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where book news, agentish advice, party planning, cute animal pictures and general shenanigans collide.
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Mara Rockliff's latest picture book, GINGERBREAD FOR LIBERTY, is the delicious (and true!) story of the baker who helped save the American Revolution.
Christopher Lutwick was a German immigrant and, in the 1770's, a vocal advocate of revolution as well as possibly the most celebrated and popular baker in Philadelphia. When the war broke out, though he was too old for fighting, he was determined to help, and his friend George Washington made him the "baker general" of the army. He also had an even more significant, albeit more secretive role... to talk starving Hessian soldiers working for the British into abandoning the King. And he could do it because he was a former starving Hessian soldier himself.
This remarkable tale shines a light on a little known figure of the Revolution who worked alongside George Washington and the other heroes we all know about. And the scrumptious illustrations by Vincent X Kirsch are the icing on the gingerbread!
"This appealing concoction is a powerful reminder of the good one person can do." -- Kirkus
"A sweet addition to Revolutionary War units." --School Library Journal, starred review
0 Comments on Gingerbread Spies and Magic Pencils - Two Book Birthdays! as of 1/27/2015 2:49:00 PM
Blurbs. You know, those little quotes about how awesome an author or their book is that are often on book jackets or in advertisements? Like: "Author is a certified genius and this book is a revelation!" Yeah. Those little tricky devils are the cause of no small amount of angst for all parties concerned. So here are some blurb facts and some blurb etiquette that might help. (Maybe).
FACT: * Pretty Much Everyone Hates Blurbs. * I'm gonna go out on a limb and say the majority of people in the publishing industry LOATHE blurbs. Agents and editors and publicists and their ilk know how hard they are to get, and more than that, how little most of them are worth. Authors generally dislike being in the position of begging for favors OR having favors begged of them. The process of blurbery can cause anything from mild stress to genuine anguish in its victims. :(
FACT: * Blurbs Are Mostly Worthless. * Did I say "how little most of them are worth"?? Am I implying that Blurbs are mostly WORTHLESS? Well... no. I wasn't implying it, I was saying it. I mean look: If you are lucky enough to get a blurb from an extremely well-regarded author in your genre, you might get some of their fans to perk up when they see it. But those fans are PROBABLY fans of the genre in general, and they probably already knew about your book or would have come across it anyway, and nobody is going to read it JUST because of the blurb.
It's much more likely that a personal recommendation or review from an author - on their twitter, blog, vlog or whatever - will bring the book to fan attention. The blurb that is in the catalogue or on the back of the book is only good if somebody has already picked up the publishers catalogue or the book to look at it. So, you know, it's SUPER NICE, but there isn't any proof that blurbs really help move the needle, sales-wise.
I've spoken to hundreds of readers, booksellers, librarians and others, and the fact is, the vast majority of the time, the blurb is not the deciding factor about whether or not they spend time and money on a given book. It's just not.
FACT: * Sometimes They're Not Worthless. * I can see the value of a blurb from a LEGIT FAMOUS PERSON that may help you get customers you wouldn't normally get. There are a few "legit famous person" authors: John Green, Neil Gaiman, Judy Blume, and maybe a handful of others. A blurb from one of these people may translate to a buy from some of their fans, and that is not anything to sniff at. Most famous people, of course, are NOT authors.
I am in the publishing industry, I already knew about the book X: A NOVEL, read it in galley form with no blurbs attached. But even I, hardened and cynical, raised an eyebrow in appreciation at the nice blurbs from Chris Rock and Muhammad Ali. These quotes, if printed in advertisements in mainstream publications (ie, NOT trade publications like PW that only industry people read) will likely catch the eyes of people who aren't "the usual suspects" -- customers that DON'T normally shop in the YA section or have a clue about kids books, but who will be attracted by these very high-profile endorsements.
FACT: *Blurbs Aren't Going Anywhere. * - For better or for worse, this practice of trying to get blurbs for nearly every dang novel that comes out seems to be a trend that is lasting. Part of it, I think, is that success is so ephemeral. Nobody knows what exact combination of factors causes a breakout book. Is it about Great reviews? Word of mouth? Right place right time? Pure dumb LUCK? Or what? WHAT? Everybody wants to catch this lightning in a bottle. But there is very little that is actually within the publisher or authors' control.
You can write the best book possible. That's in your control. But virtually nothing else about the process really is. And ultimately, even the biggest, fanciest publisher can't make people write reviews or talk the book up or influence the Great Beyond to work on the books behalf. They can make a great looking package, but they can't force people to buy or read it. They can spend money on marketing but they can't guarantee that it will DO anything. So "getting blurbs" at least makes people FEEL like they are doing something to encourage the success of the book. And it probably doesn't hurt at least, so what the hey.
Here's how to live with it, with less stress:
ADVICE: * If you are a BLURBEE * - that is to say, a person whose work is in the publication pipeline, who is seeking blurbs: If the subject doesn't come up, you really don't have to bring it up. If your publisher isn't anxious about this, you shouldn't be either. (See "mostly worthless", above).
BUT, if/when the subject DOES arise, I suggest working with your agent and editor to brainstorm a list of possible authors to approach for endorsements. These should be authors that you think are actually appropriate for the material at hand -- so I would not suggest a picture book author to blurb an edgy YA. It just doesn't make sense. It makes logical sense that your book should appeal to the same audience as the person who is potentially endorsing you.
So you have your list of awesome, appropriate names that you brainstormed. Now you and your agent and editor figure out who will approach whom. The person with the strongest connection to that author (or their agent or editor) should be the person to approach. You as the author should NEVER have to "cold-call" (cold email?) people you don't have any connection to. Nor should you ever be asked to make the request if it makes you feel uncomfortable. When in doubt, your editor should approach their editor or agent.
YOU MIGHT HAVE WEIRD FEELINGS. Like: a) They'll feel sorry for me, as they know what it's like to "need" a blurb; b) They'll be put on the spot and feel like they "have" to blurb and then hate me; c) They'll have to say no and then feel guilty. DO NOT FEEL WEIRD. This is just part of the process. Nobody will hate you. Nobody will give a blurb unless they are genuinely able and willing to do so. And if they aren't, that's OK. Blurbs are nice, but a lack of a blurb has never killed anybody.
If you are approaching somebody - whether they are your BFF or just somebody who you know tangentially, or even a total stranger - take Curtis Sittenfeld's advice and be polite, succinct, and pre-emptively let them off the hook. DO tell them what the book is about, and why you think it is a fit, but do so briefly. Don't say no FOR them obviously - but don't be offended or upset if the answer IS no. When you are more famous, people will be asking YOU for blurbs, and you'll remember this experience.
