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Jenny Bent founded The Bent Agency in 2009; the agency now has nine agents, offices in New York City and London, and a strong focus on international rights. Her authors include SE Green, Tera Lynn Childs, AG Howard, and Lynn Weingarten. She is actively looking for new clients across all categories of middle grade and young adult. Her website is www.thebentagency.com and you can find her on Twitter @jennybent.
Highlights of Jenny's comments:She starts out with mentioning some of her recent debut author sales, saying she has a lot of debut authors.
For YA she's looking for edgy, different, manuscripts that could almost be adult books, that push the envelope.
Calling herself "highly editorial," Jenny speaks of working with her clients on "at least two or three drafts before sending everything out."
As publishers are consolidating, she sees herself as "ever more of a protector," holding onto rights for her authors, and then being active about selling them. (Rights outside the primary U.S. deal like audio, foreign and film.)
"My big thing as an agent is honesty." Jenny explains her clients know when she praises their work that she's being real about it because when things aren't working she tells them about it. "What I'm looking for in a client is someone who will be honest back with me... Respect and honesty on both sides."
There's lots more discussion, about consolidation, social media, and even how
her agency posts what they're looking for, once a month on their blog.
Barry Goldblatt is an agent with
Barry Goldblatt Literary.
He's been an agent for 15 years, representing everything but nonfiction (although he's sold it). His client list includes Holly Black, Libba Bray, Lauren Myracle, Jo Knowles. He also represents writers of adult work (mostly science fiction), and this is evolving.
He recently signed a historical fiction graphic novel hybrid. "It was really cool and really exciting."
Brenda Bowen is an agent with
Greenburger Associates, one of the oldest agencies in America. Her list has everything from PBs to YA, poetry, and some adult books (largely illustrated ones). Her clients included Rosemary Wells, Chris Raschka, Mike Curato, Hilary Knight, Samantha Berger, Jo Napoli, Julianne Moore and Nathan Lane (when they write for kids).
She used to be a children's book editor for more than 25 years, and writes books of her own as well—she's written 40 books for kids, and her first adult novel,
Enchanted August, came out in June.
What kind of agent are you?
Barry Goldblatt: Becoming an editorial agent has become part of the territory. Shining something up for editors is part of the job, but he doesn't try to get things perfect because it wants editors to be able to "get their hands dirty." He considers his clients friends, he offers counseling, and he wants to be able to celebrate with his clients.
Brenda Bowen: She's also an editorial agent and does like to do therapy and handholding for clients. The Greenburger agency has lots of support for writers from rights specialists too.
What kind of editorial work do you do? Barry Goldblatt: He isn't doing line edits and grammar. He knows every editor he works with is getting 30 more manuscripts that day. The competition is immense. He wants to make sure what he's sending is the best-looking thing it can be—and then they'll want to work on it and make it even better.
Brenda Bowen: An artist often comes to an agent and says, "I'm thinking of doing this style for the book." She talks to the artist about those choices. She also helps, when there are 20 manuscripts to consider, which one to pursue first.
What's a realistic expectation for a client, in terms of time and energy from an agent?
Brenda Bowen: She'll take a 10 PM call at home from a client. "Not that you should call them from home, but if it truly is a crisis ... I want to talk to them." The expectation is that your agent is really there for you.
Barry Goldblatt: Agenting isn't a 9 to 5 job. He works all the time on behalf of his clients.
What do you look for in a client?
Barry Goldblatt: New writers often misunderstand the power balance in the equation. "When you sign with an agent, they work for you." They give advice and you're free not to take it (but if you don't often, maybe it's not a good match). He gives his clients advice about their career—they get to choose.
Barry's clients once had a mini revolt. By offering them representation, in his head, he was telling them they were the best people. But when he gave feedback early on, he had to learn to reassure his clients. "They need to hear that!" He assumed his clients knew he loved them, but they didn't.
Brenda Bowen: It's a matter of taste. When she opens a query letter, she asks herself if she wants to have lunch with that person. She's a good agent for people she clicks with.
