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Viewing: Blog Posts Tagged with: Agent Interview, Most Recent at Top [Help]
Results 1 - 12 of 12
1. AGENT INTERVIEW: Gemma Cooper at The Bent Agency

Shining a light into the dark to highlight agent Gemma Cooper's move to The Bent Agency.


The wonderful Gemma Cooper has moved to The Bent Agency and she's asked me to make sure everyone has her new details.  Gemma is actively looking for new authors!



* Hi Gemma and welcome to tall tales & short stories. Could you tell us a little about yourself?

I’m a literary agent representing children’s authors and author/illustrators.

After spending time at literary agencies in New York and London, I joined Bright Literary Agency as an agent in 2011 to cover a maternity leave position managing Bright's amazing author/illustrators and develop the fiction portfolio. I moved to a permanent role at The Bent Agency in September 2012, to focus on fiction for 5+ to YA, here in the UK and also in the US. With this in mind, I’m very actively looking for new authors.

I am lucky to represent some very talented authors including Mo O’Hara, author of MY BIG FAT ZOMBIE GOLDFISH, which sold in a 3 book deal to Macmillan UK and Feiwel and Friends (UK March 2013/US Fall 2013).

When I’m not working (which is almost never), I renovate my old house, drive around Suffolk in my pink car, and write scary books for 10+


* What led you to focus on representing the children’s market?

I would say in the last ten years, 98% of all my reading has been children’s and YA. I love the talented writers in this market and the depth and quality of the story telling. When I decided to start a career in publishing, I only wanted to work in children’s because this is where my market knowledge is and where my passion is.

I was very lucky that I was living in New York when I discovered publishing as a potential career and I got a highly coveted place on an internship where I focused on YA and MG. From that point, I was hooked, and I can’t imagine doing anything else.


* How would you describe your typical working day?

Busy! I’m sure some people think literary agents just sit around reading all day, but really reading is such a small part of my job and certainly not something I do in the office.

I get a 7am train into London, so the first thing I do when I get a seat is to check my emails and respond to anything that has come in overnight. We deal with lots of Australian publishers and other people not in our time zone – my emails are never at zero. After tackling the inbox, I usually read submissions or requested material for the rest of the journey in.

When I get to the office, my day will depend on the emails that are coming in. I always start with a list of things to do, but this often gets pushed aside as urgent things come in! I meet with editors mid-morning or mid-afternoon, so I’ll be preparing texts and pitches. I also negotiate contracts, edit texts, look after our social media (blog, twitter, website), look at artwork, manage bespoke writing projects, call editors and meet new authors/author illustrators. All this takes me to around to 6pm/7pm and then I head home, tackling submissions on the train back.


* Trials and tribulations of being an agent: What do you love about your work? What don’t you love? What are the greatest challenges of being an agent?

I love the stories. The chance to read something before it’s published. I love being the person who gets to make that call, ‘you know your dream of getting published? Well that’s going to happen.’ I mean, who wouldn’t love getting to do that! I love being able to be a small part of someone’s success story.

I find the biggest challenge in my job is not having enough time. Time to get back to people as quickly as I would like. Trust me, writers who are waiting for submission responses, it does weigh on my mind. But I could work 24 hours a day and not get back to everyone as quickly as I would like.


* Do you want near perfect manuscripts or are you happy to work with the author editorially? Would you describe yourself as an ‘editorial agent’?

I’m definitely an editorial agent. I love working with an author editorially to polish and make the very best out of the opportunity to wow publishers.


* Would you take a risk on a manuscript that showed lots of promise but needed a lot of work?

Yes, I have done. As I’m new, this is going to be something I’ll do in these first few years and that’s totally fine with me. As long as the author isn’t afraid of hard work, I’m happy to put the time in. I might give them notes on the first three chapters, just to see they have the skill to revise. This has worked well so far and I’ve signed three authors like this.


* When looking for that new manuscript and debut author what are the main things that grab your attention? What makes a piece of work stand out from the slushpile?

Voice, voice voice and more voice! Nothing grabs me more in the slush than a great character with a strong voice.


* If you could make a wishlist of things you’d like to find in your submission inbox, what would it include? And do you have any favourite genres?

  • Boy voice YA – it’s my favorite thing in YA and so hard to do well.

  • Contemporary or issues books – I’m seeing a lot of urban fantasy, so I’d love a nice juicy contemporary.

  • A YA thriller or something fast paced with lots of action.

