Hey there! This blog was nominated for a YA Highway Web Award for agent blog. Which is pretty cool considering how infrequently I update (whoops, probably shouldn't have said that!)
ANYway, if you'd like to vote for me, or anyone else, head on over to YA Highway.
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where book news, agentish advice, party planning, cute animal pictures and general shenanigans collide.
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Hey there! This blog was nominated for a YA Highway Web Award for agent blog. Which is pretty cool considering how infrequently I update (whoops, probably shouldn't have said that!)
There are several ways and places that a book deal might be announced, from a blog announcement, to a newspaper or magazine piece, to an online listing. Probably the most ubiquitous of the online listing services is the Publishers Marketplace announcement. I get questions from people who are confused about this service all the time, so I'm going to tell you all about it, and maybe bust some myths, too.
Publishers Marketplace is a subscription-only publishing news website that also has a listing of new deals updated daily. It's a quick way to tell who has sold what and to which publishers, and who might rep the kinds of books you write. There's also a much-more-basic free daily roundup, "publishers lunch" available by email -- but to get into the full site and really dig around, you'll have to subscribe. It costs $25 a month, and a month's worth of subscription is a tool that might help your agent search a lot. I personally use PM to look up book world news, editors interests and see who-reps-who nearly every day!
However - there are caveats:
* PM is a very good resource - but it isn't the only resource. Remember this is a self-reporting service, and not all agents report all sales. In fact, I'd go further and say that MOST agents don't report all sales, and some agents don't report any sales at all. A sparse or nonexistent record on PM is NOT an indication that a given agent is "bad" or a schmagent. . . plenty of EXCELLENT agents and agencies opt-out entirely.
* Use your good judgement and follow up questionable claims with more research. There is nobody policing these announcements. If Josie Q. Schmagent "sells" a book for $1. to Joker's Wild Press in Someguysbasement, NV and wants to report it, she can. A record on PM does NOT mean that an agent or publishing company is automatically good, or even legitimate. If something sounds dubious, dig deeper.
So why DO agents report sales?
* It can sometimes be a way to drum up some early foreign or other subrights interest. Sometimes.
* They are agents who are still establishing themselves and want to show that they have a number of sales to big-5 publishers.
* Or they are agents/at an agency with a specialty or who otherwise want to be sure that potential queriers can easily discern the types of books they rep.
* Or they simply have a competitive streak and enjoy seeing a good number next to their name - (Guilty!)
* They have clients who have a big social media presence and they want to have something "official" to brag about.
Why might agents NOT report sales?
* The publisher has asked them to hold off for some reason (for example: they want to do a big publicity push closer to the date of release, it's a new imprint that hasn't been announced, etc).
* The author has other stuff going on that might be considered competitive or deadlines for other books coming up or some other conflict that the agent would rather not get into a scheduling tango over.
* It's a topic/theme that is SO timely and important that they want to be sure nobody knows about it in advance.
* The agency or the author are old-school and prefer not to air their beezwax in public, or they or their author are superstitious and prefer to wait on bragging until the book is closer to being available.
* They don't need or want new clients, and don't care what the interwebs say or don't say about them.
* They are busy and forget.
What else should I know about PM?
* PM has it's own "house style", to wit, all deal reports have to be in one long sentence without superflous editorializing; Agent-submitted reports are edited by the PM-sters, and the agents can't get in and re-edit the listings themselves -- so, if you notice sometimes the listings sound peculiar, it's not that the agents are just dum-dums who don't know how to sentence. (See what I did there? It's hard to put a lot of info in one sentence, y'all!)<!------><!------>
* The infamous money ranking system is not used by everyone. What do I mean? There's a place within the deal where PM encourages the deal reporter to use their lingo to rank the size of deals.
|$1 - $49,000||$251,000 - $499,000|
|$50,000 - $99,000||$500,000 and up|
|$100,000 - $250,000|
The thing is -- there is a HUGE FLIPPIN DIFFERENCE between ONE DOLLAR and 49 THOUSAND DOLLARS. How are those two the same category? That's ludicrous to me, and kinda tacky. Me, I prefer this oldie-but-goodie from Scalzi: Real World Book Deal Descriptions.
* PM is not aimed toward writers. If I had to hazard a guess, I'd say the majority of people who read PM are agents, subrights agents, scouts and editors. Then writers. In other words - while this might be a tool that proves useful to you, is not necessarily FOR you, and it might not always be interesting to you. If you want writer-oriented info, there are other places to obtain it.
* PM is not PW -- easily confused, I know! PW = Publishers Weekly. This is a print and digital trade magazine that also collects and reports on book world news but is read by lots of booksellers and librarians as well as editors and agents (and writers). Subscriptions to the proper magazine are quite expensive but you can get newsletters like the "Children's Bookshelf" twice weekly for free, and some big deals are announced there as well. This is more like a press release for the general reading public -- listings in PW tend to be more detailed and have author photos and such, but of course, as it is a publication, they pick-and-choose what shows up rather than taking all comers as PM does. So, PW is more fun to read - though less useful as a down-and-dirty research tool.
Hope that helps! If you have other questions, put them in comments. xo Add a Comment
* People who are down with strong female FRIENDSHIPS *
* YOU! *
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ONE DAY, in my early 20's, I was visiting a friend who worked in a pub. It was mid-day - there were a few customers eating sandwiches and having beers, but no other employees. Suddenly, her phone rang. It was a family emergency - she had to leave! She looked around - realized there was nobody to cover her. She tossed me the keys - showed me how to ring the register - and left me to cover the rest of her shift. Well.
This was a beautiful day in the French Quarter of New Orleans. Bars there don't just stand empty - soon enough some tourists came in, and some regulars - a couple of people I kinda knew, but mostly strangers. I'd never worked in a bar or a restaurant, but there I was, suddenly in charge - so what could I do? I had been to theatre school. . . so I acted like a bartender. I chatted. I poured beer. I mixed drinks. The thing is - mostly people ask for either beer, or for things with two ingredients - Jack and Coke. Gin and Tonic. Easy peasy! If something came up I didn't know, I'd turn my back for a minute and cheat with the Mr Boston's book.
When a tap ran out, I called that one "out of order." When the ice ran low, I filled a bucket. When the lemons ran low, I chopped up some more. When somebody asked about food, I scurried back to the kitchen to tell the (surprised, but not easily ruffled) cook.
You've heard the phrase "fake it til you make it" -- well, that applies here. Nobody KNEW I had no clue what I was doing. So I pretended I DID know what I was doing. Not only did I pretend I knew what I was doing - I pretended I was GOOD at what I was doing. And guess what? NOBODY FIGURED IT OUT.