What's the climate in the industry at the moment? What is changing?
Brenda Bowen: There are a lot of consolidations, but there are still publishers, and publishers have adjusted to the ebook crisis. "We know that an adult ebook is taking over the space that the mass market paperback took." Since 2009-2010, a new normal has been established, so publishing has loosened the reins. They're still selective and want big books, but everyone wants to find that wonderful new thing and take risks. There is also more space for YA crossover. Things are unpredictable, but everyone still wants to capitalize on new opportunities.
Barry Goldblatt: The one negative he's seen that isn't quite receding is the focus in-house on deciding books they can get for $25,000 aren't worth publishing. He wishes editors had the space to buy special books that aren't as obvious of money-makers. "A lot of books are not six figure deals. It doesn't mean they're not fantastic books."
What's your dream manuscript?
Barry Goldblatt: Once he participated in #MSWL (manuscript wish list chat on Twitter). He regretted it. His most recent sale wasn't something he was looking for, but it was so fantastic. "I couldn't have described this book before I got it if I tried."
The hardest thing is that you can get jaded and think nothing will knock you off your seat. But that's what he hopes for every day.
Brenda Bowen: She fell in love with Laurent Linn's illustrated novel, and even though she was too busy to take anything new on, she couldn't
not take it on. She wants a book that "slaps you in the face."
Jennifer Laughran is a senior agent at the Andrea Brown Literary Agency. She joined ABLA in 2007 after many years as a buyer and event coordinator for an independent bookstore. Jenn is always on the lookout for sparkling YA and middle grade fiction with unusual and unforgettable characters and vivid settings; the common thread in all her favorite stories is an offbeat world-view. She loves funny books, thrilling books, romantic books, books that make her cry, and all-around un-put-downable books.
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| Jennifer Laughran on the big screen - and on the Agents Panel |
Jennifer talks about the scope of her agenting, from big picture to deals to day-to-day author/illustrator care. A few highlights:
She goes into detail about the ways she helps her illustrator clients get their work in front of art directors and agents. Hint: make sure you have a good website with an online portfolio, showing a broad range of styles, action, movement, kid characters...
In fielding a question about how she feels about clients who want to write in two different genres, Jennifer says it depends: "Are you good at both?" She cites her client
Kate Messner's range of titles, genres and categories and how they strategize Kate's releases with a color-coded calendar! (p.s. - she's sold 30 books for Kate!)
Query letters: Long enough to cover what she needs to know, but short enough to intrigue her.
On success: "George" is a middle-grade debut novel by Alex Gino
that Jennifer sold overnight to Scholastic. They got it Monday evening and made an offer Tuesday morning. It's being talked about as an overnight success. Except for the eight years Alex spent writing it. And the additional year the author worked with Jennifer on the book before it was sent out on submission. So it's really "a decades-long success."
Jennifer represents a lot of established authors and also a lot of debut authors. She looks out at the room of over 1,000 authors and illustrators and tells us she's always looking for new people, and hopes some of her future clients are in the room.
Alexandra Penfold is an agent at Upstart Crow Literary and has been working in publishing for over a decade. She is also an author of picture books and cookbooks. She represent everything from young picture books to young adults.
WHAT HOOKS ME
Alexandra likes books that show her something about the world or about life, books that take her to a place away from where she lives. She's drawn to books that recognize that kids are smart.
On cover letters: There's nothing more disappointing than a cover letter that gets you so excited to read the manuscript only to open it up and be disappointed. Be sure your work is delivering on the promise you make in your cover letter.
As an agent (and an editor) you want a writer's second book to be even more successful than their first. As an agent Alexandra wants to help her clients hone their focus moving forward into a career.
If you think about brand as your reputaiton it makes you think about what you do, including on social media.
Lin flips the panel topic around to: What doesn't hook you?
Alexandra gets a lot of picture book submissions. Awful rhyme makes Alexandra cringe. She loves poetry when it's joyful and done well. But it doesn't work when the story bends to fit the rhyme. Books can also be lyrical without rhyming.