  • A YA or MG crime novel or some sort of heist.

  • A younger tween friendship based novel – think Sisterhood of the Travelling Pants.

  • I would like to see some of the paranormal elements that work so well in YA filtered down into MG.

  • An amazing literary novel with great voice and perhaps a slight magical or mystical element.

  • I love Hitchhikers Guide to the Galaxy, so I’d love to see some funny space stories for a younger audience.

  • 5-8 chapter books with series potential.

  • Author/illustrators writing MG or chapter books would get my immediate attention!

I don’t really have a favourite genre, just give me good characters in a strong story.


* What kind of working relationship do you aim to build between you and your clients? Do you see yourself as a career builder or prefer a more manuscript by manuscript approach?

I want to be a career builder. I’m building my own career at the moment, so I want to take my authors all the way with me!


* Does an aspiring author need to prove they have commitment to pursuing a writing career by providing a writing CV?

No. Obviously let me know if you have been published before, but if not, don’t worry! I just want to read your submission.


* Do you expect your writers to develop a market brand or are you keen for them to pursue a diversity of stories?

I think it’s good to build a fan base before you diversify, but if you have a strong voice in a variety of genre’s or age ranges, then I’d be happy to support diversifying.


* Do you have any submission preferences or things that annoy you? 
Please email me [email protected] with a query/submission letter and the first 10 pages of your manuscript pasted onto the bottom of your email.

I DO NOT accept postal submissions.

I like a straightforward and simple query letter, as I tend to read the genre/age range and then skip straight to the pages - I'm on the hunt for voice! So don't get hung up on submission/query format and keep it simple.

For example, something like:

Subject: Query - MG Sci-Fi AMAZING NOVEL IN SPACE by Gemma Cooper

Dear Gemma I am seeking representation for my MG Sci-Fi AMAZING NOVEL IN SPACE, complete at 45,000 words.

Then a few paragraphs telling me what the book is about. Google query letters and you will see lots of examples, or look at fantastic resources like Query Shark.

Then one paragraph with any important details about yourself that are relevant to writing or this particular novel. For example, I am a member of SCBWI...I am previously published....I work at the International Space Station...etc.

Then a sign off.

Simple!

I read and respond to all my submissions personally. It’s just for ease that it goes into a different inbox, so everything doesn’t get mixed up.

Please allow 4 weeks before chasing.

I do often update twitter with my query stats, so you can see where I’m up to in answering them. Gemma on twitter


* When reading submissions what would you say are the most common mistakes made by aspiring writers?

All the back-story up front and in the first pages.
Telling the story and not showing it.
Boring openings, like waking up and looking in a mirror.
Laundry lists of character traits.
Starting with a dream.


* Would you ever consider a proposal for a series from a new author, or do you prefer stand alone books? If an author is writing a trilogy, should they mention it in their submission?

The first book has to be the best one you can make it. I love series potential as do publishers, but make sure all the main loose ends are tied up in this first book. If you are writing a trilogy, I would say something in your cover letter like, ‘the book has series potential’ – but don’t tell me all about books two and three. Let me enjoy one first.


* What is one thing you wish every beginner writer knew?

Not to rush. I can only read someone once for the first time - if that makes sense. If you send me something and I reject it, then a month later you revise and send it back, I’m always going to remember that first time.

Use a critique group/partner and wait until you are 100% happy with your book before sending it out.


* Any other words of wisdom and advice to aspiring writers?

Join SCBWI.  Network and get involved.
Get a critique partner/group.
Read, read, read!


* Re: The submission letter. If you've been published in a different area should it be mentioned? Should you include writing qualifications?

Yes, always mention previous publications and writing qualifications. But don’t worry if you have none.


* Should you include if you’ve been shortlisted in major competitions? Some say it shows the work is better than average, others that it wasn't good enough to win so it reflects badly.

If you have been shortlisted in a recent competition, I would mention it. Also, you could mention if you have revised since the competition or enlisted a critique partner/group to improve the book.


* Re: Editorial advice and responses to suggestions and criticisms. Are you looking for authors who might disagree (in a rational and reasonable way) and defend their vision, or, would you prefer authors to trust your suggestions completely?

I want to work with an author to make their book more saleable, while also keeping their vision – the words are theirs but they have come to me to help sell the book.

I expect authors to have some disagreements to comments, but I like them to think about why I have made them. I never want to be all like, ‘I’m right! You have to change this,’ but I also want an author who will sit on feedback for a few days before sending defensive emails.

