Michelle Hauck's Blog, page 131
September 3, 2013
Announcing A New Query Contest
NIGHTMARE ON QUERY STREET
Details Coming Soon
10/19
September 2, 2013
Who Needs a Media Sheet?
What exactly is a media sheet and who needs one?
A media sheets is a brief and concise summary of your book and yourself to provide to reviewers and bloggers when trying to land some promotion for your book. It contains everything needed in one document, so people don't have to scrounge for your information and keep sending emails back and forth. In other words, it makes life easier for the people you want reading your book.
It's a must have for anyone who is self-published or is published from a small press, like me. They are useful to any author who has to do their own promoting and marketing. They make you look professional.
So what goes into a media sheet?
Page 1
You'll want to include your bio and all the links to your best social media, along with an author picture. But the centerpiece of your media sheet should be the blurb about your book and its cover art. Links to where it is sold and links to reading sites are also helpful. And don't forget to include a strong excerpt.
And once you get reviews going, be sure to include short quotes from some of those. I left room for some of those in center box.
I can't claim to have designed my own media sheet. Terri Bruce let me hijack hers and convert it for Kindar's Cure.
Page 2
It should be both pretty and functional. And hopefully it is enticing enough to get your work out there before the public.
What about you? What aids do you use to promote?
A media sheets is a brief and concise summary of your book and yourself to provide to reviewers and bloggers when trying to land some promotion for your book. It contains everything needed in one document, so people don't have to scrounge for your information and keep sending emails back and forth. In other words, it makes life easier for the people you want reading your book.
It's a must have for anyone who is self-published or is published from a small press, like me. They are useful to any author who has to do their own promoting and marketing. They make you look professional.
So what goes into a media sheet?
Page 1 You'll want to include your bio and all the links to your best social media, along with an author picture. But the centerpiece of your media sheet should be the blurb about your book and its cover art. Links to where it is sold and links to reading sites are also helpful. And don't forget to include a strong excerpt.
And once you get reviews going, be sure to include short quotes from some of those. I left room for some of those in center box.
I can't claim to have designed my own media sheet. Terri Bruce let me hijack hers and convert it for Kindar's Cure.
Page 2 It should be both pretty and functional. And hopefully it is enticing enough to get your work out there before the public.
What about you? What aids do you use to promote?
August 31, 2013
Editing Tips for the Big Picture
Editing has two phases: the writing itself covering beats, showing/telling and awkward wording etc, and the ‘big picture’ items like character arc and pacing. The web abounds with tips to help correct writing problems, such as filtering, but it's a little tougher to find information on the big picture problems.
So when a friend asked for short editing tips to share on her facebook page, I wanted to go with something unexpected. I decided on five suggests for making a stronger main character and keeping the plot headed in the right direction.
Keeping these 'rules' in mind has helped me with my big picture troubles. Maybe they'll do the same for you. Oh, and if you'd stop by Cliffhanger Editing on Facebook and give the page a 'like,' that would be much appreciated.
1. As far as big picture problems, I read a lot of first draft manuscripts with passive main characters. Characters who sit around and wait for something to happen. A main character, like a detective, has to get out there and instigate and investigate matters. Don’t let your character be a reactive, flabby mess or an armchair quarterback, put him/her out there and have them get busy.
2. Another ‘big picture’ problem I see in manuscripts is coddled main characters. We love our characters, and we don’t want bad things to happen to them. Bull Sh*t! Main characters have to suffer. They need to get clobbered with physical pain as well as mental suffering. Break their arms, add a little blood, have their boyfriends destroy their hearts and their best friend crash their car. Conflict drives a story, and a main character who never gets hurt loses effectiveness. Remember pain is gain.
3. Beware the damsel in distress syndrome. A main character has to rescue themselves by the end of the story. He/she may have to have help to escape a problem, but the brains and the determination has to come from them. Avoid letting an older and wiser secondary character continually step in and save the day. No Snow Whites in this day and age.