ADVICE: * If you are a BLURBER * - that is to say, a person who is being approached for a blurb: Value your own time and sanity. If you are on deadline or just busy with life stuff, or hell, if the book just doesn't sound interesting to you, nobody can be offended by your saying No. If they are offended, they are jerks.
YOU MIGHT HAVE WEIRD FEELINGS. Like, a) I feel sorry for the author, and I know what it's like to "need" a blurb; b) I'm worried the author will find out I was asked and said no and then hate me; c) I'm worried if I say no this fancy classy editor will hate me. DO NOT FEEL WEIRD. This is just part of the process. Nobody will hate you. If you have time and ability and are moved to do so, by all means do it! But if not, that's OK. Blurbs are nice, but a lack of a blurb has never killed anybody.
My Personal Blurb Rules: 1) You should genuinely like the book and want other people to read it. 2) It should fit your "brand" or target audience. Would you recommend this to the same people who buy your book? 3) Don't be a "blurb whore" - if you blurb everything, your endorsement will stop being meaningful.
Your blurb rules may vary, but whatever they are, if you want to avoid burnout, I suggest you and your agent come up with a blurb plan. Perhaps it is that you NEVER blurb, or you will only blurb one book per season or year. You can always reserve the right to CHANGE that blurb plan, you aren't locked into it with manacles, but if you are approached unawares, it will give you a handy excuse to say no if the stars aren't aligning, and you can always make your agent into the bad guy. "Ah, my agent doesn't want me to blurb until my deadlines are passed" or "Oh, my agent says only one book per year, sorry!" (Agents are fine with being the bad guys).
But if the book does sound great, and you do have the time, and you do read it and love it -- well, what the heck. If you CAN do it and WANT to do it, by all means do! Nothing will make an authors day/month/year more than kind words from an author they admire.
Did I miss anything? What are YOUR blurby feelings?
*PS: If you are too young to get the title reference: in the late 80's/early 90's there was a satirical magazine called SPY that had a feature called "Logrolling in Our Time" that showed blurbs that famous people gave each other. Quid pro quo, Clarice. (And if you're too young for THAT reference, don't tell me).
0 Comments on Logrolling in Our Time*, or, You Can't Take Blurbs With You as of 1/17/2015 5:51:00 PM
What can I say about this new series from Kate Messner?
Wellllll.... Four words:
0 Comments on RANGER IN TIME book 1 by Kate Messner as of 1/9/2015 3:22:00 PM
Yesterday was my 7th Agentversary.
Because I know you statistics nerds like this stuff (and so do I), I crunched the numbers:
I sold 46 books in 2014*: 21 Middle Grade, 10 Young Adult, 6 Picture Book, 4 Illustration Only, 3 Nonfiction, 2 Early Readers.
That means 45.5% MG - almost as much as all other categories combined!
Of these 46 books, 24 different authors/illustrators are represented (Many of them had multiple books sold). Three of these 24 authors/illustrators are fresh-faced debuts. This year I sold books I'd been working on for years... and one book sold the fastest of any in my career so far, I sent it at 6pm and had an offer by 9am the next morning. Miracles happen! (For the record: That was for a debut realistic middle grade novel.)
While you all know that I hate talking about trends, and a lot of what I sold is due to the makeup of my list, I still think it is safe to say that, for me at least, 2014 was the Year of the Middle Grade Novel. And considering that many I sold this year will be releasing in 2015 and 2016, I'd say the coming years are looking strong for that category as well. :-)
Happy reading and writing, everyone - I can't wait to see what 2015 brings!
*I'm not counting foreign sales, subrights sales or sales where I rep both the author and illustrator - that would get way too complicated. Each title only counts once.
Looking for charming Hanukkah stories to share with your family? Well some of my authors can help you with that...
BEAUTIFUL YETTA'S HANUKKAH KITTEN by Daniel Pinkwater, illustrated by Jill Pinkwater, is a cuddly and funny holiday story for all ages to appreciate. This is the follow-up to BEAUTIFUL YETTA, THE YIDDISH CHICKEN, in which the title bird escapes from certain doom to the enchanted world of Brooklyn, NY.
Now Beautiful Yetta the (Yiddish-speaking) Chicken has made her cozy home among the (Spanish-speaking) Parrots of Brooklyn. She is like their mother. This little family is doing pretty well, even on cold winter nights. But during a snowstorm, Yetta happens upon something very strange -- a tiny ginger kitten! OY! Cats are no good for birds! But this little kitty definitely needs some warmth and love. Maybe the neighborhood Grandmother can help... at least with feeding everyone yummy latkes. Yay! Autographed copies of BEAUTIFUL YETTA'S HANUKKAH KITTEN available now at Oblong Books.
SIMON AND THE BEAR: A HANUKKAH TALE by Eric A Kimmel, illustrated by Matthew Trueman
: Before Simon sails to America, he promises his family that he will get a job and send for them. Simon's mother knows he will need a miracle, so she reminds him to celebrate Hanukkah wherever he may be. Little does either of them know that this task will be more complicated than she could have imagined... This fanciful Hanukkah tale-like none you've ever read before-celebrates eight miracles: family, friendship, hope, selflessness, sharing, faith, courage, and love. A retelling of the ancient Hanukkah story is included on the last page. Now in Paperback: HANUKKAH BEAR by Eric A Kimmel, illustrated by Mike Wohnoutka
: This 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.And a classic: HERSHEL AND THE HANUKKAH GOBLINS by Eric A Kimmel, illustrated by Trina Schart Hyman
: The Caldecott Honor winning classic is celebrating it's 25th anniversary with a new edition! This is the somewhat scary and totally unforgettable tale of the ingenious Hershel, who rids a village synagogue of goblins by cleverly outwitting them.HAPPY HOLIDAYS and HAPPY READING, EVERYBODY!
I have a lot of travel + bookstore stuff + general busy-ness going on in the next six weeks, so as I do every holiday season, I am officially CLOSING TO QUERIES as of tonight (say, midnight eastern time) -- and I'll re-open January 12, 2015.
The exceptions being Referrals and Conference submissions. If you are either of these, I urge you to SAY SO IN THE SUBJECT LINE. I will also, of course, look at material that I've explicitly asked to see.
This gives me the opportunity to catch up and clear out for the new year, and it is much needed. And you may well hear from me during this break, as I have a LOT to catch up on! ;-) Anything already IN the inbox before tonight will be responded to. All other new queries will be deleted.
So, what to do? Well, if you want to choose any of the other lovely agents at ABLA who are open, you may of course feel free to do so -- if you'd prefer to query me specifically, please do so today, or wait until January.
Let me know if anything is unclear! And have a great holiday season.
When I was a newbie, my boss told me that I should never answer the question "How many clients do you have." See, it's a question with no right answer, in which the asker can interpret the answer any way they want.
If I say a high number, does that make me sound Healthily Busy or Totally Overwhelmed? If I say a low number, am I Selective, or Lazy? And what would BE a "low" or "high" number, anyway?