Lin: How do you see the children's publishing landscape today?
It's been a fantastic year for picture books. There's been a resurgence. "Yay, picture books."
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By: Lee Wind, M.Ed.,
on 8/2/2014
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From the seats...
And close up!
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| Left to Right: Sarah Davies and Steve Malk |
 |
| Left to Right: Erin Murphy and Aleandra Penfold |
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| Left to Right: Rubin Pfeffer, Linda Pratt and Laura Rennert |
 |
Rubin talking to a packed ballroom with his fellow members of the panel
(all of whom, he joked, have rejected his submissions). |
Rubin Pfeffer is an industry veteran. Among other things, he's been president and publisher at Harcourt Brace Jovanovich, a senior VP and chief creative officer of Pearson, and publisher of children's books at Simon & Schuster. And he even worked as an art director, discovering talent like David Diaz.
These days, he's a partner at East West Literary Agency, where he not only represents some of the industry's brightest lights--Susan Cooper, Marian Dane Bauer, David Diaz, and the Watson clan--but also is on the forefront of emerging technologies in storytelling.
The best part of it, he says, "... is building a greenhouse around their ideas and hopes and seeing those ideas to fruition."
He shared a ton of insights with us. A few excerpts:
Observations on significant changes in the industry: He started his career at Grosset & Dunlap and was designing Hardy Boys covers. When he walked in their offices yesterday, he was amazed by the diversity and energy of the titles. There is also more commercial publishing in the industry.
Two years ago, digital publishing was groundbreaking and people were still saying how they wanted to cuddle up with real books. But now, it's generally acknowledged that digital publishing is part of the future.
On the importance of acquisitions committees and discoverability of our books:"There is this notion about acquisitions groups and meetings, it's like the death knell to all would-be writers who want to be published. But it's important.... because it is not just publishing a book that an editor is a champion of. It's publishing a book that a number of people are championing in some very important fields. Is it something that can be marked effectively in all the new ways you can market? Because we are publishing fewer titles, we have to publish those fewer titles better."
There are new responsibilities that are associated with writers and illustrators, to make yourself discoverable by somebody who will be interested in it.
We'll start to see more "vertical groups on the interest," Rubin says. For example, second grade teachers, or preschool teachers. We need to reach out to them.
Do authors/illustrators need publishers anymore? "It's an important question. Just because there are examples of successful self-publishing endeavors, for every successful example, there are countless others that didn't work."
The editor, publisher, marketers--these people are the village that gets behind books.
"The bigger question: What is a publisher? They used to be the big six and the other six after that. There are new kinds of publishers coming out. Some of them are rising quickly."
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| Barry Goldblatt |
Barry Goldblatt is a lucky man.
Not only does he happen to work for an agency with the same name as his (what are the odds?), he's married to the fabulous Libba Bray, who has entertained and inspired us all weekend. And in addition to Libba, he represents some of the most compelling writers in the business: Holly Black, Cassandra Clare, and Lauren Myracle.
The 11-year-old agency has two agents now, Barry and Joe Monti. They represent everything from picture books up through YA.
On digital publishing:The simple fact is, this is nothing new. The way it's being done is new. Vanity publishing has been around since the first printing presses have been available. It doesn't change anything about how professional publishing works or how we work. Our job is to find authors whose work we believe in and give them the best chance to be seen by as many eyes as we can.
On market segments that are thriving: Barry doesn't worry about this: "My job is, I get a great book. If I believe in that book and the author is really talented, I'm going to find that book a home whether the marketplace is buying that or not. Right now, you hear a lot of buzz about YA. But there are a lot of readers who aren't reading YA and we're still publishing books for them. Just because it's not fancy and glamorous doesn't mean there's not a market for it."
What makes you sure you can sell a first-time author's manuscript? I signed it! I have a full list and there's not tons of room left. But I'm always looking for new people. There is very little in agenting as satisfying as making that first sale for an author. It's the best rush we get. It really, really is.