4. Make sure each chapter builds and add to the story. In other words, one thing must lead logically to the next. If the porridge is too hot in chapter one, then chapter two should be the bears going for a walk and leaving the door unlocked. You don’t want the porridge too hot, then in the next chapter they’re playing Wii bowling. In other words, the plot shouldn’t involve a bunch of random adventures in each chapter that have nothing to do with each other.
5. As in the beginning so in the ending. If you main character is shown to be afraid of heights in chapter one, then I’d better see some horrible scenario involving skyscrapers in the action finale. The best queries start out with a hook and bring that hook back around for the sinker. So too the best stories need that character arc. Take what bedevils your main character and make them face it down at the end.
Please share your big picture advice. What rules do you live by when weaving the entire story into perfection?
So when a friend asked for short editing tips to share on her facebook page, I wanted to go with something unexpected. I decided on five suggests for making a stronger main character and keeping the plot headed in the right direction.
Keeping these 'rules' in mind has helped me with my big picture troubles. Maybe they'll do the same for you. Oh, and if you'd stop by Cliffhanger Editing on Facebook and give the page a 'like,' that would be much appreciated.
1. As far as big picture problems, I read a lot of first draft manuscripts with passive main characters. Characters who sit around and wait for something to happen. A main character, like a detective, has to get out there and instigate and investigate matters. Don’t let your character be a reactive, flabby mess or an armchair quarterback, put him/her out there and have them get busy.
2. Another ‘big picture’ problem I see in manuscripts is coddled main characters. We love our characters, and we don’t want bad things to happen to them. Bull Sh*t! Main characters have to suffer. They need to get clobbered with physical pain as well as mental suffering. Break their arms, add a little blood, have their boyfriends destroy their hearts and their best friend crash their car. Conflict drives a story, and a main character who never gets hurt loses effectiveness. Remember pain is gain.
3. Beware the damsel in distress syndrome. A main character has to rescue themselves by the end of the story. He/she may have to have help to escape a problem, but the brains and the determination has to come from them. Avoid letting an older and wiser secondary character continually step in and save the day. No Snow Whites in this day and age.
4. Make sure each chapter builds and add to the story. In other words, one thing must lead logically to the next. If the porridge is too hot in chapter one, then chapter two should be the bears going for a walk and leaving the door unlocked. You don’t want the porridge too hot, then in the next chapter they’re playing Wii bowling. In other words, the plot shouldn’t involve a bunch of random adventures in each chapter that have nothing to do with each other.
5. As in the beginning so in the ending. If you main character is shown to be afraid of heights in chapter one, then I’d better see some horrible scenario involving skyscrapers in the action finale. The best queries start out with a hook and bring that hook back around for the sinker. So too the best stories need that character arc. Take what bedevils your main character and make them face it down at the end.
Please share your big picture advice. What rules do you live by when weaving the entire story into perfection?
August 29, 2013
Query Questions with Molly Jaffa
Real quick before this query interview, I wanted to say that I have my own interview about writing over on Terri Bruce's blog, which is part of the Blog Ring of Power. I'd appreciate anyone who can stop by and say hello.
And if you're looking for more agent interviews, be sure to check out I Write for Apples. Dee takes a wider look at the agent process.
Writers have copious amounts of imagination. It's what makes their stories so fantastic. But there's a darker side to so much out of the box thinking. When a writer is in the query trenches, their worries go into overdrive. They start pulling out their hair and imagine every possible disaster.
Here to relieve some of that endless worrying is a new series of posts called Query Questions. I'll ask the questions which prey on every writer's mind, and hopefully take some of the pain out of querying. These are questions that I've seen tossed around on twitter and writing sites like Agent Query Connect. They are the type of questions that you need answers for the real expert--agents!
If you have your own specific query question, please leave it in the comments and it might show up in future editions of Query Questions as I plan to rotate the questions.