They gave me a job. Somewhere along the way, I actually did learn not only what I was doing, but also, how to be pretty good at it. Soon enough, I was training new bartenders. And I taught them my trick: POUR WITH CONFIDENCE.
The biggest mistake that most brand-new, totally un-trained bartenders make is . . . they are hesitant. They touch the bottles like they are about to break, and pour like they are pouring into a dainty dolly cup at a children's tea party. When they do that, customers totally pick up on it, even if it is subconsciously. When customers feel like they aren't in good hands, they get skittish. A hesitant or weak bartender will get fewer or lower tips, and they'll certainly have less fun on the job.
So even if you ARE new, pretend like you know what you're doing. Stand up straight. Look customers in the eye and smile. Actively listen to what they are asking for. Grasp the bottle firmly, and pour like you mean it. Give them what they want with a minimum of fluster and a bit of flourish.
I hear what you're asking. "OK well, thanks for the trip down memory lane, weirdo, but what does this have to do with ME?" Well, my little chickadees, the same principle applies to approaching agents.
If you were a bartender, you probably wouldn't introduce yourself to a new patron by crumpling up an old dishrag and throwing it at them, or by creeping up to them and bursting into tears. Those would be BAD INTRODUCTIONS. So. Begin as you mean to go on. When you are approaching an agent - DON'T say "I don't really know how to write a query" or "I don't know how to be a writer" or "I'm not really a writer" or anything of the kind. I get this all the time. Daily. But I mean - hello, this query letter is all I know about you.
If you treat the query letter like a professional introduction that it is, I'll accept it. If you tell me you're a writer, I'll believe you. If you tell me you're "bad at queries" or "not really a writer" or "a clueless newb". . . well, I'll believe that. Is that really what you want me to believe?
Obviously there is such a thing as going overboard. If you say "this book will make your dreams come true!" or "I'm the second coming and a rock star rolled into one!" or "you'll be making a huge mistake if you pass THIS up" or similar . . . well that's just being a big-headed jerk-slash-crazyperson.
Don't be over the top -- but DO be confident and professional, even if you don't exactly FEEL those things. If you can do the wordy equivalent of standing up straight, looking the agent directly in the eyes, smiling, and giving them what they're asking for with a minimum of fluster and a bit of flourish. . . well, you may or may not get an agent this time, but you will both project and get respect.
Pour with confidence and get those tips, babies!
One winter Sunday a couple of years back, I got a query from an author named James Klise. Even though this author did NOT follow the query instructions (naughty boy) -- I happened to catch it in spam and opened it immediately because I was already familiar with his work (he won a Stonewall honor for his first book, Love Drugged) . . . and because I was sitting at my computer and kinda bored. (Hey, honesty!) The query I read kinda knocked my socks off:
A fire destroys...I generally hate questions in queries -- but even WITH them, I was most intrigued. So I requested the material immediately. Jim sent me the manuscript immediately. I read it immediately. And I called and offered representation immediately. (This is . . . abnormal, to say the least!) -- and within 24 hours, I had myself a new client. And soon enough we had an amazing publisher, Algonquin Young Readers, who helped make a good book GREAT, gave us a super-cool title and cover, and who have been angels from heaven to work with.
A community unites...
A miracle appears...
A crime unfolds.
When the Chicago apartment of 15-year old Saba Khan is destroyed by fire, her school community comes together to help. Students organize a massive auction, where one of the donated items is revealed to be the work of a local "outsider artist" named Henry Darger (1892-1973). The art is worth a fortune. Who keeps the money? Saba's classmates, who found the art? Saba's school, which is hosting the auction? Or Saba's family, which desperately needed help in the first place? Most important, how long will it take for this community to realize that they are ALL victims now - not of a fire, but of a brilliant, carefully plotted scam? Told in short chapters, multiple voices (adults and teens), and full of surprises, [THE ART OF SECRETS] is a fast-moving and provocative tale of greed, schemes, and the American Dream.
So, what made me fall so hard for this book in the first place? As I explained to Jim, it was like NOTHING I'd read before. It was the book equivalent of throwing open the windows on that first beautiful spring day and letting in that gorgeous-smelling crisp breeze -- it felt like a deep breath of fresh air.
THE ART OF SECRETS breaks alleged YA "rules" -- and not only does it break the rules, it breaks them knowingly, with a sledgehammer, while wearing only a cheeky grin. It has ten points of view! Half of them are grown-ass adults! NONE of them are reliable! There's not a romance at center, forget about a love triangle! It asks questions about class and race, greed and generosity, that do not allow for easy answers! Instead of being told in a straightforward narrative, it's a mystery told by way of a series of interviews, emails, journal entries, texts and clippings! I could go on, but you get the idea. It's risky and provocative and refreshing and basically awesome.
But don't take my word for it -- here's an excerpt from the *STARRED* Booklist review: "This art mystery is that rare book that will be passed around by teens as well as teachers in the faculty lounge, discussed and dissected and immediately reread to scour for hidden clues and motivations. The incidents at Highsmith School will stay on readers' minds long after the last page." TRUTH!
I'm delighted to announce that a whole bunch of Daniel Pinkwater books that have never before been digitized are now available in DRM-free electron versions for reading on your magical device. No more will you be forced to suffer the indignity of touching paper to get your Pinkwater fix!
In alphabetical order -- choose your favorites (or heck, buy them all for the low-low price of $2.99 each, I mean really, what a bargain):
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Ahoy! I've been a bit off the grid for a couple of weeks because I was traveling for the Bologna Book Fair and a mini-Vacay (followed immediately by being ridiculously ill - Boo!) -- but I'm pretty much back at my desk, at least MOST of my brain present now. And so I can bring you the latest from the New Release files:
THE GRUDGE KEEPER by Mara Rockliff, illustrations by Eliza Wheeler, new from Peachtree!
I call the GRUDGE KEEPER "The Little Picture Book that Could." It had a long, long path to publication. How long? Let's put it this way, it was originally submitted to publishers before I was even an agent. It sold in Summer of 2010, which I remember distinctly because I negotiated the contract in the passenger seat of my car, driving through Nebraska on a road-trip move from SF to NY. We finally got lucky enough to get the PERFECT illustrator in another ABLA client, Eliza Wheeler, in 2012 (which was JUST before her picture book MISS MAPLE'S SEEDS debut'ed on the NYT bestseller list and she rocketed to fame with the illustrations to Holly Black's Newbery Honor book DOLL BONES -- so great timing, Peachtree!) -- and now, here we are, at long last, I can brag about it to the world!
You can get your own copy at your local independent bookstore, at MY local independent bookstore, at Barnes and Noble, Book Depository, Amazon, or wherever fine picture books are sold. :-) Add a Comment
So apparently I am a dum-dum who didn't realize that yesterday was not only a Tuesday, but THE Tuesday -- the day my author Whitney Miller's debut novel THE VIOLET HOUR officially hit shelves!