What's voice? "We know it when we see it." With his clients on a recent retreat, he had everybody bring a paragraph or sample of what they thought was good voice. Having everybody read what they thought was great voice was really enlightening. It was different from every person there. What was consistent was, you knew it when you heard it.
What happens if you can't sell something? "I have a 98 percent sell rate. Are there things that can't sell now? Yes. Are there things we can't sell now that we pick up later? Yes. Are there things that are unsellable? Yes. As we've discussed, those conversations with the client can be really difficult. Sometimes you emerge from it as a team, sometimes you don't. I built this agency on the idea that great writing will always find a home, no matter how weird a problem is or how oddball it is in terms of where the marketplace is."
"I don't measure my success or failure about whether the book becomes a huge hit. That's not what it's about. It's about a good publishing experience for my author."
You have a magic wand. You can fix any one thing in the publishing business. What would it be?I want the end of semiannual payments to authors. In Europe, they pay once a year.
How do we submit to you?BGliterary.com has our guidelines. It's email only. Please follow the guidelines. You will be deleted if you don't follow the rules.
What do you not want to see any more of?
2 Comments on Agent Panel: Barry Goldblatt, last added: 8/7/2011
Tracey Adams (with her husband Josh) runs Adams Literary - a boutique agency exclusively dedicated to representing children's and young adult authors and artists, including many award-winning and bestselling clients!
Tracey starts out by sharing that this month's SCBWI Bulletin's
SCBWI Success Story is
Veronica Rossi and her debut "Under The Never Sky" - whom she and Josh met at last year's Saturday night pool party... and then Tracey held up the published book!
When asked about e-books and the changes in publishing, Tracey mentioned how they're looking at working with some of the new smaller publishers (like Little Pickle Press) and for all the changes in format, from audio books through e-books and beyond, their goal is to figure out what's best for their authors.
Here's a great quote from Tracey:
While some agencies might be saying 'can I sell this?,' we're thinking 'am I in love with this?' ...We don't give up easily, and if we love something, we're gonna find a home for it."
The panel is funny, and there's lots of great info being share - it's fascinating to get this glimpse into Tracey's process.
Is she an editorial agent (doing revisions with her clients before submission?)
She likens it to real estate, and says
"we see ourselves as stagers - we get it ready in its best form to submit."
whether it takes a pass or two with the author revising it or if she gets it and it's good to go,
"If we see voice, we're gonna grab you up because I don't think you can teach that."
The panel ends with brilliant lightning round, and it was such a great opportunity to learn more about Tracey Adams. Oh, and you can follow Adams Literary on twitter
here!
Tina Wexler is a literary agent at International Creative Management (ICM).
ICM is one of the largest and oldest agencies in the world. The literary department consists of 11 agents representing everything from kids to adult. In the children's scope, she reps everything from tots to teens.
On Digital publishing:
Independently publishing a book is a vital option for some. It works if you just want something out there, but if your goal is to have a thriving career, it's just as much work, if not more work.
What if you have a client who has had several successful books, but the next one delivered doesn't seem strong enough. What do you do?
Tina has a relationship with her clients and she would have a conversation with that person, letting them know that this might not be the next book. It would be a difficult conversation, but an important one.
What happens if you have a author who's sold several books, but wants to take to the next level and get a better deal?
If you want to get to that next level then you must take your writing there. "We're only as good as the material we're selling." You should ask, What are you doing to get there?
You have a magic wand, and you can fix anything in the publishing business, what would it be?
I want more bookstores to come back.
The lightning round:
What do you not want to see any more of?
Screen plays.
What's the next hot genre?
Sci-fi
Pet peeve about submissions?
Hostility.
What would you like to land on your desk?
Ditto (to Marcia's, "Something brilliant")
They're in bathrobes (a funny 'protest' at the early hour) but they're on and the ballroom is full!
Brenda Bowen (far right, standing) moderates the agent panel.