Molly Jaffa is here from Folio Literary Management to share her query wisdom. Thanks so much for your help, Molly!
I’ve heard August is a time when publishing shuts down. Does that make it a better or worse time to query?
That’s a good question, but personally, I don’t think a query’s timing has an impact on how I consider it. Though many people do take vacations during August, not all of us do, and the idea of publishing shutting down during the summer is starting to become outdated. I sold a novel this month and have closed multiple foreign deals, and our office is busy as ever! I’d advise authors to query whenever their manuscript is as ready as it can possibly be; there’s no need to overthink it.
Does one typo or misplaced comma shoot down the entire query?
No. We all make mistakes, and when I read a query, I’m not looking for reasons to reject it—I’m looking for reasons to request the manuscript! If the whole thing is riddled with typos, though, I’ll pass, as that usually doesn’t bode well for the manuscript itself.
Do you look at sample pages without fail or only if the query is strong?
I look at the query first, and I only read sample pages if some aspect of the query intrigues me. It doesn’t have to be a “perfect” query (is there such a thing?), but there has to be something that makes me want to keep reading. Sometimes that’s an exciting hook, comp titles that I love, or a degree from a writing program I respect.
Do you have a reader or associate go through your queries first or do you check all of them yourself?
I read and respond to all queries myself.
If the manuscript has a prologue, do you want it included with the sample pages?
Yes. If you’re worried about including your prologue because you think it won’t hook an agent or isn’t indicative of the manuscript as a whole, then that may be a strong sign that you should remove it from the manuscript.
Some agencies mention querying only one agent at a time and some say query only one agent period. How often do you pass a query along to a fellow agent who might be more interested?
I don’t share queries very often, but it happens on occasion. At Folio, it’s perfectly fine to query another agent within the agency if one of us has already passed.
Most agents have said they don’t care whether the word count/genre sentence comes first or last. But is it a red flag if one component is not included?
Word count and genre should always be included. I’m sure anyone who’s doing enough agent research to be reading this interview won’t make that mistake!
Is there a bias against querying authors who have self-published other books?I wouldn’t say there’s a bias, but it does depend on the author’s reason for self-publishing, how those self-published books have performed, why the author wants an agent now, and what the author plans to do with those self-published titles moving forward. Those aren’t questions a self-published author would need to address in a query, though. If I really love a project, the author’s self-published book(s) would be part of our discussion about potentially working together.
Do you go through a large group of queries at a time or hold yourself to a few?
This really varies. I read queries in my spare time–between meetings, at night, on weekends, on the subway—so it depends on how much time I have at that particular moment!
How many queries do you receive in a week? How many requests might you make out of those?
I can receive up to 100 queries a week. I might request one or two manuscripts from that, but I don’t set a minimum or a limit for myself. Some weeks I don’t request anything at all, and some weeks I’ll request multiple manuscripts. You never know!
Many agents say they don't care if writers are active online. Could a twitter account or blog presence by a writer tip the scales in getting a request or offer? And do you require writers you sign to start one?
A great social media presence wouldn’t cause me to offer representation if I wasn’t already planning to do so based on the quality of the author’s writing. It’s a plus, though—especially in YA, since teen readers really love interacting with their favorite authors online. So while I don’t require my clients to start social media accounts, we do have a discussion about it. If a particular platform isn’t a natural fit for them, though, I certainly won’t force the issue.
What bio should an author with no publishing credits include?
It depends on the kind of book they’ve written, but overall, they should keep it simple. A line or two about themselves, like where they live or what they do for a living, is plenty. For YA, I like seeing bios with a bit of spark, something that makes me think that person would be a hit with the teen readership.
What does ‘just not right mean for me’ mean to you?