I always meet my authors in person or on skype. That way I can tell what sort of person they are off the bat and if we would get on. You get a feeling about these things.


* If an author mentions their website or blog, do you check them out? And if so, what would you like to see?

I don’t usually look at blogs unless I’m considering signing someone – I just don’t have the time! But if I want to represent someone, I get a bit Google stalkerish. What I expect to see on a website or blog is appropriate content and nothing that would cause concern to a publisher if they Googled the author name (and they do).

Also, I like positivity and am not really a fan of people who chart all their rejections and struggles in the slush pile. Save that for when you have been published.


* Is it ever worth mentioning you have children in your target readership age (shows you are in touch with that age group) or is that a no-no on the lines of 'I read it to my family and they loved it'?

Your children will love your work because you wrote it and have shared it with them - not because it’s good. If you wrote this on your cover letter, I would skim over it.


* Do you read submissions personally or are they given to readers? If so, at what stage would they go to you?

I read all my submissions personally and I can’t see this changing anytime in the future - I’d worry too much about something amazing being missed! Also, after spending over year interning and buried in slush daily, I really enjoy reading subs......you never know what you’re going to find.


* If an author writes for several different age groups is it okay to make several, simultaneous submissions?

I’m not a fan of simultaneous submissions. Bring me your very best project or the one that most fits my wish list.







3 Comments on AGENT INTERVIEW: Gemma Cooper at The Bent Agency, last added: 11/4/2012
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2. Verna Dreisbach, Literary Agent—Passion Comes First

Interview by C. Hope Clark

Verna Dreisbach is the principal agent with Dreisbach Literary Management in the Sierra Foothills above the Sacramento Valley in California. Verna is also an author, educator, and former police officer. She graduated Magna Cum Laude from Sacramento State University with a bachelor’s and master’s degree in English. She has taught publishing and writing courses through the University of California Davis Extension program and is currently teaching college level English courses in Sacramento, CA. Verna founded Capitol City Young Writers, a non-profit organization dedicated to the education and mentoring of aspiring young writers in junior high and high school. She lives with her husband of 20 years and their three children.

***

WOW: I’m so happy you were able to fit this interview into your hectic schedule. So, let’s start off with an easy question. What genres or types of authors does Dreisbach Literary Management represent?

Verna: I represent a wide variety of non-fiction projects, especially those that have a social, political or economic perspective. I enjoy working with experts in a field and helping them build their career.

WOW: You tend to represent nonfiction authors, but you have this little note on your site about your thirteen-year history in law enforcement that entices you to leave the door open for mysteries and crime fiction. How did you transcend from policewoman to literary agent? Does that experience aid your current profession?

Verna: The move from police officer to literary agent was purely an accident. I went back to school to finish my education and an English professor suggested I enter my essay in a literary contest. Surprisingly, I won. That piece was later published in EQUUS Magazine and led to the Seal Press anthology deal, Why We Ride: Women Writers on the Horses in Their Lives. After the award, I delved into learning more about the publishing world, and interned with a literary agency, fell in love with the work, and have been an agent ever since. It is an amazing feeling to help a writer get their first book deal, and to hear them thank me for helping their dreams comes true. The police officer background did give me an interest in the genres of mystery and thriller, but recently I decided to step back from representing fiction to have more time to work on my own writing and editing projects. I am, however, interested in true crime and representing stories that show that justice will always prevail.

WOW: It's wonderful to hear that you started as a writer. Do you feel that agents serve authors better if they are well-schooled writers themselves?

Verna: I don’t believe it is imperative to be a writer to be an agent, but I do understand some of the struggles and obstacles that writers face when it comes to writing. I also understand the variety of ways that writers process information, revise, and write. I’m flexible when it comes to giving feedback and constructive criticism, and empathetic when they struggle.

WOW: What captures your eye in a query letter? What are obvious mistakes we can avoid as fledgling, unpublished writers?

Verna: I could go on for pages on this topic, but to summarize I’d say the best advice is to treat the query letter as a business letter. Also, act like a professional and treat agents and editors with respect, even when you receive a rejection. I’ve had authors query me with one project that I declined, but in the following year they’d query me with either the same project (revised or platform expanded) or a different project, and I’ve signed them on. It would NOT have happened if they were rude and discourteous, which unfortunately, happens quite often. A lack of knowledge of the industry, of the role of the agent, or the role of the author is very apparent in query letters. Obvious examples are not knowing the genre, recognizing the audience, not having the fiction manuscript complete, not having a completed book proposal for a non-fiction project, offering a word count far outside normal range, or expecting agents to edit their project to make it a bestseller. Really, this list could go on forever. Study the industry, attend conferences, join writers' groups, and basically, educate yourself so that others recognize that you know what you are doing.