Since I'm no longer a new agent, and I believe in transparency, and I love love LOVE talking about my authors - I have a list of my clients posted on my blog. You can count them if you are so inclined. (Spoiler: it's about 50). I still shy away from saying an exact number out loud, and I don't have a number that would be a "ceiling" in mind, but, you know, basically I am pretty full. I am busy enough. I don't need more clients. But I shall certainly leap to grab one if the perfect fit comes along!
I don't remember where I got this analogy but I think it's a good one: it's kinda like being an obstetrician. While I might have dozens of clients, most of them are busy gestating or taking care of books under contract that already exist - they aren't in my waiting room with their water breaking all at the same time. This metaphor has gotten a little gross now, but you see what I mean - there are only a few pressing matters "in play" on any given day/week.
So how many authors IS too many? I think of my list kinda like Mary Poppins's bag crossed with the TARDIS. Magical, flexible, sentient, bigger on the inside, and obviously able to navigate wibbly-wobbly timey-wimey stuff. There's no answer, is what I'm saying -- how much work I can do adjusts according to how much work there is to do.
If there is ever a time I am feeling burnt out or overwhelmed - I take a break and/or ask for help. If I was feeling like that all the time, I'd cut back my list -- but so far, luckily, that has not had to happen. Other agents' answers may vary -- for some, 20 clients would be their limit. Some, I'm sure, juggle 100. But I think everyone would agree that there is no magic number, and no right answer to this question.
A lot of authors are curious about what happens when a project goes "on submission", so I thought I'd lay it out here. I want to stress that this is from MY POV ONLY. There is no one way to do this -- other agents might have different styles, and that doesn't make them (or me!) wrong -- just different. And I'm only speaking for myself, I make no claims about what any other agent may or may not do, even in my own agency. Also, of course, a lot of stuff may be variable depending on the author, project, time of year, phase of moon, etc, so all of this is not even applicable to all projects! And now that the epic disclaimers are out of the way, on to the epic post:
MANUSCRIPTS ON SUBMISSION 101 STEP ONE:
Once we've been through revisions and have a clean ms to send out, I will re-read the project. As I read, I think about the style of book it is. With a book that is really submission-ready, I'll be able to visualize what I think it will look like on the shelf. Does this FEEL like a light and fun paperback? Does it FEEL like a beautiful epic fantasy with maps and fancy gilt edges? Who will buy this book most - Librarians and teachers? Teens? Hipster parents? Doting grandparents? Based on these calculations, I narrow down the list of publishers to those who would be open to publishing this type of book. I'm also thinking about who amongst my editor acquaintance might also like the story. STEP TWO:
I create a submission list and share it with the author to see if they have any input. For example, if they worked with a certain editor before, or something of that nature. My submission strategy is to target wisely rather than widely. I don't, for example, go to multiple people at the same house. I like the editors to whom I send projects to feel they've been selected especially, as indeed they have been. You can read much more about choosing imprints and the fun game of crafting the editor submission list and all that goes into that in this post from the archives
If I an torn between who at a given publisher might like a project, I might email or call either the boss or the editor I know the best and ask their
opinion. Yes, this works. Everybody WANTS to connect successfully and find projects they love! STEP THREE:
I either call or email the editors (unless I happen to have a meeting or lunch scheduled with them in person during this time-frame in which case I pitch in person) -- and ask if they'd like to see. 99%* of the time they DO ask to see -- I like to think I know their taste well enough and they know mine well enough that they know I'll at least show them something worth looking at, even if they end up passing. Even editors I don't know well will generally agree to look at the project because, you know, they are polite and they work with our agency a lot. :-) Annnnd then I send it out and we wait for responses!
(* The 1% of the time they don't ask to see, that is usually because they have something too similar already in the pipeline -- like, I had a chapter book about a certain historical event go out and one person passed on looking because they have a book about the same event already coming out in 2015. So, obviously, I targeted them correctly, just somebody else was faster! That's OK, it happens.)
How do you decide between giving an exclusive and making it a multiple submission?
For me, it is nearly always a multiple submission. If I were to give an exclusive, I would explicitly state it to the editor and give a time-frame, and it would be because:
1) The author has worked with an editor before and this is the next logical book -- let's say, you have a YA fantasy out, and this is a new YA fantasy in the same world - even if we don't HAVE to show the current editor contractually, we WOULD, because it just makes sense. I like to keep good relationships going! ... or
2) We have an option that we need to fulfill (ie, in the contract it is stated that the publisher gets first crack at anything new) -- in which case they'd only have it exclusively for whatever term the contract specified, say, 30 days ... or
3) You've discussed the project at length with an editor and you think they will LOVE it, or it was inspired by something they said, or written specifically with them in mind, or something of that nature -- in which case I'd let them know that they have a limited window head start. Not that they HAVE to get back in that amount of time -- but we'll be going out more widely after that time.
If none of these apply, then it is a multiple submission.So what should I, the author, be doing while you, the agent, are waiting for responses? You should be working on the next book. WORKING ON THE NEXT BOOK. Oh heavens, please be working on the next book. Outline a sequel if you like - but I wouldn't get too married to it until you have proof that somebody wants the first book. I'd rather you be working on a completely new, shiny and different project. Something you are excited about and thrilled to write! So that you will not be obsessing over the thing that is on submission.And will you share all the responses you get with me as you get them? When I first started as an agent, I always shared all declines immediately with my authors. But then I realized that the authors were getting majorly bummed out and oftentimes this knowledge would derail them from their work on their happy-shiny new projects! So I changed my stance on this and started doing it a little differently. If I get an OFFER, or a request for revision, of course I share it immediately. The same goes for a really kind/complimentary or otherwise uplifting decline. If it makes me happy to read, it will probably make my author happy to read, too, and I share. If, however, I get an ambivalent decline, a nonsensical (or even mean) decline, or just generally non-helpful decline, I just mark it in my little book as a "pass". At a certain point, when the round is winding down, around the 8-12 week mark, I'll compile all these and just give an update and 'state of the ms' report. If an author wants more frequent updates, they can ask me at any time -- some people want to know what's up more often, and that's fine. And some authors REALLY REALLY want to know every gory detail as it happens - that's fine too, they can just let me know. I happen to think it is a bit unhealthy for the majority of authors, but of course I will send as my author prefers.How long does it take to hear back from editors, and do you nudge or give a deadline?
I don't give a deadline unless we have an offer on the table. I usually hear back on picture books and short chapter books within a few weeks -- sometimes, for novels, a few months. After 8 weeks, I'll nudge people as needed. There are often a couple of outliers who don't reply unless shaken vigorously, but the bulk of responses will come in by 8-12 weeks.What happens if we get an offer??!