If I write that in response to a query, it’s mostly likely a form rejection. If it’s in response to a requested manuscript, I probably didn’t feel that I had a substantive enough reason for rejecting the project to provide more detailed feedback. Sometimes it’s easy for me to pinpoint the moment or reason when a manuscript stopped working for me, but sometimes I simply just don’t love it enough. There’s not a specific reason why; I’m just not head-over-heels for it. In those cases, I don’t want to give feedback that might cause an author to think he or she needs to revise per my notes, because another agent may love it as-is.
What themes are you sick of seeing?
The only things I don’t want to see are projects that feel derivative, and projects that are undercooked. If you’re a great writer who’s put a lot of blood, sweat, and tears into an original, intriguing project, then bring it on! But if you know in your gut that you can still improve your manuscript without the help of an agent, or if you know your project sounds just like a bunch of other books out there, it may not be time to query. Ask yourself: is this the manuscript that will allow me to launch my career with a splash?
What’s the strangest/funniest thing you’ve seen in a query?
Someone once sent me erotica (which I don’t represent) about a woman who just so happened to share one of my colleagues’ names – first and last. It was a little weird.
What three things are at the top of your submission wish list?
I’d love to see contemporary YA that makes me laugh and cry (like Corey Ann Haydu’s OCD LOVE STORY or Morgan Matson’s SECOND CHANCE SUMMER); a big, sweeping YA fantasy (like Libba Bray’s THE DIVINERS or Rachel Hartmann’s SERAPHINA); and literary middle grade (like Kimberly Newton Fusco’s BEHOLDING BEE or Crystal Chan’s forthcoming BIRD, which is the best MG novel I’ve read in years).
What are some of your favorite movies or books to give us an idea of your tastes?
My favorite YA novels of 2013 are Andrew Smith’s WINGER, Rainbow Rowell’s ELEANOR & PARK, and Katie Cotugno’s forthcoming HOW TO LOVE. Also, I just started reading Cassandra Clare’s CITY OF BONES for the first time and am absolutely loving it. I’m late to the party on that one, but it’s exactly the kind of fantasy I love! On the adult side, I’ve recently read and enjoyed Alissa Nutting’s TAMPA, Kate Atkinson’s LIFE AFTER LIFE, and Elizabeth L. Silver’s THE EXECUTION OF NOA P. SINGLETON. Though I’m not currently taking on adult fiction, those titles are indicative of my taste in YA in that I look for novels that push the envelope in some way, whether in form or content. As a reader, I want books that leave me in a dazed state when I finish them. I want to have to sit and puzzle out my feelings when I’m through.
----------------------------------------------------------------------------------------------------------------------------------
Molly has been working closely with Folio authors’ projects since 2008, and is an Associate Member of the Association of Authors’ Representatives (AAR). In addition to building her selective but growing list of clients, Molly utilizes her editorial background, previous work experience in the e-publishing industry, and intimate knowledge of the Folio list in her position as Folio’s Co-Director of International Rights. She actively pursues sales of international and audio rights and attends all major international book fairs, helping Folio clients’ books reach wide audiences in as many formats as possible. Molly is an avid reader, and when she’s not devouring manuscripts, she can usually be found camped out in the aisles of the Union Square Barnes & Noble (until they kick her out at closing time).
I focus exclusively on middle grade and young adult fiction. I’m looking for books that challenge the reader intellectually and emotionally, from the high-concept and fantastical to the frank, fresh, and contemporary. I love fiction set in another country, time, or place (real or imagined!) that opens up a rich new world for the reader to discover. Stories featuring characters with strong passions, talents, or smarts – or characters in search of theirs – resonate with me. I’d also like to see: Contemporary YA that’s not afraid to explore complex social issues, historical fantasy, smart middle grade adventures, heartbreaking middle grade with beautiful writing, and good, old-fashioned YA romance.
And if you're looking for more agent interviews, be sure to check out I Write for Apples. Dee takes a wider look at the agent process.