Harlow is excited that her father is letting her come along with the other children of the ministry elite on a PR junket to Asia; even more so since her best friend and the boy she has crushed on forever will be with her.
As the "first daughter" of VisionCrest, all eyes are on her, and she is expected to be perfect... but Harlow has a secret. She hears a voice in her head. A voice that tells her awful things, and shows her visions of a dizzying, blood-soaked alternate reality. From the moment they land in Tokyo, the voice seems to get louder and more insistent. The meds the doctors gave her don't seem to do any good, and the more desperately Harlow struggles to keep her mind and behavior under control, the more completely she is overwhelmed by the terrifying voice. It whispers to her. Shows her the deadly possibilities. Almost as if it has a will of its own.
Harlow is increasingly afraid of what the voice is showing her -- and more than that, what it might might make her do. When the fantasies bleed into reality and people begin to turn up dead, Harlow must expose her secret to the boy she loves and face the monster within, or else be consumed by it. But will it be too late?
Clickity for a fun interview with Miss Whitney (plus a giveaway). Or go peek at Whitney's rad website.
Or just buy the book by tree or e: Indiebound, B+N, Book Depository, Kobo, or Amazon.
And, if you're near SF, you should totally attend Whitney's launch party at Books Inc Opera Plaza on 3/14. I'm told it is going to be spectacular. Wish I could be there, if you go, you'll have to give her creepy hugs from me! Xo!
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Reminder that tomorrow, Thursday, Feb 20, 1pm E, I'll be revisiting my Writers Digest class Writing and Selling Middle Grade Fiction. This webinar was very popular last year, but I know a lot of people who wanted to attend didn't know about it in time -- so I'm delighted to have the opportunity to teach this again.
Important to note:
---- > If you are signed up, you do NOT need to attend live -- you'll have access to the course materials for a year.
---- > Every participant will get their choice of either a critique of 500 words of their MG novel (complete or work-in-progress) OR a query critique.
---- > ALL questions asked during the webinar will be answered! (If you can't make it during the event, you can email the questions you have to the moderator and we'll get them answered for you)
Let me know in the comments if you have any questions about the webinar - and I hope to see you there!
Every year I send a bookish Valentine created by one of my phenomenal artists. (The tradition started because, frankly, I could never get it together to send Christmas cards on time - but hey, I love pink and red and LOVE, so, it stuck.) The 2014 card is by the amazing Cynthia von Buhler.
To my friends and colleagues, on the internet and off -- and to the lovely readers of this blog -- You're awesome. Have a wonderful rest-of-your-winter, and may spring arrive soon!
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Three new YA client releases today! WOW WOW WOW! I'm not going to get into a whole long ramble about them because, frankly, I think these hot covers and titles do more to speak for the books than I ever could. Click the jackets for more info or to buy.
WHITE SPACE by Ilsa J Bick is mind-bending creeptastic horror in the vein of Inception. Click for more...
THE GLASS CASKET by McCormick Templeman is a dark and chilling fairy tale-esque story in which something wicked stalks a forest village. Click for more...
THE TINKER KING by Tiffany Trent is the awesome followup to THE UNNATURALISTS - full of magical steampunky goodness. Yum yum! Click for more...
Enjoy these reads, and stay tuned, this is just the beginning of 2014's bounty! ;-) Add a Comment
So this past weekend I spent at the ALA Midwinter Conference in Philadelphia which, despite freezing slushy weather, was absolutely splendid (of course! BECAUSE LIBRARIANS ARE THE BEST!) -- and which culminated, Monday morning, in the ALA Youth Media Award announcement. The ALAYMA are better known as the Newbery, Caldecott, Printz and other shiny medals given to excellent children's books every year. Ever since I was a kid I've been OBSESSED with these awards -- ever since there has been internet capability, I've watched the live stream of the announcement -- and finally, for the first time, I got to actually BE IN THE ROOM!??!
Not gonna lie, I freaked out a bit. Really. I mean, I pretty much started crying the first time one of my friend's books got an award (which was the first award given!) and didn't stop til the end. Happy tears obviously! Just, you know. A lot of emotions floating around the room, that's all. FEELINGS! CATHARSIS! CAPS AND EXCLAMATION POINTS!
Now I'm home again and settling back into the routine. And I realized, even though it feels like a Monday, that in fact today is TUESDAY. Which means it is NEW BOOK RELEASE DAY. Which means it is time to present to you a brand-new book from Kate Messner. Welcome to the third installment of the Marty McGuire series, MARTY McGUIRE HAS TOO MANY PETS!
The astonishingly talented illustrator of the Marty series, Brian Floca, wrote about Marty here. . . and Brian also just happened to win the Caldecott Medal yesterday for his newest solo picture book (which means, yes, he was one of the folks I was screaming/crying about.) NICE! Here's Kate's blog post on the topic.
You can buy the book from Oblong, Barnes and Noble, or wherever fine books are sold!
Whenever I read a ridiculous op-ed about the state of YA literature or some such, where the author has clearly read five YA books total, I want to sit them down, give them a stern talking-to and a book list. Whenever I meet a person who "really wants to write for kids because it is so easy," I want to box their ears and force them to read a mighty stack of picture books.
Here's what I think: If you want to consider yourself an authority on any category or genre of book, you have to read at least 100 books in it.
If you want your knowledge to be about the CURRENT state of the genre, then a handful of "classics" are fine, but the majority should be published in the last 5 or so years. Seriously. Spend a year reading your face off in any one category or genre, and I assure you, you'll end up with favorite authors, pet peeves, a working understanding of tropes, a strong grasp on what is actually being published, and most of all, opinions that are based on something besides conjecture. You'll be, if not a real expert, at least an avid amateur who speaks the language.
So, okay, about Romances. When I was twelve or so, my good friend Pamela and I would raid her mom's romance book library. Pam's mom read a TON of mass market paperback romances (mostly featuring Broad-Shouldered and Smouldering Highlanders), and she made frequent trips to the local paperback exchange to refresh her collection, so we always had something new to read. Then Pam and her folks moved out of state, and I went away to high school, then college -- and while I always read a lot, Romance Novels were utterly forgotten.
Until late 2012, when I bought a romance e-book on somebody's recommendation. I don't know what the title was -- just that it was a good choice because it was nothing related to work, just pure pleasure reading, and relaxing fun during a stressful time of year. And as soon as I finished, I bought another. And another. And my whole Christmas break I devoured them. And somehow, January happened, and I was still reading.