Seated, from right to left, Tracey Adams, Marcia Wernick, Tina Wexler, and Barry Goldblatt
We'll be blogging on each agent's comments in separate posts, so look for those...
They're in bathrobes (a funny 'protest' at the early hour) but they're on and the ballroom is full!
Brenda Bowen (far right, standing) moderates the agent panel.
Seated, from right to left, Tracey Adams, Marcia Wernick, Tina Wexler, and Barry Goldblatt
We'll be blogging on each agent's comments in separate posts, so look for those...
Ginger Clark has worked as an agent at
Curtis Brown, Ltd. for about five years. She represents science fiction, fantasy, paranormal romance, literary horror, and YA and MG fiction. She handles British and Commonwealth rights for the entire Curtis Brown List.
Follow her on Twitter at
@Ginger_Clark.
From her introduction: "A good agent thinks globally. A lot of my clients have made as much money abroad as in the U.S., and in some cases, more. The market for a certain kind of fiction is doing well here and it's doing really well abroad."
On editor lunches: Middle Grade is coming back. Editors are looking for series and good MG in general. "We've neglected the 8- to 12-year-olds."
On the YA side: She represents high fantasy, urban fantasy, paranormal romance. "We've had a lot of vampires and werewolves and it's now time to look at the more unusual creatures," she says.
From the Q&A portion, moderated by Lin Oliver:
About international publishing: Think about how you can make sure your book isn't super, super American. A brilliant book about American football isn't going to win over British editors. A good agent should be aware that you can make money when your work is translated. (They have a man on the ground in Bulgaria—interesting! Or, as they say in Bulgaria, "
интересен.")What are subsidiary rights, and what should authors consider retaining: Publishers want to set audio rights as boilerplate—something that's been discussed and settled. Multimedia rights are an issue (especially "enhanced ebook rights," such as gently animated picture books). The problems she has with that: Film companies wouldn't want that to happen. If you're doing a film deal, film companies want the rights or want to "freeze" them so other people can't have them. Good agents think about these issues and talk them over with publishers, as opposed to just agreeing to the boilerplate.
How should writers feel about the simultaneous release of their book in digital format? When you start ebook negotiations, major publishers start by offering 25 percent of net. She's hoping that changes. The giant news last week was that
Andrew Wylie had started his own e-publisher. "It was certainly an interesting shot across the bow of publishers."
How would you assess the business, in terms of the centralization of power? What are the opportunities for mid-list authors and unpublished writers? We're about to head into the golden age in terms of power for children's books. Interest in the children's markets is growing.
"The snobbier side of the industry is taking what we do seriously. As they should. Frequently it is the children's division that is making profits and paying people's salaries," she says.
What are the primary services you provide your clients? She's not your therapist, accountant, best friend or mother. "I am your bad cop. Your man on the ground in NY ... When it comes to sitting on the phone with you for two hours, talking about your problems, I'm not the right person for that. Sorry."
The Agents Panel is starting!
From Left To Right: Ginger Clark (Curtis Brown), Ken Wright (Writers House), Josh Adams (Adams Literary), and Lisa Grubka (Foundry).
Team blog is covering each agent individually - look for those posts coming up in the next minutes...
Art by one of George's clients, the always amazing Alice ProvensenDo you believe in trends?
Fashion has always been part of the publishing world, but when you take on a client, it is so personal. Always have faith in your own judgments and instincts.You MUST read adult books. you can't consider yourself a good writer for children if you don't read the books out there in the world.More and more publishers are listed as not taking unsolicited proposals, but agents seem to be saying they are looking for new clients with some publishing credits. What screen do you put new clients through?
Debut, beautifully crafted novels and works are out there, just be flexible.You all rep both authors and illustrators, yes?
I do very few picture books except with established illustrator clients. I don't do new artists, I don't know how to help them make a living outside of trade books (educational, licensing, etc.)--Posted by Jaime
Tina says: There's always going to room for a great story, but it's going to be hard for me to call an editor and say, "I know you have 10 vampire stories, but you really should take a look at this one." As a writer you need to be aware of what's out there, aware of the competition. Otherwise you're giving an editor a reason to reject you.