Writers have copious amounts of imagination. It's what makes their stories so fantastic. But there's a darker side to so much out of the box thinking. When a writer is in the query trenches, their worries go into overdrive. They start pulling out their hair and imagine every possible disaster.
Here to relieve some of that endless worrying is a new series of posts called Query Questions. I'll ask the questions which prey on every writer's mind, and hopefully take some of the pain out of querying. These are questions that I've seen tossed around on twitter and writing sites like Agent Query Connect. They are the type of questions that you need answers for the real expert--agents!
If you have your own specific query question, please leave it in the comments and it might show up in future editions of Query Questions as I plan to rotate the questions.
Molly Jaffa is here from Folio Literary Management to share her query wisdom. Thanks so much for your help, Molly!
I’ve heard August is a time when publishing shuts down. Does that make it a better or worse time to query?
That’s a good question, but personally, I don’t think a query’s timing has an impact on how I consider it. Though many people do take vacations during August, not all of us do, and the idea of publishing shutting down during the summer is starting to become outdated. I sold a novel this month and have closed multiple foreign deals, and our office is busy as ever! I’d advise authors to query whenever their manuscript is as ready as it can possibly be; there’s no need to overthink it.
Does one typo or misplaced comma shoot down the entire query?
No. We all make mistakes, and when I read a query, I’m not looking for reasons to reject it—I’m looking for reasons to request the manuscript! If the whole thing is riddled with typos, though, I’ll pass, as that usually doesn’t bode well for the manuscript itself.
Do you look at sample pages without fail or only if the query is strong?
I look at the query first, and I only read sample pages if some aspect of the query intrigues me. It doesn’t have to be a “perfect” query (is there such a thing?), but there has to be something that makes me want to keep reading. Sometimes that’s an exciting hook, comp titles that I love, or a degree from a writing program I respect.
Do you have a reader or associate go through your queries first or do you check all of them yourself?
I read and respond to all queries myself.
If the manuscript has a prologue, do you want it included with the sample pages?
Yes. If you’re worried about including your prologue because you think it won’t hook an agent or isn’t indicative of the manuscript as a whole, then that may be a strong sign that you should remove it from the manuscript.
Some agencies mention querying only one agent at a time and some say query only one agent period. How often do you pass a query along to a fellow agent who might be more interested?
I don’t share queries very often, but it happens on occasion. At Folio, it’s perfectly fine to query another agent within the agency if one of us has already passed.
Most agents have said they don’t care whether the word count/genre sentence comes first or last. But is it a red flag if one component is not included?
Word count and genre should always be included. I’m sure anyone who’s doing enough agent research to be reading this interview won’t make that mistake!
Is there a bias against querying authors who have self-published other books?I wouldn’t say there’s a bias, but it does depend on the author’s reason for self-publishing, how those self-published books have performed, why the author wants an agent now, and what the author plans to do with those self-published titles moving forward. Those aren’t questions a self-published author would need to address in a query, though. If I really love a project, the author’s self-published book(s) would be part of our discussion about potentially working together.
Do you go through a large group of queries at a time or hold yourself to a few?
This really varies. I read queries in my spare time–between meetings, at night, on weekends, on the subway—so it depends on how much time I have at that particular moment!
How many queries do you receive in a week? How many requests might you make out of those?
I can receive up to 100 queries a week. I might request one or two manuscripts from that, but I don’t set a minimum or a limit for myself. Some weeks I don’t request anything at all, and some weeks I’ll request multiple manuscripts. You never know!
Many agents say they don't care if writers are active online. Could a twitter account or blog presence by a writer tip the scales in getting a request or offer? And do you require writers you sign to start one?
A great social media presence wouldn’t cause me to offer representation if I wasn’t already planning to do so based on the quality of the author’s writing. It’s a plus, though—especially in YA, since teen readers really love interacting with their favorite authors online. So while I don’t require my clients to start social media accounts, we do have a discussion about it. If a particular platform isn’t a natural fit for them, though, I certainly won’t force the issue.