ANYway, I decided to start keeping track of what I read starting Jan 1, 2013. I read about 150 romance novels in 2013. (Of course I also read kids and YA books, and some regular fiction and nonfiction, and books and manuscripts for work -- I'm not counting those.) The vast majority of those (130 or so) were Historical Romances, and probably 100 of those were published in the last five years. So yeah. I'm caught up. I may not be an expert, but I really do know this genre quite well. And while my obsession may have run its course, I'd still be open to repping something of this nature if I found one I loved.
In the meantime, I'll be a fan from the sidelines. Here's what I tend to like: a bit of adventure, a ton of witty banter, preferably a cool brainy heroine who does something besides simper, and if there is cross-dressing or an unusual setting, all the better! In no particular order, these were some of the books that stuck with me during the Great Romance Read of 2013 -- Maybe you'll read some of these and love them too?
Courtney Milan - HEIRESS EFFECT: All of Milan's books are terrific, but I really love this Brothers Sinister series. In this one, an extremely rich girl who is not marriage-minded does everything possible (short of contracting a contagious disease) to get potential suitors to stay the hell away from her. Witty and fun and oh also I totally ugly-cried at a certain point.
Elizabeth Essex - ALMOST A SCANDAL: Ugh I love this book. A girl dresses as her brother and takes over for him in the Navy. She acquits herself well and nobody figures out her ruse. . . well, nobody except the Captain, that is. Too bad they are off at sea and he can't expose her for a fraud OR deposit her back in London . . . she'll just have to keep dressing as a boy and, well . . . *rowr*
Tessa Dare - ANY DUCHESS WILL DO: All of Dare's books are delightful - most set in the little village of "Spindle Cove" (aka Spinster Cove), a beach community full of ladies who are pretty much off the marriage mart for one reason or another. In this one, a Duke is charged by his mother to get married. She declares she can make any lady into an appropriate Duchess, so he just needs to choose. NOW. So he picks the most inappropriate wench he can find, determined to foil his mother's plan. (Bonus: has a bookselling subplot!)
Meredith Duran - A LADY'S LESSON IN SCANDAL: A girl from the slums breaks into the home of a nobleman and holds him up at gunpoint, determined to right a wrong done to her mother years before. But she finds the little old man she expects is in fact long gone - and her captive is young, hotblooded, naked as a jaybird, and convinced that she is a secret heiress.
Cecilia Grant - A LADY AWAKENED: A widow's estate is about to go to a real jerk. Sooo she conceives of a cunning plan... if she can prove she's with child, she'll get to keep the estate and the people who depend on her will not be harmed. But she only has 30 days... *cue sexytimes*
Sherry Thomas - NOT QUITE A HUSBAND: Actually I've liked all Sherry Thomas's books, but I chose this one because it is set largely in India and Pakistan, and features a tough woman doctor. It wasn't my favorite while I was reading it, but I've thought a lot about it in retrospect. Pretty much I just think Thomas is a swell writer, who tends to deal in outrageous plots (Another one, BEGUILING THE BEAUTY, is about a transatlantic ocean voyage, a widow disguised as a Baroness, and revenge!)
What have been some of YOUR favorites?
As of November 20, 2012 (that is, Midnight Eastern Time tonight) I am closed to queries. I will reopen to queries January 7, 2013.
If I already have your work, you should hear from me by January 7. (That's the point of taking the break, I have to catch up!)
I'm sorry to say that I cannot respond to new queries sent during this time.
The exceptions will be: work that I've requested -- conference material -- client or editor referrals -- and people I actually know in real life. If this is you, please be sure you've said so, along with the word Query, IN THE SUBJECT LINE of your email. Otherwise, your query will be deleted.
For all other regular queries, please feel free to try any of my colleagues at Andrea Brown Lit, or else try me again in January.
Thanks again for thinking of me in regard to your work.
Wishing you all the best, and Happy Holidays,
Andrea Brown Literary Agency
From my pocket: *ring ring*
Me: Hi, this is Jennifer.
Some Stranger: Can I speak to Jennifer Lag-lahr-gg-squ-san?
This is Jennifer Laughran.
OH Hi this is [mumble mumble] from [fake sounding company] in Hollywood and I want to talk to you about a hot new property RANDOM TITLE.
I'm so sorry . . . I don't know that title. I'm afraid that's not one of mine.
No, no, it's not one of yours . . . this is a SUBMISSION to you.
Um. . . what?
Yes, my client [mumble mumble] wrote this book and you hadn't responded to my letter about it so I thought I'd follow up. You got the letter a week ago?
I have no idea what you are talking about. Sorry, I get a lot of email. Who are you again?
It wasn't email. It was a paper submission.
[while talking, googles name of company, name of person, comes up empty] I'm sorry, I'm just really confused, this was a query??
[interrupting] Nope, not a query, it's a referral, anyway, this is a medical thriller, you'll be kicking yourself if you don't represent this. So what do you say to a sure-fire moneymaker --
[interrupting] -- but I never got a letter, I haven't accepted snail mail queries since 2007, and I only represent children's books. So . . . Who are you?? Are you the author?
[patiently, as if to a child] I'm not the author, I'm working for my client to send out their work . . .
. . . So you're an . . . agent?
No no, [long-suffering sigh] I'm sending out their work so they can get a literary agent.
So you're an agent-getting agent? An agent-agent? That doesn't seem like a thing.
Look WE DO THIS ALL THE TIME IN HOLLYWOOD. I assure you, sweetheart, this is a thing.
Welp, first of all, that isn't true --- plus, my agency is open to submissions, any author can just query -- tell him to just query. And listen, this is my cell, how did you even get this number?
No YOU listen: It's really unprofessional that you are acting like this about a REFERRAL. I mean this is ridiculous, I'll report this to your boss!
Huh. Well, a "referral" from a stranger is not really a referral at all. I don't represent people who can't follow simple directions or conduct their own correspondence. I don't represent medical thrillers. And my boss doesn't like bullies any more than I do. Don't call me again.
*fin*The preceding was essentially a transcript of an extremely annoying conversation that I have a couple times a year. Oh, the details have been erased and the exact back-and-forth approximated. Much more often -- every couple of weeks at least -- I get the same basic thing but in email form:
Subject Line: AUTHOR REFERRAL!So how did these authors get screwed? Let us count the ways:
Hi Agent, I'm Random McNoname, and I'm writing to reffer [sic] my client Author Sapsucker to you. Sapsucker has a pHd in Neurocathology [sic] and 78 followers on twitter so he's the real deal. The manuscript is attached, I look forward to hearing from you by next week.
Note the misspellings, the "attached manuscript", the fact that they don't say what the book is, that they aren't targeting me specifically or if they are, they are submitting something I don't rep, that they are demanding a response by a certain time, that they haven't followed guidelines in the least. That's leaving aside the fact that they aren't even the author -- so who ARE they?