WOW: Speaking of writers groups, you belong to several organizations such as San Francisco Chapter of the Women's National Book Association, Left Coast Crime, and CSUS Writers Conference in Sacramento, CA. How much weight do you place on a writer’s participation in such groups?

Verna: Platform building and networking has become such an important part of publishing, so I believe it is important to be involved in the writing community and stay informed, but not to overdo it. Make sure that your whole life isn’t about platform building. Make sure you are still doing what you love and spending your time with people you want to be with.

WOW: You are involved not only in attending conferences, but assisting in their presentation. How important are conferences for new, mid-list, and seasoned writers? With online opportunities abounding, do conferences make a difference?

Verna: I prefer to meet writers at conferences, and because of the tremendous volume of queries and aspiring authors, I’ve closed my submission list to only writers that I meet at conferences, or through a personal referral. Even before I implemented this change, I signed on the majority of my clients in this fashion. Authors who make the time to attend conferences obviously take their writing seriously and seek to understand the industry. Undoubtedly, the most common take-away that first-time conference attendees gain is the knowledge that they were far from ready to submit their work. They attend the conference hoping to sign with an agent, and leave knowing they have a lot more work to do before approaching an agent.

WOW: That’s interesting you’ve chosen to close your submission list to writers you meet at conferences. So who is your ideal client?

Verna: Someone who is passionate about their writing, their work, and their purpose. I prefer career writers and experts in a field who consider the book just a small part of their platform, not the end goal.

WOW: Describe your ideal query or proposal.

Verna: One that is professional, passionate, and focused. I want to know what the book is about and why I would be interested in looking at it—without knowing the writer’s life story. There’s a particular fiction query that I use as an example in my workshops because the first sentence of each paragraph illustrates my point.

Dear Ms. Dreisbach: (professional and it’s actually addressed to me!)

1st PARA = In researching agents, I found that you . . . (show you know who I am and what I like).

2nd PARA = Insert great paragraph synopsis (intriguing).

3rd PARA = My pertinent background includes . . . (include only the facts)

4th PARA = A mannerly thanks.

Short, sweet, to the point.

WOW: Good advice. So, what makes for a good agent/author relationship?

Verna: Open communication is a key element—in any relationship. Also, being open to change is important. Authors have to be willing to change their writing or their project in order to get published. I’ve had projects pitched as memoir that didn’t sell, but then we changed it to a different style and format of nonfiction and it did sell. The author had to be willing to envision his book differently in order to achieve the desired result. He was still able to distribute the information to the world, but in a different form from what he originally expected. I have another client that we exhausted the list pitching her projects and instead of giving up, we brainstormed yet another idea and that’s the one that sold! It is certainly a team effort.

WOW: With self-publishing thriving, how would you handle one of your clients who was considering dabbling in self-publishing a book?

Verna: I have a couple of clients who are either considering or have already entered the world of self-publishing. I work with them and we determine which projects I feel I would have the best success in the traditionally published market. Typically, I’m not opposed to their ventures in self-publishing if managed well.

WOW: Do agents ever part ways with clients, and vice versa? What are the typical reasons? Are there good reasons for such a partnership to end?

Verna: Both scenarios happen, but it is typically a process where we may have come to the end of pitching a project and we’ve exhausted our opportunities, or have come to the conclusion that the project is not saleable at that particular time. Not everything that an agent takes on typically sells, but we keep those where we have faith in the project and in the writer. It’s never easy parting ways, regardless of the scenario, but sometimes often necessary.

WOW: Thank you so much, Verna, for taking the time to chat with us today. Any last words for writers?

Verna: It is important that writers write because they love it—that they are compelled to do so and would feel that a part of their life missing if they weren’t creating on a daily basis. Whether their work is published should be a secondary thought, not a determining factor as to whether their work is validated. Too often rejection curtails someone’s pursuit of writing and that’s sad, or else they are writing for the wrong reasons. Make sure your priorities are in line, that you write because you love it!