If we get an offer, I nudge everyone who is still looking immediately, letting them all know that we have an offer and that I need their responses ASAP. If that's the case, usually everyone replies immediately to either pass or express interest, and we go from there. If we do get two offers, I'll compare and contrast, and ask for improvements as needed, and the author will decide. However, if I know other offers are coming. . . . OMG!! What if there are MULTIPLE offers?!? IS THAT AN AUCTION??
If I know we are getting multiple offers, we call an auction. (You theoretically CAN call an auction any time you want -- but I would hate to throw an auction and have nobody come! I personally only declare an auction when I know there is significant interest from more than two parties.)
The agency has "auction rules" that define what we want offers to look like and include, so that when it comes time for the author to decide between offers, they are comparing apples to apples. I'll set what's called a Closing Date (usually a week, week and a half, depending on the time of year and such) -- by which time everyone needs to come to me with offers if they are going to. Different kinds of auctions are structured in different ways, but usually auctions are either "best bids" (one round, everyone just gives their best possible offer and the author decides) or "rounds" (in which the agent can go back and forth and ask for improvements and the author decides). There are benefits and drawbacks to each, and your agent will make sure you understand what is going on when it happens!
So auction means BIG MOOLAH, yes? $$$$ WOOOOHOOO!!! $$$$$
Sorry to disappoint. Despite sounding V V Fancy, Auction doesn't mean the book will automatically sell for a million bucks. Auction just
means there are multiple offers, but it does not define what those offers might be. Everyone COULD offer pocket change and belly lint! But usually auctions inspire editors to at least TRY to put their best foot forward.What if we send it out and get ... no offers :( ? This happens, too, even to manuscripts I love and think will sell -- and they often DO sell, just perhaps not in the first round. Nothing to worry about. What I'll usually do is compile the feedback we've received and see if there is anything useful to be gleaned from it. Sometimes there is, sometimes there isn't. We'll discuss whether you want to revise or not, and I'll send the work out to more people and begin a new round of submissions.
What if we never ever get an offer? At what point do you consider a ms completely shopped? Well... depends on the book, and depends on the feedback we've been getting. If we're just getting nothing useful, or no responses at all, and I don't feel I have anywhere else to go with it where the results will be different, that is quite dispiriting, and it might be time to back-burner the ms for a while and try something else, maybe revise with fresh eyes at a later date. If we're getting THISCLOSE but just not quite putting it over the top, like every editor is saying they "love it but..." -- well, then I'd be inclined to keep going even longer. I have sold books in less than a day... but I've also sold books that took a year, two years, or longer, over multiple rounds with revisions and tweaks in between. Sometimes it just takes a long time to get to that yes! So, there's no magic number of editors -- it's a case-by-case situation. The good news is, you have a lot more stories to tell, right?
Is there any question about the submission process that I forgot to answer? Ask in the comments!
Do you like lush, richly imagined fantasy worlds? Do you like heroic adventures and palace intrigue? Do you like strong ladies with agency? Have you read Miriam Forster yet??! Today is the release day for EMPIRE OF SHADOWS, the second tale of the Bhinian Empire.
Note: This is NOT a sequel to CITY OF A THOUSAND DOLLS - it's a companion novel (or prequel) that can absolutely be read first or alone. However you will get to know some interesting tidbits about either novel by reading the other. (And CITY OF A THOUSAND DOLLS is now in paperback, with awesome extras!) . . . but about EMPIRE:
Perfect for fans of romantic fantasies like The Girl of Fire and Thorns and Graceling, Empire of Shadows takes readers on a spellbinding journey into a world with a divided society, deadly courtiers, heroic traitors, and deeply laid conspiracies.
Cast out by her family three years ago, Mara turned to the only place that would take her—an order where students train to protect others. But Mara is stunned when guarding a noble girl in the Empire's capital turns out to be more dangerous than she could've imagined. More shocking still, Mara finds the boy she thought she'd lost forever outside the gates of her new home.
Mara knew the dizzying capital city would hold dangers. How could she have known that her heart, as well as her life, would be at stake?
Fantasy-lovers, Miriam Forster is a talent to watch, and the Bhinian Empire books are glorious reads to get lost in. Request the book from your local library, bookstore, or online at Indiebound
, Book Depository
So you've all heard of #WeNeedDiverseBooks, yes? This is a grassroots campaign that began as a simple twitter hashtag meant to highlight the lack of diversity in Children's literature, and has morphed into a super-worthy nonprofit organization that does things like fund writers grants for underheard voices, make sure there are diverse panels at trade shows and conferences, and generally raise awareness of the problem and help find solutions... and they are having an IndieGoGo fundraiser this month.
This is a project I'm SUPER INTO and I want to encourage you to DONATE TO #SupportWNDB ! Here's the link again in case you already forgot.
On a somewhat more personal note, this week I'm also celebrating the publication of a diverse book I'm so proud of, LOWRIDERS IN SPACE! LOWRIDERS is the first in a graphic novel series for middle graders; its cunning mix of humor, science and pure fantasy will appeal to both boys and girls 8-12.
Publishers Weekly says in their starred review:
Camper’s rocket-powered graphic novel stars a deliciously improbable trio: Lupe Impala, a beautiful mechanic with a mane of black hair and a limitless supply of automobile knowledge; Flapjack Octopus, whose eight arms can detail a car to a high gleam; and Elirio Malaria, a shady-looking mosquito who uses his needlelike proboscis to pinstripe cars with fantastic accuracy. Raúl the Third’s dazzling art, done with red, black, and blue ballpoint pen, fuses the energy of Mexican folk images, the naked passion of tattoo art, and the antics of Saturday morning cartoons. Lupe and her sidekicks want to start a garage, but they don’t have enough money. They enter a car competition (first prize is “a carload of cash”), find a beater, and plot their strategy: “¡Y vamos a tener que echarle ganas, to clean it!” says Flapjack (Spanish translations are provided throughout). A wild journey through space gives their car one-of-a-kind galactic magic—readers will rejoice in their triumph. As a celebration of Latino lowrider culture, too, it’s estellar.
So here's the deal. I have a bunch of copies of this book. . . and I'm going to do a giveaway
. If you have a group of kids who would benefit from having copies of LOWRIDERS, send me an email. Tell me what school or group you are with, how old the kids are, how many kids there are, and anything else you think I need to know. I would like these books to go to a group of kids that would not normally be able to purchase new books! Subject line: LOWRIDERS GIVEAWAY - to JennL at andreabrownlit dot com.
And if you CAN purchase new books - well, please do buy this one. I would love to see a kick-ass culturally authentic graphic novel like this one be wildly successful - because I'd LOVE to sell lots more books like it!
Request it from your local library, purchase at your local independent bookstore, or visit Indiebound Amazon Barnes+Noble
to purchase online.