The novels she's sold in this market have come about because the writer had interests beyond their story. She suggest cultivating not only writing, but other hobbies or interests that can somehow inform your writing and making it richer.
About 75% of her authors are first-timers. She loves working new authors and she accepts e-queries.
Hot Tip: Tina Wexler is really into bee keeping. (If you have a manuscript involving bee keeping, work up that query.)
Rosemary Stimola, Literary Agent, Stimola Literary Studio
"We look to build careers and not just sell a particular project."
"An agent is an important person to have on your team, so that you can do what you wish to do..."
"Everything is changing at break-neck speed...Every day there is some new change."
The lines are all blurring between audio, visual, electronic, etc. So a question agents are now asking themselves is, how do we agents look to protect you writers not only now but in the future?
Stimola Literary is considered a boutique agency. Rosemary has a lot of flexibility in her schedule because she doesn't go to an office from 9 to 5. She as a group of office mates that are elsewhere that she is able to work with via electronics.
"What you need to do as a writer, is write a kick-ass story!"
Q & A:
Lin: Do each of you believe in trends?
Rosemary: I like to set trends.
Rosemary represents Suzanne Collins who wrote the HUNGER GAMES, a dystopian story.
Lin: We have more and more publishers who don't accept unagented manuscripts, so people turn to agents but are being told agents aren't accepting new authors. Are you willing to look at people who don't have a previous track record? And what are the criteria?
Rosemary: There's nothing more exciting than finding a new and fabulous voice out there. ...Along with that, there's the knowledge that every person is deserving of your time, so it has to be thought about carefully. Can I give this person the time s/he needs and deserves?
Linn: If someone were considering working with you, what is the best way for them to inquire about that, and what questions should each of you ask each other?
Rosemary: The e-query.
(Rosemary gets an average 25-50 e-queries a day.)
In terms of making selections, it's difficult. We're looking for something that stands out somehow.
--Posted by Jolie
George Nicholson started the panel by saying "We are in desperate times when our authors and illustrators are considered merely 'content providers.'"
A little bit of background, George began on the publishing side many years ago. As a young editor, he took part in all aspects of book production, eventually founding Delacorte and Yearling.
He transitioned to being an agent about 15 years ago just as the corporatization of publishing was starting to happen and credits his former wife for helping him make the decision:
"For heaven's sake, George, the only reason you're in this job is because you care about people."
"Have a raging sense of humor for every turn [in this business] if you can."
Some of George's clients include: Barbara Bader, Joan Bauer, Kevin Emerson, Leonard Marcus, Alice Provensen, and Susan Goldman Rubin
George says the most important thing is to be willing to reinvent yourself and be continually willing to do so. Not just your style or genre, but think about new digital platforms and media opportunities.
Tina Stared with a confession: She did want to work at ICM--she pictured an Entourage-type environment. But she was pleasantly surprised at the book-y atmosphere she discovered instead.
Remember why we're in this room: because we love books,
--POSTED BY ALICE
By: SCBWI,
on 8/8/2009
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More highlights from Brenda Bowen @ Agents Panel:
- On revising a client's work: "I was working with an aurhor on a picture book, and he revised it couple times. I said it was good and he said, 'Let's see what an editor says.' (Much laughter from the audience. Brenda shrugs.) Well, I have a different hat on now."
- As a former editor, Brenda says certain agents who have excellent reputations or cache can influence editors' expectations. When she was an editor, Brenda says, "I was aware that some agents' names in the inbox meant that what was attached, although maybe not perfect for me, was going to be really good for someone in the house, and that it was ready to go. I'd like to be one of those agents, like you folks (she nods to the panel)."
- Brenda believes in a long-term relationship with her clients. "I spent my time nurturing creative careers. It's not good for us to make one sale and never sell your work again. You have to imagine a partnership, to trust that we're going to give our best to each other and that we'll be there for the long haul."