These are what I call "agent-agents" or third-party queriers. They convince authors that their "services" are necessary to query (aka spam) literary agents*. Authors who are totally new and/or desperate will take the bait and pay, in the hopes that it will give them a leg up on the competition. Probably, because this world is full of unscrupulous a-holes who like to take advantage of authors, they'll pay rather a lot.
Instead of getting a fast-pass to easy street, however, these authors paid good money to assure that their work won't be taken seriously. No legit agent I've ever met responds to strong-arm tactics or so-called "referrals" from strangers. Strangers who clearly don't even know anything about the specific book or author they are allegedly working for, let alone about the book industry in a larger sense.
As for the matter of this being a "referral" -- I call shenanigans. A referral means that somebody I know and trust (like one of my clients, an agent colleague, or an editor I've worked with) is vouching for you. A referral from a stranger is pointless. What do I care if some schmuck I've never heard of thinks you're terrific?
In any case, you generally don't need a referral to submit to most agents. (Some yes, but those agents are probably accepting few if any new clients anyway). You don't need a special key or a magic word to get read by an agent -- you just need to follow directions and have a great-sounding book.
I'm personally closed to queries until January, but every other month of the year, my submission guidelines are quite simple: The subject line needs to have the word "query" in it. The email itself should have a full query letter and ten pages pasted in. I don't accept snail mail submissions, nor do I open attachments. That's it. Now this might differ a bit from other agency guidelines - - but they are all pretty much alike in that they are simple enough for a literate child to follow.
We WANT to read your work. We WANT to find new talent. Believe it or not, the submission guidelines are not set up to see how cleverly authors can avoid them. The guidelines are just there to make things simpler and easier for everyone, including authors.
You think querying is hard? You wrote an entire book. THAT'S hard work. If you can do that, I promise, you can write a couple of interesting paragraphs about yourself and your book, and do a bit of internet research. Querying is the EASY part.
Sorry if I sound a bit fired up about this, but it just makes me insanely angry how many authors I see getting parted from their money by companies like this. PLEASE, don't be a Sapsucker.
* ETA: It probably goes without saying that, while I get these every few weeks -- there are no doubt MANY scamster companies that don't even bother sending any material out at all. I mean, how would the author know? So these are just the VISIBLE scamsters...
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The good news is, I have signed several new clients in the past few months and am busier than ever. Yay! I love working hard and selling plenty of books!
The bad news is, November and December are already quite busy for most people, and I am no exception. I have simply got to spend some time playing catch-up and clearning my desk for 2014. . . and yes, I plan to carve out a bit of time for family fun and pie-eating, too! ;-) So:
As of Wednesday, November 20, I will be closed to unsolicited queries until Monday, January 13, 2014. This is not affecting any other agent at ABLA -- this is my own personal query hiatus.
That being said, there are exceptions: If you've been referred by an editor or client friend, or I met you at a recent conference (simply put the name of the conference, along with the word "query", in your query subject line) -- or if you've participated in one of my Writers Digest Webinars, including the next one on 11/21 -- I'll still consider your submission. (And of course, anyone who is already in the inbox, or sends before I've closed, will still be considered). Other than that, you'll have to wait. Sorry. Eat some pie, January will come in no time!
THE GREAT NEWS:
Last winter I did a Writer's Digest Webinar called "BEYOND THE QUERY." Lots of people who wanted to didn't get the chance to attend. Great news: Due to demand, I am reprising this webinar on November 21 at 1pm EST - that's THIS THURSDAY, people! So if you missed it the first time, here's your chance to get in on it, get a query critique, AND have an "open ticket" to query during the hiatus.
Lots of advice exists online about how to research agents and write a query letter -- with BEYOND THE QUERY, I hope to go a step further. I am to teach you not just how to stand out in the crowd and get noticed in a good way, but also what happens next.
We'll dissect the publication process and uncover some mysteries in the process. We'll talk about how to spot and avoid scamster agents and bad-news publishers. We'll examine how you can tell an agent relationship might not be working for you, and what to do about it. And how to develop long-term strategies to work with your agent and achieve career success.
This webinar should be useful writers of any genre -- for brand-newbies, writers who are just starting the querying process OR are deep in the query trenches, and even authors who have an agent but are maybe a bit shy about how that relationship is "supposed" to work. This should be a candid and informative good time.
You DO NOT have to attend the webinar in person if you are busy during that timeslot -- materials will be available for a year after the webinar for all participants.
Most importantly, every participant who signs up in advance will get a free query critique from me. And I will answer all questions submitted by attendees.
To be perfectly clear: The query critique included in the webinar DOES NOT count as an official query to me. It is just freebie advice to hopefully strengthen your query.
BUT, everyone who writes the genres I represent will have an "open ticket" to query me at any time, including during my query hiatus.
You can sign up for the webinar by following this link.
Questions? Feel free to ask them in the comments!
HANUKKAH BEAR is the tale of Bubba Branya, a little old lady who can barely see but makes the very best latkes in town. Her rabbi comes to visit, and he brings his gigantic appetite. . . and mumbly voice. . . and growly tummy . . . and furry face. . . uh-oh! Comedy ensues as the dynamic duo of granny and the bear play dreidel, light the menorah, and of course, enjoy plenty of yummy latkes.
Kimmel's classic story* is the perfect match for Mike Wohnoutka's warmly glowing new illustrations; this one is sure to delight not only little ones, but the whole family.
â˜… "Successful on every level, this holiday favorite is sure to be popular with anyone who appreciates a little humor with their holidays."”School Library Journal Starred Review
Buy the book from your local independent bookstore, from MY local independent bookstore, Barnes and Noble, Amazon, Powells, or Book Depository.
* This is a refreshed new edition of a book that came out a couple of decades ago, with somewhat longer text and much different illustrations, under the title Chanukah Guest Add a Comment
Doing a ton of critiques for Writers Digest has been exhausting but fun, too. I'm in the home stretch -- 180 down, 20 to go -- and should finish in the next couple of days. I'll tell you this: 200 critiques in a row means common opening problems become crystal clear. I'm going to talk about a couple of pervasive ones today.
Please know, I AM NOT PICKING ON ANYONE. Everyone who sent in work to be critiqued is BRAVE and AMAZING, and this is NOT a negative reflection of any one person's work at all.
Out of 200 critiques, I'd say easily 85% of them had at least one, if not both, of these problems. Which means, obviously, they are common and easily fixable issues. . . and if this high a percentage of the WD crits had them, chances are, lots of people who did NOT get a crit may be helped by this info, too.