***

C. Hope Clark is author of The Carolina Slade Mystery Series. The debut release of Lowcountry Bribe, was released from Bell Bridge Books in February 2012, the contract acquired by Ms. Verna Dreisbach of Dreisbach Literary Management. Hope is also founder of FundsforWriters.com, a website and newsletter service that reaches 44,000 writers each week. Writer’s Digest recognized FundsforWriters in its 101 Best Websites for Writers for the past twelve years.

1 Comments on Verna Dreisbach, Literary Agent—Passion Comes First, last added: 9/3/2012
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3. LET'S CELEBRATE! - with agent Molly Ker Hawn from The Bent Agency!

 
Something for all aspiring
YA authors out there!
& a slight amendment, 
Molly is happy to look at Middle-grade too.





The wonderful Molly Ker Hawn of The Bent Agency has very kindly offered to crit the first two pages of your manuscript.

You can read a tall tales & short stories interview with Molly here




  
We're often told how important the first page is; 
  • Are you hooking the reader from the first line? 
  • Does the first page deliver enough to make the agent or publisher want to read on? 
  • Does your prose engage and grab the reader from the outset? 
  • Does it work?
  • Is your opening cliched?

So many things to think about on just the first page! But if you know that page works chances are the agent or publisher will want to read the rest.

It's easy to enter!
Here's what to do!

Here's the age group Molly would like to see:

MG

YA


  • Molly will read and give feedback on the first two pages of your ms. (Who knows where it might lead!)
  •  It can be any genre but it must be in the age groups stated.
  • All you nee

    67 Comments on LET'S CELEBRATE! - with agent Molly Ker Hawn from The Bent Agency!, last added: 6/15/2012
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4. Agent Interview: Gemma Cooper at The Bright Literary Agency




* Hi Gemma and welcome to tall tales & short stories. Could you tell us a little about yourself?

I’m a literary agent representing children’s authors and author/illustrators – anything from picture books to young adult.

After spending time working at literary agencies in New York and London, I joined Bright Literary Agency in November 2011 to grow and develop the fiction portfolio. With this in mind, I’m very actively looking for new authors.

When I’m not working (which is almost never), I renovate my old house, drive around Suffolk in my pink car, and write scary books for 10+


* What led you to focus on representing the children’s market?

I would say in the last ten years, 98% of all my reading has been children’s and YA. I love the talented writers in this market and the depth and quality of the story telling. When I decided to start a career in publishing, I only wanted to work in children’s because this is where my market knowledge is and where my passion is.

I was very lucky that I was living in New York when I discovered publishing as a potential career and I got a highly coveted place on an internship where I focused on YA and MG. From that point, I was hooked, and I can’t imagine doing anything else.


* How would you describe your typical working day?

Busy! I’m sure some people think literary agents just sit around reading all day, but really reading is such a small part of my job and certainly not something I do in the office.

I get a 7am train into London, so the first thing I do when I get a seat is to check my emails and respond to anything that has come in overnight. We deal with lots of Australian publishers and other people not in our time zone – my emails are never at zero. After tackling the inbox, I usually read submissions or requested material for the rest of the journey in.

When I get to the office, my day will depend on the emails that are coming in. I always start with a list of things to do, but this often gets pushed aside as urgent things come in! I meet with editors mid-morning or mid-afternoon, so I’ll be preparing texts and pitches. I also negotiate contracts, edit texts, look after our social media (blog, twitter, website), look at artwork, manage bespoke writing projects, call editors and meet new authors/author illustrators. All this takes me to around to 6pm/7pm and then I head home, tackling submissions on the train back.


* Trials and tribulations of being an agent: What do you love about your work? What don’t you love? What are the greatest challenges of being an agent?

I love the stories. The chance to read something before it’s publ

4 Comments on Agent Interview: Gemma Cooper at The Bright Literary Agency, last added: 4/2/2012
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5. Agent Interview: Molly Ker Hawn at The Bent Agency



* Hi Molly and welcome to tall tales & short stories.
Could you tell us a little about yourself?

Thanks so much for having me!
I’ve always been a ‘book person’—as a teenager in California, I worked part-time in my local public library, and then at a bookstore.

I graduated from Cambridge with a degree in English, working at the bookstore during my summer vacations, then started my career in the editorial department of the children’s division at Chronicle Books in San Francisco. I went from there to Dial Books for Young Readers, an imprint of Penguin Group USA. From there, I worked in interactive media, including at a major (now-defunct) teen magazine.