What bio should an author with no publishing credits include?
It depends on the kind of book they’ve written, but overall, they should keep it simple. A line or two about themselves, like where they live or what they do for a living, is plenty. For YA, I like seeing bios with a bit of spark, something that makes me think that person would be a hit with the teen readership.
What does ‘just not right mean for me’ mean to you?
If I write that in response to a query, it’s mostly likely a form rejection. If it’s in response to a requested manuscript, I probably didn’t feel that I had a substantive enough reason for rejecting the project to provide more detailed feedback. Sometimes it’s easy for me to pinpoint the moment or reason when a manuscript stopped working for me, but sometimes I simply just don’t love it enough. There’s not a specific reason why; I’m just not head-over-heels for it. In those cases, I don’t want to give feedback that might cause an author to think he or she needs to revise per my notes, because another agent may love it as-is.
What themes are you sick of seeing?
The only things I don’t want to see are projects that feel derivative, and projects that are undercooked. If you’re a great writer who’s put a lot of blood, sweat, and tears into an original, intriguing project, then bring it on! But if you know in your gut that you can still improve your manuscript without the help of an agent, or if you know your project sounds just like a bunch of other books out there, it may not be time to query. Ask yourself: is this the manuscript that will allow me to launch my career with a splash?
What’s the strangest/funniest thing you’ve seen in a query?
Someone once sent me erotica (which I don’t represent) about a woman who just so happened to share one of my colleagues’ names – first and last. It was a little weird.
What three things are at the top of your submission wish list?
I’d love to see contemporary YA that makes me laugh and cry (like Corey Ann Haydu’s OCD LOVE STORY or Morgan Matson’s SECOND CHANCE SUMMER); a big, sweeping YA fantasy (like Libba Bray’s THE DIVINERS or Rachel Hartmann’s SERAPHINA); and literary middle grade (like Kimberly Newton Fusco’s BEHOLDING BEE or Crystal Chan’s forthcoming BIRD, which is the best MG novel I’ve read in years).
What are some of your favorite movies or books to give us an idea of your tastes?
My favorite YA novels of 2013 are Andrew Smith’s WINGER, Rainbow Rowell’s ELEANOR & PARK, and Katie Cotugno’s forthcoming HOW TO LOVE. Also, I just started reading Cassandra Clare’s CITY OF BONES for the first time and am absolutely loving it. I’m late to the party on that one, but it’s exactly the kind of fantasy I love! On the adult side, I’ve recently read and enjoyed Alissa Nutting’s TAMPA, Kate Atkinson’s LIFE AFTER LIFE, and Elizabeth L. Silver’s THE EXECUTION OF NOA P. SINGLETON. Though I’m not currently taking on adult fiction, those titles are indicative of my taste in YA in that I look for novels that push the envelope in some way, whether in form or content. As a reader, I want books that leave me in a dazed state when I finish them. I want to have to sit and puzzle out my feelings when I’m through.
----------------------------------------------------------------------------------------------------------------------------------
Molly has been working closely with Folio authors’ projects since 2008, and is an Associate Member of the Association of Authors’ Representatives (AAR). In addition to building her selective but growing list of clients, Molly utilizes her editorial background, previous work experience in the e-publishing industry, and intimate knowledge of the Folio list in her position as Folio’s Co-Director of International Rights. She actively pursues sales of international and audio rights and attends all major international book fairs, helping Folio clients’ books reach wide audiences in as many formats as possible. Molly is an avid reader, and when she’s not devouring manuscripts, she can usually be found camped out in the aisles of the Union Square Barnes & Noble (until they kick her out at closing time).