PROBLEM ONE: SPOILER ALERT aka "TELL, THEN SHOW"
This is a very common problem in first drafts. It's where the author starts with a paragraph that tells the reader in a nutshell what is about to happen, and/or the lesson that the main character will learn by the end of the scene, chapter or even the end of the book. . . and then the actual scene starts. It's almost like the "thesis statement" we used to have to write in school essays. Like so:
It was a day like any other. Little did Moxie the Dog know, but her world was about to get rocked. Not only would a new person soon be moving in to the house . . . but that person was bringing a CAT. Moxie had never met a cat, and probably would like to eat cat. There was bound to be trouble. But the two will have to learn to get along and even be friends if they are going to get through the next six months.Not only is this clunky example torn from the headlines (my sister and her cat are coming to stay at my house soon!), but it illustrates the problem: it tells the reader what is about to happen before it happens, or gives away the end before the story even starts. It's not foreshadowing, it's a tension-killer. Since the author has gone to the trouble of chewing and digesting the information for me, I don't have to read on.
The doorbell rang again. Moxie was barking ferociously and leaping at the door. "BE NICE, it's just my new roommate!" Jennifer the Human yelled. "You'd better get used to it, Moxie, because she is going to live here now."
The good news is, it's extremely easy to fix this. Just get out the ol' red pen and start with the actual beginning of the scene.
PROBLEM TWO: RHETORICAL WHAT?
Often in drafts, the author peppers the main character's thoughts with rhetorical questions.
Here are some NON-rhetorical questions: When your character asks questions inside their own brain, who, exactly, is your character asking? Themselves? The reader? Are they breaking the fourth wall? If it is a thing where you have a very voicey narrator that is addressing the audience throughout the whole book, the occasional question is probably OK. Otherwise, can it.
Rhetorical questions make your character sound wishy-washy and confused. It reads like shorthand or filler; like you've left a note for yourself: "develop this later!" They're ALMOST ALWAYS better expressed as declarative statements. And recasting them as statements often gives you a chance to give us a taste of character or a sense of the stakes in an unobtrusive way.
ORIGINAL: "Can I even get this done in time? What if I blame it on Aliens?"Like the Thesis Statement Spoilers above, rhetorical questions are another real tension-killer. There's a recent post on Mary Kole's blog that addresses problems with this tactic in much greater detail, but suffice to say: it's another way authors pre-chew the information for readers. It's almost like you are pointing the reader to what you want them to think or the conclusion you want them to draw, without allowing them the opportunity to piece the clues together themselves.
RECAST: "There is no way I can get this done before school, and using the old 'Abducted by Aliens' routine isn't gonna fly this time around."
ORIGINAL: "I'd tried everything. Is it even possible to get rid of freckles? Is there such a thing as an anti-freckle potion?"
RECAST: "I'd scrubbed, rubbed, and even tried whipping up Freckle Juice like in that Judy Blume book we read in second grade. These blotches weren't going anywhere."
Trust your reader. We WANT to go on a journey with you and your characters! :-) Add a Comment
The majority of submissions I get are about kids and teens who are white, comfortably well off, able-bodied, secular, average-sized, cis-gender and straight. Maybe (in fact, probably) their race or economic status or religion or sexual orientation or whatever is never mentioned... but let's get real, if it isn't mentioned in any way EVER, the reader is going to assume and "default normal."
The question of WHY white-rich-ablebodied-secular-averagesized-cis-straight people are "default" in this country, or how to change that, is not one I'm prepared to tackle -- just let's go with the fact that at this point in time, it is the case that the people in this country who tend to think about race least often are WHITE PEOPLE. The people for whom money is rarely an issue are WEALTHY PEOPLE. Right or wrong, if you never ever mention anything about money or race, your reader will probably assume your characters are relatively well-off and white. And the same goes for all those other categories.
So does that mean you just need to randomly make all your characters Black or Japanese (or whatever) but have all their other dealings be exactly the same as they would otherwise be? Um. . . no. Nor does it mean that you should force a "mixed salad" tokenism where each and every character has one thing different about them. That's silly.
Taking your characters beyond "default" is really just about giving them dimension. If your character is deaf or blind or a wheelchair user or obese or agoraphobic, or doesn't speak the language, or is a child prodigy, or an uncomfortable fashionista wearing absurdly high heels, or an uber-confident princess wearing an ostentatious diamond necklace . . . or heck, even a super-mousy shy kid in a plain school uniform . . . each of these characters will certainly think differently about how to best navigate the crowded and unfamiliar stair-filled subway platform. They each might notice different and unexpected things in the auditorium on the first day of school. So if you don't mention anything about who they are, your reader will fill in with the easiest thing, which is a blank and boring "default." Which, OK. . . but again, characters who make interesting choices and observations have depth and are usually way cooler characters to read about.
"Look, my characters are just going to Mickey-D's, let's not make a big deal out of it."
Not every split second in your book will be able to further the plot. But, pretty much anything your character does, if it is important enough to put in a book, should reveal something about them. Even mudane things. Hell, ESPECIALLY mundane things.
If your character is going to eat at McDonalds, where they come from will inform how they approach that experience. Do they keep kosher? Are they diabetic? Do they have body issues? Must they stick to the value meal and worry about it? Do they recognize the person behind the counter? Is it their sister? Are they skeeved out because it is dirty in there and they saw a PBS show about what goes in the chicken nuggets and now they are wiping everything down with hand sanitizer and ordering vegetarian? Are they waiting for the bathroom because they need to brush their teeth and change clothes? Is it the one place they can meet up with their boyfriend away from the prying eyes of their family? Do they eat fast and thoughtlessly because they are wrapped up in writing a sonata and don't even notice their surroundings? Any of these choices would reveal something about the character. Otherwise, why bother putting it in the book?
"But I've heard you say you want books where people are just [gay, bi, queer, trans, etc], and being [any of these things] is not a PROBLEM."
Sure. Being gay [or whatever else] isn't a bad thing. It doesn't need to be a problem. Just, most of the books I see in this vein are coming-out narratives that include being disowned and beaten up or worse. While this is no doubt the experience of some people, it's not the only story, and it is a story that has been told a lot. I'd rather hear a different story.
Still, if you are tempted to just not mention gayness, you are making it invisible.
I don't want it to be invisible. It's real, and important.
"But I don't want to write an ISSUE BOOK!"
I'm not saying all books should include grinding poverty or racial unrest or fat activism or queer kissing or ANYTHING. (Well, actually, maybe all books should include queer kissing.) (KIDDING!) (or am I?) . . . Annnnyway, I don't think it has to be an issue book to reflect reality. I think it just has to reflect reality. If you want a book with interesting and vibrant characters, they should be multi-faceted and not cookie-cutter default. . . Reality happens to include all kinds of people.
I'm also not saying "I hate books about [xyz] people" OR "I only want to rep books about [xyz] people."