I read a forum post this morning quizzing agented authors on where they found their agents. The authors were very nicely answering, but most of the answers were the same: "I did my research and then sent a query letter."
Why was this the most likely way they answered? Because it's the most likely way to get an agent. It just IS. I know the myth is that you have to "know somebody" but that really isn't true. Which got me to thinking about how my clients found ME (or, vice-versa). And I decided to bust out the chart-making tools again because I know you like that.
So let's break it down:
56% of my clients came to me because of straight up query letters, from the slush. They didn't know anybody, they didn't drop names, they weren't published before, they didn't go to conferences, they didn't meet me first - some of them I still haven't met in person, because they live thousands of miles away!
24% of my clients were people that I'd met somewhere before they queried me. These are people I met at conferences, in a couple of cases, or published authors that I met in my capacity as a bookseller. (There's also a former co-worker in the mix, an SCBWI RA, and one of my neighbors. What can I say, she's a great writer!). The thing is: All these people STILL HAD TO QUERY. It's not like I said, oh, I know you, so sure... they still had to show me something I thought I could sell.
16% of my clients were referrals. This means that somebody I really trust - like an editor who knows my taste, or an existing client - thought this would be a good fit for me, and e-introduced us. But, you guessed it: These people STILL HAD TO QUERY, and show me something I thought I could sell.
4% of my clients were inherited from other agents at my agency. They actually are the only people who were kinda "grandfathered in," and did not have to show me something new to be taken on. However, I also trusted that they could write, that they had great stories in them, and that we'd gel well - and we spoke before I took them on. Still, this does not always work out, so I feel very lucky that these have!
Moral of this story?
96% OF AUTHORS NEED TO
WRITE A GREAT QUERY LETTER.
My author R.C.Lewis first described STITCHING SNOW to me as "Snow White in space... if Snow were a cage-fighting tech-head with daddy issues." How could I not want to read that? And now YOU can, too, as STITCHING SNOW officially hits shelves today!
Seventeen-year-old Essie can take care of herself. She knows how to stitch up robotic drones so the men in the mining settlement remember she's worth keeping around. She knows how to use her fists to make sure they keep their hands off her. But all her self-preservation skills don't tell her how to deal with Dane, a boy who's depending on her to get his crashed shuttle off the icy ground of her desolate planet and flying again.
Dane's polite, chivalrous, even a little charming, and he gives Essie the kind of attention she's never had. She begins to trust him, which is a new (and terrifying!) feeling for her. But then he discovers her secret. She's a Princess who has been missing for years, and there will be a rich reward for returning her to her kingdom. One betrayal later, he's taking her home whether she likes it or not, to exchange for captives held by Essie's father the King. What Dane doesn't know is Essie wasn't kidnapped all those years ago... she ran away. And bringing her back home just might kill her.
STITCHING SNOW is fast-paced, voicey debut YA that will appeal to both SF fans and "people who don't think they like Science Fiction" - and Essie is a brilliant, tough little sweetheart of a character you won't soon forget.
Buy the book at your local independent bookstore via IndieBound, or at Oblong, Powells, Book Depository, B+N or Amazon, or wherever fine books are sold.
Research agents for even a short while and you're almost sure to come up with two competing bits of wisdom:
LOOK FOR AGENTS WHO REP THE BOOKS MOST LIKE YOUR OWN!
AGENTS WON'T TAKE ON WORK TOO SIMILAR TO WHAT THEY ALREADY REP.
Guess what? BOTH these contradictory statements are true! ....Yayyy??
Of course you want to pick an agent who does the kind of books you do, and hopefully reps some authors you admire. . . but yep, that agent will likely decline if the books are too
similar. I wrote a post way back in 2011
about WHY agents can't take on work that competes with what they already rep. It's all still true, so I won't rehash it here.
But if you want to be able to tell if they are two close for comfort - try this: If you break the books down into general CATEGORY, TONE and THEME - TWO of these can match. But if all three overlap, it's probably too close.
In other words:
I could rep two funny picture books ... but not two funny picture books about Ninjas. I could rep two picture books about Ninjas, if one was funny, while the other was non-fiction/factual. I could rep two funny Ninja books... if one was a picture book and one was a middle grade. (That isn't to say that there isn't room IN THE WORLD for multiple funny picture books about Ninjas, btw... just that I personally would feel uncomfortable repping all of them!)
In the case of something like "heartfelt middle grade fiction about girls growing up" - where there are certainly lots of great books that seem to overlap... the differences might be more subtle. I rep both Linda Urban
and Kate Messner
, for example - two great authors, both sometimes writing in a similar space - but you wouldn't confuse CROOKED KIND OF PERFECT with BRILLIANT FALL OF GIANNA Z. You just wouldn't. On the surface there are similarities, but there's a difference at the bone.
So if you're researching an agent who reps what you write... and you've thought about the chart and you see the surface similarities but you still think YOUR difference is different enough... you might as well try querying the agent... why not, right? Nothing to lose. Nobody is going to be mad at you - the worst that can happen is, you get a rejection, and that isn't anything to lose sleep over.
Does this make sense? Helpful, or have I muddied the waters even further?
Life got the best of me in September and I realize I have several books to post about now... so I'll do the new releases all in one to save your eyeballs!Kate Messner's WAKE UP MISSING
For the Picture Book crowd:
Mara Rockliff's CHIK CHAK SHABBAT is a wonderfully inclusive picture book about the multi-ethnic residents of an apartment building who, when a neighbor is too sick to cook, improvise a meal cobbling together their own unique traditions to celebrate the true spirit of Shabbat. The book is illustrated by the amazing Kyrsten Brooker and really has the feel of a modern classic already - Candlewick did a great job!
And lest you assume that this is a "niche" book, I have to tell you -- there is so much warmth, humor and heart to be found in these pages, it doesn't matter if you don't know Shabbat from Shinola, you'll get it. :-)
Buy the book: IndieBound - Powells
For Middle Grade readers:
, the edge-of-your-seat science thriller, is now available in paperback!
WAKE UP MISSING is about a group of kids from different parts of the country and different walks of life. In fact, they have only one thing in common - they are all hospitalized in an elite institution for brain science after having experienced head trauma. When the kids realize that something VERY sinister is going on at the so-called "research" facility, they must run for their lives -- making their escape through the dangerous Florida Everglades. This is one seriously EXCITING read - and it's especially good for any kid interested in science/medicine.
"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, author of The Missing
and the Shadow Children series
Buy the book: IndieBound
- Powells For the YA fans:
I wrote about Gwenda Bond's GIRL ON A WIRE
last month so I won't belabour the point, but I will say, if you think a mystery-magic-romance mashup sounds great and/or you appreciate the dazzling world of the Circus... you will probably love this book.