I came back to the book world as the National Program Director for the Children’s Book Council, which is the trade association of American children’s book publishers. I followed that up with a few years of having children, and I joined the Bent Agency last year. I live in southwest London.


* What led you to focus on representing children’s and YA books?

As the legendary children’s book editor Ursula Nordstrom said, “I am a former child, and I haven’t forgotten a thing.” (If you’ve never read DEAR GENIUS, the compilation of her letters, stop reading this and go get it NOW.)  I never let go of the stories and characters I loved when I was young, so I was enormously lucky to find an opening in the children’s division at Chronicle.

My long-time friend Jenny Bent opened her own agency in 2009 after many years with major agencies in New York. She’d been suggesting for years that I consider agenting, and last year I started screening YA and middle-grade submissions for her. That led to casting an editorial eye over projects she represented and suggesting houses and editors to pitch to. My time at the Children’s Book Council gave me a good sense of both individual and house-wide tastes, so the step to representing authors myself was a natural one.


* How would you describe your typical working day?

It starts early – before 6:00 a.m. – with a cup of tea and an hour of going through emails that came in overnight. Then I get the children off to school/settled with the sitter, and I get straight back in: more email, talking to editors in London and New York about what they’re looking for, working on pitches, reading manuscripts, sifting through queries, and reading industry news.

From 3:00 p.m. till 8:00 p.m. I’m with my family, and then on weeknights, it’s back to my home office to deal with the calls and emails that have come in from New York. I run out of steam around 10:00 p.m. and collapse into bed with a book (inevitably a YA novel; right now I’m reading ANNA DRESSED IN BLOOD).

On weekends, I load my iPad with manuscripts and read while I wait for my daughter to finish her dance class or hockey training. The work expands to fill every available minute—I could work 24 hours a day and still have more to do.


6 Comments on Agent Interview: Molly Ker Hawn at The Bent Agency, last added: 3/7/2012
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6. AGENT INTERVIEW: JENNY SAVILL at ANDREW NURNBERG ASSOCIATES

For my final post of 2010, I'm very pleased to welcome 
Children's and YA agent Jenny Savill 
to tall tales & short stories.




* Hi Jenny and welcome to tall tales & short stories. 
Could you tell us a little about yourself?

Hi Tracy and thanks for inviting me to be interviewed.
I’m the agent responsible for nurturing our children’s and YA authors here at ANA.


* What led you to focus primarily on children’s and YA books?

I’ve always loved reading children’s and YA books. When I was a teenager YA wasn’t even a recognised category, so perhaps my future reading habits were conditioned by the paucity of literature aimed at teens back then. It seemed as if I jumped from enjoying Enid Blyton to Jane Austen, Agatha Christie and James Herbert (the latter borrowed from my older brother’s room) virtually overnight... I was clearly looking for Romance (of the seemingly unattainable variety), Suspense and Horror in my reading – pretty much key elements of many YA books today.

In my 20’s and 30’s I worked creatively with children and young people, eventually attempting a novel for 9-12’s and going through the submissions/editorial feedback process. Now on the other side of the submissions fence, my role at ANA gives me the opportunity to represent authors who write books in the genre I have always loved to read. This is a privilege – and it’s a hugely exciting area of publishing in which to be involved.


* How would you describe your typical working day?

I’ll be reading a manuscript on the way into the office – either one of my authors’ or a submission I’m interested in. I deal with my emails, check into my author’s blogs to see what they’re up to, contact any I haven’t been in touch with recently to see how they’re getting on with their manuscripts, or any revisions they’re doing right now, or to update them on the status of their contracts. I’ll often need to check in with our contracts manager about various things. I’ll perhaps need to contact an editor about a project I’m submitting, and check to see if there’s any news that needs to go onto our website, or if any author pages need updating. There might be an editorial meeting with my colleagues here at ANA, most of whom place foreign rights in Europe and further afield. We’ll discuss and update each other on current projects – including children’s’ projects for our own authors – and strategise. It’s always exciting when a proof copy of your author’s book lands on the table at editorial – and especially so if it’s a foreign edition.

On those days in the week when I’m not running to the school gates and can stay in the office later, I may be in touch with editors in the US and I try to read manuscripts, although this is often interru

7 Comments on AGENT INTERVIEW: JENNY SAVILL at ANDREW NURNBERG ASSOCIATES, last added: 12/14/2010
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7. Interview with agent Mandy Hubbard

Revision update: I’m done! Yay! Now I have to perfect my query letter.