I think anything you want to write about is FINE. I'm not the topic-police. I'm just saying, straight-cis-white-ablebodied-uppermiddleclass main characters are the vast majority of what fills the ol' inbox (and, for that matter, the bookstore). So non-default stories, whatever they may be, will feel fresh, and are likely stand out in a good way.
TL:DR -- YES, PLEASE DO SEND ME YOUR DIVERSE NARRATIVES. I'M INTERESTED.
Some of you know that I still help out at my neighborhood bookstore despite being a full-time agent -- Booksella 4 Life! -- and I'm so excited that we're doing so many kids and teen events that get not only awesome and amazing authors, but also lots of equally awesome and amazing readers! There are TONS of great events coming up, but I want to highlight the one this Saturday because, well, I'm a bit afraid it is going to fly under the radar and I want everyone to know about it.
Our League of Extraordinary Readers is a Middle Grade event series where, once a month, we invite the best authors in the world to meet the best readers in the world. . . and have a party while we talk books. It's for 8-12 year olds, or anybody who loves Middle Grade books. And there are always treats, giveaways, prizes and lots of fun. What could be better than that?
The next League event is Saturday September 28, 4pm, at Oblong Books in Rhinebeck. The theme is THRILLS AND ADVENTURE, and we have four excellent middle grade authors for you to meet!
If you'd like to join us, please RSVP by email or Facebook. If you can't make it to the event, you can pre-order autographed books on our website.
KATE MESSNER's latest, WAKE UP MISSING, is a thriller about four kids, each of whom has been sent to an elite brain research facility after sustaining some sort of traumatic head injury. But they swiftly find that there is something WAY creepier than research happening at this hospital . . .and they'll have to overcome their differences, and their injuries, if they are to escape.
ESCAPE FROM THE PIPE MEN by Mary G Thompson is about kids who are human exhibits in an intergalactic zoo (!!!!!), until their dad is poisoned and they have to scour the universe for an antidote. EXCITING!
In ANTON AND CECIL, CATS AT SEA by Valerie Martin, what begins as a rescue mission turns into a pair of high-seas adventures, with thrills and danger bubbling under every wave. A colorful cast of characters, rich historical detail, and lyrical storytelling that will delight fans of such classic animal adventures as The Wind in the Willows, Stuart Little, and Poppy.
THE TIME FETCH by Amy Herrick is kinda like a combo of WHEN YOU REACH ME and WILDWOOD - a time-traveling adventure that also has characters you just love and feel real. Add a Comment
Nick and Maxine and their babysitter Mrs Noodlekugel (along with, of course, her cat butler and four magical mice) are back! The first MRS NOODLEKUGEL adventure is now available in paperback, and as of today, there is a brand-new installment in the series: MRS NOODLEKUGEL AND FOUR BLIND MICE.
Four farsighted mice get glasses â€” and a talking cat solves a family mystery â€” as the charmingly eccentric Mrs. Noodlekugel returns... Itâ€™s all a day in the life of Daniel Pinkwaterâ€™s whimsical characters, in a chapter-book series whose comical tone and cozy illustrations are sure to keep young readers coming back for more.
Praise for Book 1: Stowerâ€™s illustrations have an old-fashioned sweetness, while Pinkwater, ever the effortless storyteller, adds just enough bite with his signature deadpan, loopy humor. Pinkwater works narrative magic. . . readers should find Mrs. Noodlekugelâ€™s world delightful and instantly familiar, and look forward to future installments.
â€”Publishers Weekly (starred review)
Praise for Book 2: If Pinkwaterâ€™s first Mrs. Noodlekugel book didnâ€™t persuade readers, the second one will: itâ€™s Mrs. Noodlekugelâ€™s matter-of-factly loopy worldâ€”we just live in it. ... Stowerâ€™s sly, sweet illustrations provide piquant punctuation for Pinkwaterâ€™s special brand of nonsense.
â€”Publishers Weekly (starred review)
You can buy the books at a fine bookstore near you, or online at Oblong, Powells, IndieBound, Book Depository, Barnes and Noble or Amazon. And hey, buy both, they're small. ;-)
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When you're new to working with an agent (or heck, even when you aren't!) -- it's hard to know what is an appropriate level of communication. You don't want to seem pushy or demanding - but you also don't want them to forget about you. You get emails from your publisher, and maybe you aren't sure what's important and what isn't -- and you know your agent is busy, so you don't want to seem like you are pestering them -- so you leave them out of the loop.
I can't speak for every agent, obviously, and some might feel differently. But for ME:
I want your relationship with your editor to be about mutual respect and art and writing and craft and love and flowers and rainbows. If there are terrible conversations to be had (and I'm sorry to tell you, but there probably WILL be at some point) . . . I want to be the one to have them. Part of my job is to be a buffer between you and publisher drama* -- so please, let me be there, that's part of why I get a commission.
I don't need to be involved if the conversation you're having is chatty. I don't really need to be involved if the conversation you're having is editorial (though you can certainly loop me in if you want to, and I do find it fun to see the different visions editors have.**)
However, I do need to be involved if the conversation happening is about business. That means: Deadlines, money, subrights, anything about your contract, your unsold projects or option books, your cover, marketing, etc, I need to be IN the loop. It's so easy to just cc me. You aren't bothering me. I'd rather know too much than too little.
If you are in doubt about whether or not this is a time for you to cc your agent, err on the side of cc'ing. Even if there's no problem and I don't chime in, I want to have what is said on record, and I want to be able to jump in if necessary. If the publisher forgets to cc me, you can just add the cc in your response. I can't know what is happening with you unless you tell me. It's best if you don't wait until there's a fire to call me up in a panic -- go ahead and cc me on the spark.
* To piggyback on the point about Publisher Drama, I beg you, if you are ever tempted to fire off an irate note to your publisher about ANYTHING, please, please, sit on your hands for a few hours, do some deep breathing, and then send your complaints to your agent instead. Here's an excellent post from Rachelle Gardener which talks about how you should "Let your agent be the bad guy."
"One of the primary advantages of having an agent is that you have an advocate who can handle all the negotiations with the publisher and navigate difficult territory, allowing you to maintain a positive working relationship with everyone at your publishing house.--
This positive relationship can have huge implications when it comes time for a publisher to decide whether they want to work with you again. It can also affect how youâ€™re treatedâ€” whether itâ€™s with respect, with kid gloves, or with dread. Most importantly, it can determine whether your publishing experience is mostly pleasant and rewardingâ€¦ or not."
** ETA: I really want my authors to develop GREAT relationships with their editors, and that means having conversations that are just artist-to-editor at times. BUT. If you are my client, and you are having an editorial disagreement or miscommunication, or you don't understand something, or. . . well, ANYTIME you want an ear about stuff, I am there. I love these books too, so I really do care how the process is going!