"The circus and its theatrical characters provide a fresh, vibrant backdrop as Bond impressively describes a range of circus performances, while threading enticing slivers of magic and romance into her story. It's a fascinating and enjoyable foray into circus life as seen through the eyes of an ambitious and talented performer." -- PW
"The mystery is tense and nerve-wracking, and the acrobatics are gorgeously hair-raising." -- Kirkus
"With a thrilling mystery, a hint of magic, and a touch of romance, "Girl on a Wire" takes readers into the fascinating world of circus performers." -- SLJ
Buy the book: IndieBound
Anyone who tells you magic isn’t real doesn’t know what they’re talking about. Just like anyone who tells you falling is like flying has never done either.
If you've spoken to me anytime in the past, oh, two-years-ish, you might have heard me gush about GIRL ON A WIRE from the talented Gwenda Bond
. And... its October release date is almost here! In fact...
YOU CAN READ IT TODAY!
Yes I know it ISN'T October yet! This is a September surprise. GIRL ON A WIRE is a Kindle First pick
. Which means, if you're an Amazon Prime member you can read GIRL ON A WIRE for free (FREE) (zero dollars!) right now. If you aren't, you can read it for $1.99 (which, let's face it, is ALMOST FREE). This deal will be going on the whole month of September. Yesssssss.
GIRL ON A WIRE is the story of Jules Maroni, the extreme high-wire walker and teen daughter of circus royalty. When somebody starts planting jinxy magical items on her costumes, it's unclear if the culprit just trying to scare her... or actually kill her. And is it all just old superstition, or could there be real magic at play? Jules teams up with the son of a rival family to solve the mystery, and sparks fly. (So yeah, it's basically Daredevil Juliet and Trapeze Romeo Solve Possibly Magical Crimes. Yessss.)
Get your e-copy today
, a month before everyone else! And if you want to win a new Kindle Paperwhite, check out Gwenda's contest
By popular demand (really!), I'm revisiting my Writers Digest class, WRITING AND SELLING MIDDLE GRADE FICTION. Last time I taught this webinar we had 100+ participants and it was really fun, and I hope interesting and inspiring for attendees! Here's what you need to know:
* The live webinar will be held Thursday 8/14 at 1pm Eastern. BUT! If you can't attend live, NO PROBLEM - everyone who has signed up ahead of time will get the webinar on-demand, and have access to all program materials for a year
* Everyone who has signed up ahead of time will get a critique of EITHER the first 500 words of their finished/WIP middle grade OR their query. Your choice.
* EVERY question will be answered, either during the presentation or in writing afterward -- if you can't attend and ask during the live presentation, you may simply send in your question to WD, and I will get to all of them.
This class is probably most useful for:
* Folks who are either ready-to-query or who are in the query trenches but haven't yet hooked an agent (or perhaps, have gotten rejections but don't know why!)
* Those just starting their Middle Grade writing journey (or perhaps don't even know where to start!)
* Published or unpublished writers in other categories who are considering transitioning into Middle Grade.
You can sign up for the Webinar with critique anytime until 8/14. Check out the Writers Digest website for more info or to register.
And if you have ANY questions about this class, please ask here or on Twitter!
This has been ALL over social media in the past couple days, but it is really smart plotting advice from Matt Stone and Trey Parker, the creators of "South Park" and "Book of Mormon." Like... REALLY smart and simple advice, not just for film but also very much applicable to children's book writers. Take two minutes and watch!
If you've ever gotten a critique that your picture book "read like a series of lists" or "was more like a vignette/series of vignettes" . . . or perhaps your novel was "too episodic" . . . THIS is what those critiquers probably meant, and how to fix it.
What do you think?
OK so it might be weird to have a crush on a fictional teenager but... MICAH
, though. Micah is the ultimate Badboy-with-a-Heart-of-Gold from THE ART OF LAINEY. He's a mohawk'ed, punk-rock-listening dude with a troubled past who also
btw is super caring and kind and a huge fan of fancy baking and would love to make and feed you a scrumptious triple-chocolate-mocha-mousse-delight. I'm just saying. #yum
INFINITE REPEAT is a novella by Paula Stokes that gives us Micah-fans what we have wanted -- a story told from his POV that gives readers a glimpse into his backstory. It takes place entirely before THE ART OF LAINEY -- in other words, you don't need to read one to read the other. So if you haven't met Micah yet, here's a great chance to do so.
Obviously I love Micah and want to read about him just doing anything pretty much... but my favorite thing about INFINITE REPEAT is the relationship between Micah and his little sister Tris, who was one of the unexpected minor-character stars in the original book. Tris and Micah are such a compelling duo, and I totally platonic-ship them. I could read their conversations and banter all day. And I love how they are constantly both pushing each other and protecting each other. LOVE LOVE SIBLING LOVE!
Anyway, listen, enough out of me. I want you to get to know Micah. INFINITE REPEAT is $1.99 and can be found wherever e-books are sold. More about the book and all buy links on the Epic Reads site.
I get a lot of #AskAgent questions about the ol' "Revise and Resubmit" -- so I figure I'll tackle them all here, and if you have more you can put them in the comments.
Q: "I've heard "R+R" or "Revise and Resubmit" - but what does it mean?"
A: It means that an agent has read the author's full manuscript, and while they are not ready to commit to offering representation, they see potential in the author or the story and they are willing to provide notes and an opportunity to, well . . . Revise and Resubmit. ;-)
Q: "How can I tell if the agent is just giving general feedback as they might with any nice personalized rejection, or if they really want to see the book again?"
A: Every agent works differently, but to my mind there are three types of rejections:
*Impersonal - A form letter - might be long or short, but ultimately, there's no feedback, nothing personalized to you specifically, just a kind "not for me, thanks."
*Personalized - Notes you/the book by name - says a nice thing (or a few) about the manuscript, maybe notes a problem (or a few), but is a no all the same.
*R+R - clearly took some time to write, gives extensive notes on the strengths and problems with the manuscript, perhaps there is even a phone call to discuss, and there is an invitation to resubmit explicitly stated.
Q: "But what if I don't agree with their notes, or don't want to revise?!"
Then you say something nice like "thanks for taking the time to write this!"And then don't fret about it. That's fine. Nobody is forcing you to take the advice or to resubmit! (Though you might find that the advice gets better the more you let it settle in your brain... so don't burn the email or anything.)
Q: "How often do you give a "Revise and Resubmit"?
A: They are pretty rare. Of the hundreds of queries I get, I reckon I request about 5% fulls. Then about 5% of the fulls I read will result in an R+R. Some of those people will choose to revise, some won't. Of the ones that do revise, I still might ultimately turn down for any number of reasons . . . but if they've taken the notes on board and done a great job, I'd say they are likely much closer to getting representation if not from me, then from somebody else.
Q: "I've heard writers call R+R's "The Slow No" -- they say this is just a nice way to reject somebody, and there is little chance the agent will change their mind once you revise."