Mandy Hubbard headshot

Mandy Hubbard

Today, I’ve got an interview with author and literary agent Mandy Hubbard. Mandy recently joined D4EO Literary, representing authors of middle-grade and teen fiction. She’s also the author Prada & Prejudice, You Wish and other novels that aren’t on shelves yet. Mandy’s submission guidelines are here.

Thanks for joining us, Mandy. First, congratulations on your young adult books. They’re such great, fun ideas. What do you like best about writing and why did you choose young adult books?

I didn’t really choose YA, not on purpose. I signed my first agent based on a project about four girls in their early 20s — I was 23 at the time, so it made sense. She told me my voice would work better for YA, so I switched it around. I’ve never looked back since!

My favorite part of writing constantly changes. I just did the very last proof read for YOU WISH, my August 5th release. So right now that’s my favorite part — the part where it’s done and sparkly and I love it. At other times, the idea/fast-drafting stage is the best. I guess I just love it all!

Before becoming a literary agent, you interned at The Bent Agency. What attracted you to agenting and what do you love about it?

Even as an author, I’ve always been fascinated by the industry/business side of things. I’ve been active in the submissions process of my own books for years, and my agent was the first to tell me that I’d make a good agent myself. The wheels started turning, and when an opportunity to intern for The Bent Agency fell into my lap, I jumped on it. Interning really confirmed for me that I wanted to become an agent.

I love that I get to work with truly talented authors. It’s really amazing to fall in love with a project and then be able to work with the person who created it. I’m very editorial and have done rather extensive revisions with a few people, but getting to the end product — something amazing and fast paced and exciting — is so worth it.

Having to write a query letter is one of those groan, oh no, moments for a writer. How did you deal with it as a writer and what do you look for in a query letter as an agent?

Don’t throw sticks at me, but I always liked writing query letters. In fact, I even wrote them for my projects after I had an agent. I love boiling down my projects into 3 paragraph pitches that hit on the most exciting parts of the book.

From an agent’s stand point, the most important part of your query is the story pitch. I need to love the concept above all else. If you have writing credentials

9 Comments on Interview with agent Mandy Hubbard, last added: 3/29/2010
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8. SCBWI Interview with Julia Churchill of The Greenhouse Literary Agency

There is a fascinating podcast interview with Julia Churchill of The Greenhouse Literary Agency to be found on the British Isles SCBWI site or on Youtube.

Richard Hagon interviews literary agent Julia Churchill at SCBWI's mini-conference in Lincoln in North East England. October, 2009

Richard Hagon is a freelance performer and entertainer. He writes, performs, and produces radio shows for clients around the world, working largely within the games industry. He has performed with numerous musical theatre groups, and he also writes and directs for the theatre. He has acted as Master of Ceremonies for hundreds of events large and small, and The Storyteller's Story is his latest venture, interviewing writers about their work and lives. For more information, contact [email protected]


It's well worth a listen so please do follow either link.

scbwi-interview-julia churchill

Youtube


The Greenhouse Literary Agency on Youtube

Thanks to Candy Gourlay and Richard Hagon.

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9. Agent Interview: PETER COX of the REDHAMMER AGENCY

The concluding instalments of the Peter Cox interview.

PART THREE






PART FOUR




http://redhammer.info/

http://www.litopia.com/


Just for you, ColB.

3 Comments on Agent Interview: PETER COX of the REDHAMMER AGENCY, last added: 7/20/2009
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10. Agent Interview: PETER COX of the REDHAMMER AGENCY

PART TWO





http://redhammer.info/

http://www.litopia.com/

2 Comments on Agent Interview: PETER COX of the REDHAMMER AGENCY, last added: 7/14/2009
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11. Agent Interview: PETER COX of the REDHAMMER AGENCY

PART ONE

All this week I shall posting instalments of my recent interview with literary agent, PETER COX of the REDHAMMER AGENCY.

A first for tall tales & short stories, the interview has been recorded and can be seen as a podcast.
Please click play on the video window.





http://redhammer.info/

http://www.litopia.com/

3 Comments on Agent Interview: PETER COX of the REDHAMMER AGENCY, last added: 7/13/2009
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12. Zuda Comics...coming soon

Have you heard of Zuda Comics? It's an all new line of web comics. It will open online in October. Check out the postcards. You can create one and send it in to be included there. Make sure to the "click here to continue" at the top of the page.

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