I didn't say this above, but I also really want to be cc'ed when you deliver the final ms so I can have a copy of it AND so I can start chasing the check.
And, your agent should be the one to send new work to your editor, even when you have a good relationship with them. I CAN'T STRESS THIS ENOUGH: Please don't send new work to your editor, even if they ask for it, without at least giving your agent a heads-up first. One of the worst feelings I have ever had is when an editor called me to say, "we need to talk about this manuscript, it needs major surgery" . . . and I had no idea what she was talking about, because I'd never seen it. Ack. Add a Comment
This month (and, who are we kidding, probably next month too!) I'm working on critiques from my Writer's Digest Webinar back in July. If you are still waiting for your critique, thank you for your patience.
As I said during the webinar, I'm aiming to get these done within 60 days of receipt. So if you sent yours July 11 (the first possible date) -- you should already have your crit. If you sent it in August 11 (the deadline) -- you should have it back by October 11. If it hasn't been 8 weeks, please don't stress out; If it HAS been more than 8 weeks, perhaps your crit got lost somehow -- by all means follow up.
For the record, I had about 200 critiques, and it takes me about 20 minutes per critique. When I am REALLY CRANKING, I can do maybe 6 an hour (10 minutes each) - but that kind of speed is super rare and unsustainable. Because it takes me a few minutes between each one to get into the "headspace" - forget what I just read and commented on, and start the new one with fresh eyes. And if I don't take breaks to walk around or stretch or snack, I tend to start to get cranky or misunderstand what I am reading. So yeah. 20 minutes is more realistic. (If you just crunched the numbers, that's 66.6 hours. I'm not going to read any significance into that number!)
And obviously, I have a full-time "real job" to do during the work week. So all of this is getting done in the dead of night and on weekends. You'll notice that your responses have time stamps of mostly between 11pm and 2am.
Hey, I don't mind, it's fun to see what people are working on, and it keeps me off the streets. BUT I wanted to take this opportunity to say a few words about conference critiques in general.
Quite often, agents find themselves doing critiques for conferences they attend. These may be short ones, like I am doing now - or they may be the 10 or so pages of the author's work, and/or a synopsis or query letter.
I know that sometimes people are disappointed after crits. They might have built up the potential in their heads. "They are gonna love this so much they'll offer to rep me!" or "They are going to give me THE KEY to the problem with my manuscript that is holding me back!" or similar. I hate to break it to you: That probably won't happen. But because of the excitement and nerves, I do understand it can be a real let-down when the actual critique comes and is just . . . ordinary.
Maybe the author gets their feelings hurt by what they feel is a harsh comment, or else they feel the critiquer is soft-pedaling and ONLY saying nice things and not giving them stuff to work on. Maybe the critiquer obviously just wasn't feelin it, or completely misunderstood the point of the work. It happens!
Keep in mind that, first of all, it is very hard to critique such a brief sample - - there may be "problems" or moments of confusion I see in the first page or two that will be addressed immediately after the sample. I'm just not able to know the whole story from the out-of-context pages I'm looking at. So please take my critique (or ANY critique) with a big grain of salt.
As I say to the people getting these crits:
You are awesome for diving in to the deep and and being serious about writing. You are doing what millions of people only dream about. But even the most dedicated and genius writer may get critiques that sting, or notes where the reader obviously just didn't "get it."
Remember that critiques of pages are not personal attacks or critiques of YOU. And ultimately, it's YOUR BOOK. If you think an editor or agent's notes are way off base, you certainly aren't required to do anything about them.
Nobody knows this story better than you or cares about this story more than you. So take what resonates with you and forget the rest. Critiques are HIGHLY UNLIKELY to be life-changing. But I do hope they can be a bit helpful at least. Good luck!
Wowza this is an eventful Fall already and it has only just begun! Today we welcome two more new books into the world, a Middle Grade thriller and the long-anticipated conclusion to a YA series!
WAKE UP MISSING by Kate Messner
The four have nothing in common except for the head injuries that land them in an elite brain-science center in the Florida Everglades. Itâ€™s known as the best in the world, but as days pass, the kids begin to suspect that they are subjects in an experiment that goes far beyond treating concussionsâ€¦.and threatens their very identities. Theyâ€™ll have to overcome their injuries and their differences to escape, or risk losing themselves forever.
Messner delivers an exciting middle-grade thriller inspired by cutting-edge science and historical events, drawing on the Manhattan Project and Tuskegee experiments to weave something new and interesting. - Publishers Weekly
Six middle schoolers + mad scientists + Everglades = adventure. . .With plenty of thrills, friendship, some humor, intrigue and an easy good-guys/bad-guys escape plot, young readers will find lots of fun here. -- Kirkus
"Kate Messner combines a fascinating concept with page-turning suspense. . . Reading this book is like a wild roller-coaster ride through the Florida swamps." -- Margaret Peterson Haddix
"Wowza! WAKE UP MISSING is a winner. I read it in a single sitting. As the secrets were revealed and the suspense mounted, I found myself turning pages at an ever increasing pace. I had to find out what happened next!" -- Bruce Coville
Buy WAKE UP MISSING: At Oblong Books, IndieBound, Barnes and Noble, Amazon, and wherever fine books are sold.
MONSTERS: Book 3 of the ASHES trilogy by Ilsa J. Bick
The Changed are on the move. The Spared are out of time. The End...is now.
When her parents died, Alex thought things couldn't get much worse--until the doctors found the monster in her head.
She headed into the wilderness as a good-bye, to leave everything behind. But then the end of the world happened, and Alex took the first step down a treacherous road of betrayal and terror and death.
Now, with no hope of rescue--on the brink of starvation in a winter that just won't quit--she discovers a new and horrifying truth.
The Change isn't over.
The Changed are still evolving.
And...they've had help.
With this final volume of The Ashes Trilogy, Ilsa J. Bick delivers a riveting, blockbuster finish, returning readers to a brutal, post-apocalyptic world where no one is safe and hope is in short supply.
A world where, from these ashes, the monsters may rise.
Need to refresh your memory about Books 1 and 2?
"So you read ASHES a year ago . . ." (recap of the story after Book 1)
"So you read SHADOWS a year ago. . ." (recap of the story after Book 2)
All of the Ashes Trilogy storylines converge in this action-packed series conclusion. . .The ending wraps up most questions but still leaves enough mystery for readers to dwell on. An opus of blood, gore and pain that will leave fans breathless. -- Kirkus
Want to win a copy of MONSTERS plus a SUPER COOL Ashes Survival Pack? More info, contest open til October 10.
BUY MONSTERS: At Oblong Books, IndieBound, Barnes and Noble, Amazon, and wherever fine books are sold.
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