A: This is quite wrong. I do not give extensive feedback unless I really do see great potential in the book, and I do NOT say that I want to read it again if I don't really want to read it again. I mean - no. Never. I just can't spend extra time thinking about or looking at things I don't like, and I wouldn't string anyone along in this way "to be nice" because I don't think it IS nice to string people along!
Q: "But come on, get real, have you ever actually SIGNED somebody after an R+R?"
A: I have signed several authors after an R+R, in fact. These are authors who took the feedback I gave and really ran with it -- not just giving a micro tweak here and there to their manuscripts, but really doing awesome full-on revisions that took their books from "promising" to "OMGAMAZING." I had no idea if these folks could really revise, or would want to revise -- but I am so glad they did, and so proud of them and their books!
Q: "OK but what if we decide to write a totally different book instead. Should we query you again, or avoid since we never did that R+R before?"
A: In my opinion, if I've ever had a full of yours in the past and given any personalized feedback (not just an R+R), and that feedback resonated with you, you should definitely try me again on your next book. I have offered authors rep on the second or even third book they've queried. Sometimes an author's earlier work was good but just not quite there -- but they get better and better, and I am always pleased to see these names again the next time! (That said, if you thought my advice was lousy or something on the first book - you might try another agent at my agency for the next one.)
Q: "You responded to my full two years ago and I still haven't finished the revision. Is there a time limit? How long should this take?"
A: There's no time limit. It takes as long as it takes, and I'd rather you take it slow and do a smashing job than rush and half-ass it. . . don't worry about me, I've got plenty to read. Of course I may check in from time to time to see how it's going -- no pressure, just sometimes it's hard for me to forget about a character! :-) If you think it would help to give yourself a fake deadline, try 4 months. But don't break your neck over it.
Anything I forgot to ask myself on your behalf? Ask away!
When Olwen Nia Evans learns that her family is moving from San Francisco to Wales to fulfill her great-grandmother's dying wish, she starts having strange and vivid dreams about her family's past. But nothing she sees in her dreams of the old country--the people, the places--makes any sense. Could it all be the result of an overactive imagination . . . or could everything she's been told about her ancestors be a lie?
Once in Wales, she meets Gareth Lewis, a boy plagued by dreams of his own--visions he can't shake after meeting a ghost among the misty cairns along the Welsh seaside. . . A ghost named Olwen Nia Evans.
Sarah Jamila Stevenson's third book is an extremely evocative and enchanting ghost story set in Wales. It is not the kind of supershiny blockbuster where some overly-beautiful teen has to wear black leather and save the world or overthrow the government . . . it is a smaller story. The type of story that will be more likely to whisper into your brain and get under your skin, with characters you'll think about long after you've closed the book.
You're querying, and you get an offer. NOW WHAT?
GOOD IDEA: If you get an offer of representation, and it's an agent you would not be sad to work with*, you should absolutely let the other agents who have the full or partial** know, to see if they want to read quickly and maybe hop on board the Offer Train. You might phrase it something like: "Thanks so much for your interest in AWESOME MANUSCRIPT! I've had an offer of representation, and I've told the offering agent*** that I need a week**** to get my ducks in a row. So if you are also interested, could you please let me know by [a specific date a week or so from now]?"
PROBABLE RESULT: This will always get me to take a look at the ms if I haven't already, or to read faster if I'm already reading. However, it will also have me reading toward NO. In other words, unless I absolutely flippin LOVE this book, I will pass rather than get into a beauty contest over it. I can't make somebody Revise and Resubmit if they already have offers, after all! The good news is, you can safely assume that anyone who DOES end up entering the fray at this point really is keenly interested in the book.
* BUT WHAT IF I DON'T WANT THE FIRST AGENT? IF on the off-chance you query somebody, they offer, and then when you speak to them you realize that you don't share a vision for the book at all and you really would be sad to work with them -- I STRONGLY SUGGEST you simply and graciously decline their offer but DO NOT let the other agents know and make them rush. You are more likely to get a thorough read and a fair shot if the agents aren't being rushed.
** BUT WHAT ABOUT THE PEOPLE WHO ONLY HAVE QUERIES? Say it's the same situation as above, but you also have a bunch of just-queries out there who haven't had time to even possibly request a full -- by all means, feel free to reach out to them as well and see if they'd like to see more. Something like: "I know you might not have even seen this query yet, but I wanted to reach out to you because I've had an offer of representation. If this query seems like something you'd be interested in, I can give you a week with the full. Otherwise, no worries, I understand you might not want to rush!
Again, I will probably glance at the query and decide in a split second if it seems worth my time to pursue. Usually I will step aside, but sometimes, rarely, I'll decide to get the full and then it is the same deal as above. Happy to read, reading fast, but reading toward No.
*** BUT WHAT IF THEY ASK WHO THE FIRST AGENT IS? Well then, you tell them, if you want to. It's not a trick question. I've said it before and I'll say it again -- I ask for three reasons: 1) I'm curious/nosy. 2) I'm interested in who my competition is -- I'm friends with a lot of agents, and if you've also queried a colleague and I honestly think they'll be better for you, I'd probably stand aside (or else offer myself but say something kind like "you really can't make a bad choice here" while inwardly seething at my frenemy. JUST KIDDING. Or am I?) and 3) I want to make sure it's not a schmagent or scamster. I like writers and I don't like people who dupe them!
**** BUT IS A WEEK ENOUGH TIME?? You can keep the first agent on the string for a week, even week and a half, no problem, totally normal. Two weeks, OK, if there's a major holiday or BEA or something involved, but they'll start to get a little antsy. Anything longer than that -- or if you have a "firm deadline" then extend it -- and they'll very likely feel like you are just out there using them as bait to fish for "better" offers. That's an ugly feeling. After all, they did everything right - they read quickly and had an offer for you with no fuss or muss -- why are they getting treated like a chump?
I've gotten an "I have another offer of rep, please read quickly" email at all kinds of inconvenient times: While on Hawaiian vacation. At an SCBWI conference. At the Bologna Book Fair. During Christmas break. Guess what? In all those cases, I was able to read and come to a decision within the given time. It's not rocket surgery. Believe me -- if these other agents really want to work with you and your book, they can figure it out in under two weeks.
TERRIBLE, HORRIBLE, NO GOOD, VERY BAD IDEA:
I recently got a query from somebody. An hour later, I got a note saying, basically, "I have an offer of representation, but I really want to work with YOU! Can you read immediately?" AN HOUR? Well that's extremely odd, and a glance at the query told me it would have been a pass for me in any case, so I wrote back something like, "This is not a great fit for me, so I'll stand aside, but congrats on the super-speedy offer! Wow!"