I focus exclusively on middle grade and young adult fiction. I’m looking for books that challenge the reader intellectually and emotionally, from the high-concept and fantastical to the frank, fresh, and contemporary. I love fiction set in another country, time, or place (real or imagined!) that opens up a rich new world for the reader to discover. Stories featuring characters with strong passions, talents, or smarts – or characters in search of theirs – resonate with me. I’d also like to see: Contemporary YA that’s not afraid to explore complex social issues, historical fantasy, smart middle grade adventures, heartbreaking middle grade with beautiful writing, and good, old-fashioned YA romance.
August 28, 2013
Finally on Bookshelves
Kindar's Cure might not be available in bookstores, but thanks to my CP and friend, Carla, I get to see it on bookshelves. And the ebook version went online last weekend.
In other news, there will be a new Query Questions tomorrow featuring Molly Jaffa. It will feature some new questions about ... well, come and see.
August 27, 2013
Query Questions with Kate Schafer Testerman
Writers have copious amounts of imagination. It's what makes their stories so fantastic. But there's a darker side to so much out of the box thinking. When a writer is in the query trenches, their worries go into overdrive. They start pulling out their hair and imagine every possible disaster.
Here to relieve some of that endless worrying is a new series of posts called Query Questions. I'll ask the questions which prey on every writer's mind, and hopefully take some of the pain out of querying. These are questions that I've seen tossed around on twitter and writing sites like Agent Query Connect. They are the type of questions that you need answers for the real expert--agents!
If you have your own specific query question, please leave it in the comments and it might show up in future editions of Query Questions as I plan to rotate the questions.
Kate Schafer Testerman of KT Literary sent these answers before she took time off for her maternity leave. Now that is dedication to helping writers. She is currently closed to queries.
I hear publishing shuts down in August. Does that make it a bad time to query?
Some would argue that that makes it a better time! But the truth is, though many editors and agents do take some time off during August, often they're trying to get through their submissions piles before they go, so you may even find faster response times in the summer. And if you want to put credence into the theory that it is a quieter time in the industry, then maybe there are some agents and editors who have time to go through their submissions during the work day, instead of just after hours, as we more usually do.
Does one typo or misplaced comma shoot down the entire query?
No, though it can speak to a lack of care in what you're writing and submitting. But it's not an automatic no.
Do you look at sample pages without fail or only if the query is strong?
Only if the query is strong, and the hook is intriguing.
Do crazy fonts caused by email gremlins make for an automatic rejection?
Again, no, but I would definitely advise avoiding crazy fonts and colors.
Do you prefer a little personalized chit-chat in a query letter, or would you rather hear about the manuscript?
I definitely like to hear why you're querying me -- what brought me or my agency to your attention, which authors of mine you've read, etc., but not to the exclusion of a description of the manuscript!
Does it matter whether the word count/genre information is first or last in a query?
Not for me.
Is a too high or too small word count a cause for rejection?
Not automatically, but it can speak to a lack of understanding of the market. My favorite post to point people towards with word count questions is by Jennifer Laughran of the Andrea Brown Literary Agency, aka Literaticat: http://literaticat.blogspot.com/2011/05/wordcount-dracula.html
Is there a bias against querying authors who have self-published other books?
I can only speak to my own opinions, but I'd say no, with the caveat that if you're querying a manuscript you originally self-published, and now want to seek traditional publication, you need to have serious sales numbers. And I don't know many agents who want to take on the third or fourth book in a series that began as self-published, unless the numbers are HUGE.
How many queries do you receive in a week? How many requests might you make out of those?
A couple hundred? I haven't been keeping track lately. Out of a hundred queries though, I might ask for material on one or two, maybe
If you think a project has potential elsewhere, do you try to give some feedback?
I do try to give feedback on partials or fulls that I review, but I can't on queries. This is usually just a line or two, though.
Many agents say they don’t care if writers are active online. Could an active/known online presence by an author tip the scales in getting a request or offer?
For some agents, maybe, but only if I'm truly on the fence about a manuscript -- and most of the time, if I'm on the fence, I'm more likely going to say no than yes.
What does ‘just didn’t connect enough’ mean to you?