Posted by Paula Yoo
Lin Oliver has started asking the agents questions. Lin says, "Tell Nancy [Gallt] we are all expecting a website."
Marietta echoed all the other agents' answers to Lin's first question and adds what she has noticed as a change in business thanks to the economic slump:
Conversations with editors are really deep... They are working so hard, not taking anything for granted, they are really looking deep into their souls to figure out what they are looking to acquire.
Lin's next question concerns what the agents feel their roles are as agents -- lots of editing? Hands off?
For Marietta it really depends, there are some manuscripts -- it's not that they are ready to go, but it's that the MS needs someone in an editorial department to work on it. Marietta is not afraid to work on/edit manuscripts.
Lin: How much time and effort do you spend on the editorial process?
Sarah: She tend to look more for potential than for something that's finished. She can wrestle with plots but she can't create a voice. She's gone through complete rewrites, from scratch, with authors she's gone on to successfully sell.
It would be lovely, she said, if she didn't need to do that, but she wants to get each manuscript to it's most salable form.
POSTED BY ALICE POPE
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BRENDA BOWEN: "Agents Panel: The State of the Business" Part 1
Highlights from the Agents Panel: The State of the Business featuring Brenda Bowen, Sarah Davies, Stephen Frasier, Dan Lazar, Kelly Sonnack, and Marietta Zacker.
Each SCBWI Team Blogger focusing on one agent.
Stay tuned for live blogs from Lee Wind's blog on Dan Lazar, Alice's blog on Sarah Davies, Jolie's blog on Stephen Fraser, Suzanne's blog on Kelly Sonnack, and Jaime's blog on Marietta Zacker.
I'm focusing on BRENDA BOWEN: She is a literary agent with Sanford J. Greenburger Associates, a full-service agency founded in 1932, and the home of Dan Brown, Fancy Nancy, and Kafka. A former publisher, Brenda specializes in children's books at SJGA, and is always on the lookout for funny books for middle graders.
Highlights from Brenda Bowen's quotes @ the panel:
-- Her imprint, The Bowen Press at HarperCollins, became "a statistic" because it launched in January 2009 and was "axed" in February 2009. "But when a door closes, another one opens," she said to great applause, referring to her new job as a literary agent with Sanford J. Greenburger Associates.
-- What Brenda is looking for: "A strong voice, assured confident writing, and creative use of language."
-- She does like "literary books" but she also has a fondness for funny books and asks that if you plan to submit a funny book, please indicate so!
-- For Brenda Bowen, please put "SCBWI-LA" in the subject line of your email query
-- Although Brenda has only been an agent since July, she's already signed some great clients. She says one person had written such a compelling sample via email that she downloaded the entire 15 pages attached and read it immediately and signed the writer right away. "So it does happen," Brenda says, adding that again, the voice was extremely "compelling" which is what sold her on the writer.
Stay tuned for more highlights!
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Out of all the people who spoke, presented, and just attended the conference the agents on this panel were the only ones who came across as less than kind. They seem to be out there just to help themselves. Oh, they are willing to partner with and nourish the writers who are brilliant, but don't send any bad submissions. Also don't critizie them or have the nerve to go somewhere else if they don't think your work is good enough, even if you have sold 4 previous books with them. And unless you are making money for them don't bother them. Normally I would say thank you for being real, but they aren't. They put on a (weakly attempted) nice face and spew lines about wanting the best for their clients. Save the fake sugar coating for the poor people who got up the courage to submit to you.
Barry was misquoted on the question of how to submit to him. He didn't say "please". He said, "You are not important enough or special enough to break the rules. If you don't follow the guidlines you will be deleted."
Don't worry Barry we all know we're not special or important to you when you just ignore our submissions if you don't see $$$ in them.
Thanks for a fun interview, Martha! I was wondering, though, if I've missed it or if it really wasn't there, but I can't seem to find anywhere on the website that actually states what this agency wanted to see in terms of submissions.
As well, if you tried to get to click the "Submissions Guidelines" link from the News page, it brings up an error.