I then immediately told a colleague on gchat about the odd exchange -- not naming names or anything, just "Hey, this really weird thing happened at work today." She looked through her inbox and found the exact same situation, with the same hour-later update, from another day. We told another colleague via email. She found the same query, same update, but with a few key words changed, from the week before. Say what?! That went out to an agent list-serv. Within a half hour, we'd found twenty or so different agents who had had the virtually the same query from five different "aliases," each of whom "had an offer" an hour later and wanted a quick response. All of us passed. Some of us had asked the person "who made the offer?" and the response was nebulous.
WHAT THE. Is somebody telling people this is how to query? Is it a maddening new micro-trend, or just one person with a lot of email accounts trying to be clever? Either way, STOP IT. And YES, we talk to each other.
Yeah I know. I shouldn't really have to tell a bunch of grown-ass adults that LYING IS A NO-NO, and a bad way to start a relationship that is meant to be based on trust, but. Apparently somebody out there is giving the verrrrry bad advice that writers should try and game agents. I could give you a laundry list of reasons this is a super bad idea, but I am pretty sure the perpetrators of this piece of dubious "wisdom" will never read this, and all of YOU are smart enough to put it together on your own.
Now carry on, and may your offers of representation be plentiful! :-)
The DARK METROPOLIS is a city that brings to mind the devil-may-care excesses and menace of Berlin between the wars. Here, corruption and vice are rampant, disappearances warrant only a shrug from the authorities.... and people who die don't always stay dead.
Sixteen-year-old Thea Holder is struggling to stay afloat. By day she nurses her ill mother, by night she works at the decadent Telephone Club. Unlike most other girls at the club, Thea refuses to go out with men and accept favors to supplement her wages, so she is barely able to make ends meet. When her best friend at work, Nan, stops showing up, Thea is the only one who is alarmed and tries to find her.
Thea's search for her friend leads her to a strangely attractive silver-haired boy whose touch is a gift, and a curse. Together, the two will uncover nightmarish secrets about how the city is really run. Secrets that some rich and influential people will do anything to keep hidden.
Drawing on influences as diverse as Fritz Lang's Metropolis, Cabaret and Sabriel, this is a dark 1920's fairy tale; haunting, romantic and suspenseful.
Jackie Dolamore is the author of the awesome fantasies MAGIC UNDER GLASS, BETWEEN THE SEA AND SKY, and MAGIC UNDER STONE -- but I personally think that THE DARK METROPOLIS is her most daring and sophisticated book yet.
PW: Dolamore brings the elements of her complex storyline together with flair, and an extended climax provides closure and reveals new sides to the characters. Heroes, villains, and those somewhere in between all have strong motives.
Booklist: Dolamore builds an intriguing fantasy world, vaguely reminiscent of a war-ravaged twentieth-century Europe with the glitz of the Gilded Age, old-country magic, and an underground dystopian flair.
You can buy the book at Oblong, through IndieBound, from Powells, Barnes and Noble, Amazon, or anywhere fine books are sold.
I got a comment on the blog that was important enough that I wanted to make a post about it. Identifying info has been scrubbed for anonymity.
I got an agent several years ago at what is considered a really great NYC agency, but I'm not happy. My agent frankly scares me and is often not nice, and they want me to take my books in a direction I'm not comfortable with at all. . . So we're at a stand still.
I feel like a girl in bad relationship - afraid to break up in case no one else wants me, (everyone is always all, "Wow, you're with Fancy Pants agency?!") but I'm not really getting anything out of this relationship. I always envisioned an agent helping me build my career and that so isn't the case. They make me cry, and we're definitely not partners in this.
Signed, Should I Go Solo Again?
There are all kinds of things an agent might
do for you. But here's what I think an agent MUST do: Be ethical, communicative, savvy about publishing, and work with you to help you achieve your career goals.
That means giving advice - but also following your directions. After all, they are supposed to be acting on your behalf
. That means, basically, as far as the publishing world, they are an extension of you
. You don't have to LOVE your agent -- but I think you do have to respect them and trust that they have your back.
"Nice" is a personality attribute -- it actually isn't
a basic requirement for an agent. It may be a requirement for YOU to work with a "nice" agent -- and that's fine! Now you'll know that for when you go agent-hunting again. Some people rub along best with those who are more like motherly nurturers, or excitable cheerleaders, or thoughtful therapists, or detail-oriented accountants. Some people really do want agents who are total unmitigated bastards
. . . but even those total bastards still have to follow the base standard above with regard to their own clients.
[As an aside: I don't consider myself
particularly "nice," in fact. I think I'm GENERALLY GOOD and KIND-HEARTED and COMMUNICATIVE and FUNNY (and also HUMBLE obviously haha just kidding not that
) -- but "nice" is not a word I'd use to describe myself, and that's OK.]
Just like any long-term relationship of any kind, you aren't always
going to love everything your agent tells you (and assuredly, vice-versa!) - and given enough time there WILL be weird communication breakdowns or confusions - but usually any issues like this can be worked out with a clarifying email or frank conversation.
If you simply can't have
a frank conversation, though, that's a huge problem. If they're doing things you don't want them to do, and not
doing things you do
want them to do, and not telling you things you need to be told, and making you cry and feel worthless, and you are actively afraid of them
??? That's . . . not good, to say the least.
It sounds like you are in an extremely dysfunctional relationship with your agent. If I was in your shoes, I'd ask myself:* Am I getting what I need from this relationship? * (Make sure what you need is within their power to give, too, obviously. "Timely communication" IS within their power. "Boatloads of cash" isn't - hopefully it will come as a result of both your work, but it is never guaranteed, of course!) * If I'm not getting what I need, have I clearly articulated to this person what my needs are, that they are currently not being met, and what I need in order to continue the relationship? * (If so, has the problem not resolved or gotten worse?) * Would I be better off WITHOUT this person than with them? * (Hint - if you always get off the phone with them feeling like shit, or if you dread seeing their name in your inbox, the answer to this is probably yes.)
It sounds like the answers to these questions are No, No because I'm too afraid of her, and YES.
Even if this agent is REALLY SUCCESSFUL and GREAT for her other clients,
it seems clear she is not a good agent-fit for you
. So, yep . . . time to move on, no matter how scary it is. Trapping yourself in a bad relationship is not going to help you move forward. Better to be flying solo and free than shackled to something that is holding you back. But you already knew that, probably.
Be brave! And good luck.
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What the heck are spamvertisements
? They are that thing where a totally random "marketing guru" or "social media creative" - or just intrepid author with boundary issues - starts spamming people they don't know with advertisements about their or their poor client's latest book/project. The people being spammed AT are people who are big in that specific field (like in the case of books, they would be agents and editors) -- or just generally famous, like obviously Neil Gaiman, Veronica Roth, Stephen Fry, etc. -- or are huge "professional readers", popular bloggers and the like. If you look at their timeline it will probably look something like this: