesn't accept unsolicited manuscripts, or doesn't represent your genre.  If you don't know what your genre is, take a step back.  You need to figure that out before you begin querying. 

Now you know how to find literary agents and their contact information and you've compiled a list of prospectives.  Woo!  Good work.  But you're not ready to query yet.  There is more research to be done.  Yes, more.  We're doin' this right.

Stay tuned for part II.

Posting Writing Online - Safe?

In case you missed it.

Moonrat has an answer to the rather popular, elusive question: What's safe to syndicate online?

On Researching and Dealing with Agents

A few days ago I received a query. This morning I had a tweet from someone wanting Jodi Reamer's e-mail and/or web site address. As someone trying to promote agent research, I find these incidences somewhat alarming. Let's have a closer look shall we?

The e-mail:

My first and foremost concern is that this person has an obvious disregard or ignorance of the following: publishing history, previous sales, scams. If said person had done any research, they would have realized I am NOT a literary agent. However, let's say there was a misunderstanding since I do happen to have an e-mail address with the word "agent" in it and do the Agent Spotlights. Even if someone had mistook me for an agent, a quick Google search would have revealed the following: no web site, no Publisher's Marketplace page, not on Preditors and Editors, AAR, or any query-tracking web site, and most importantly, I have ZERO sales to my name. Red flags, people. Huge red flags.

Beyond this, I must assume the author is also disregarding submission requirements. If the writer was following submission requirements, it seems likely he/she would have noticed I have none and am not an agent. On top of this, the query was addressed to "Dear Sir." I may have a gender-neutral name, but again, research would have revealed my name and, I'd like to think, my gender. But don't worry, I did not take offense because we have already deduced there was zero research involved. Tip: You can find an agent's gender on LitMatch.

The tweet:

My first thought was as follows: Google!? My second thought: Maybe this is someone I know and they want some quick information. Though, even that would have been alarming. Shall I repeat myself here? Research the agents you want to query, please! But, on realizing I did not know this person, I clicked over to their profile. What did I find? They are tweeting everyone under the sun (including John Green and Stephanie Meyers) trying to get Jodi Reamer's e-mail address. We must note, if the writer does not even know what web site Jodi Reamer can be found at, we can assume he/she a) does not know Jodi Reamer is with Writer's House, and b) he/she is planning on firing off a cold query with complete disregard to Ms. Reamers submission requirements. Alas, there is more. The writer was tweeting agents asking, "are you an agent?" and tweeting "e-mail me at X if you're interested in X kind of manuscript." Shall I continue? The writer also spelled query wrong in all of his/her tweets and was promoting their novel as "epic" and "fabulous." Can we get a tally on the mistakes here? Anyone?

Honestly, I'm not writing this to poke fun at either person. I would love to see them succeed. However, I am concerned, and I'm feeling an increasing amount of pity for literary agents. I took the time to e-mail both of these writers to suggest they use Querytracker.net, at least, and gave the tweeter a rundown on what he/she was doing that was unprofessional.

Where do we go from here? Look forward to a series of posts on researching and dealing with agents. I know most of my readers know what's what, but maybe we can field a few of these unknowing aspirees and help them. Feel free to put your 2 cents in on the upcoming posts.