It means I didn't fall head-over-heels in love with it.
--------------------------------------------------------------------------------------------
After a dozen years working in publishing in New York City, Kate Schafer Testerman moved to Colorado and formed kt literary in early 2008, where she concentrates on middle grade and young adult fiction. Bringing to bear the experience of being part of a large agency, she enjoys all aspects of working with her authors, offering hands-on experience, personal service, and a surfeit of optimism. She is not accepting queries at this time.
Here to relieve some of that endless worrying is a new series of posts called Query Questions. I'll ask the questions which prey on every writer's mind, and hopefully take some of the pain out of querying. These are questions that I've seen tossed around on twitter and writing sites like Agent Query Connect. They are the type of questions that you need answers for the real expert--agents!
If you have your own specific query question, please leave it in the comments and it might show up in future editions of Query Questions as I plan to rotate the questions.
Kate Schafer Testerman of KT Literary sent these answers before she took time off for her maternity leave. Now that is dedication to helping writers. She is currently closed to queries.
I hear publishing shuts down in August. Does that make it a bad time to query?
Some would argue that that makes it a better time! But the truth is, though many editors and agents do take some time off during August, often they're trying to get through their submissions piles before they go, so you may even find faster response times in the summer. And if you want to put credence into the theory that it is a quieter time in the industry, then maybe there are some agents and editors who have time to go through their submissions during the work day, instead of just after hours, as we more usually do.
Does one typo or misplaced comma shoot down the entire query?
No, though it can speak to a lack of care in what you're writing and submitting. But it's not an automatic no.
Do you look at sample pages without fail or only if the query is strong?
Only if the query is strong, and the hook is intriguing.
Do crazy fonts caused by email gremlins make for an automatic rejection?
Again, no, but I would definitely advise avoiding crazy fonts and colors.
Do you prefer a little personalized chit-chat in a query letter, or would you rather hear about the manuscript?
I definitely like to hear why you're querying me -- what brought me or my agency to your attention, which authors of mine you've read, etc., but not to the exclusion of a description of the manuscript!
Does it matter whether the word count/genre information is first or last in a query?
Not for me.
Is a too high or too small word count a cause for rejection?
Not automatically, but it can speak to a lack of understanding of the market. My favorite post to point people towards with word count questions is by Jennifer Laughran of the Andrea Brown Literary Agency, aka Literaticat: http://literaticat.blogspot.com/2011/05/wordcount-dracula.html
Is there a bias against querying authors who have self-published other books?
I can only speak to my own opinions, but I'd say no, with the caveat that if you're querying a manuscript you originally self-published, and now want to seek traditional publication, you need to have serious sales numbers. And I don't know many agents who want to take on the third or fourth book in a series that began as self-published, unless the numbers are HUGE.
How many queries do you receive in a week? How many requests might you make out of those?
A couple hundred? I haven't been keeping track lately. Out of a hundred queries though, I might ask for material on one or two, maybe
If you think a project has potential elsewhere, do you try to give some feedback?
I do try to give feedback on partials or fulls that I review, but I can't on queries. This is usually just a line or two, though.
Many agents say they don’t care if writers are active online. Could an active/known online presence by an author tip the scales in getting a request or offer?
For some agents, maybe, but only if I'm truly on the fence about a manuscript -- and most of the time, if I'm on the fence, I'm more likely going to say no than yes.
What does ‘just didn’t connect enough’ mean to you?
It means I didn't fall head-over-heels in love with it.
--------------------------------------------------------------------------------------------
After a dozen years working in publishing in New York City, Kate Schafer Testerman moved to Colorado and formed kt literary in early 2008, where she concentrates on middle grade and young adult fiction. Bringing to bear the experience of being part of a large agency, she enjoys all aspects of working with her authors, offering hands-on experience, personal service, and a surfeit of optimism. She is not accepting queries at this time.
August 26, 2013
WriteOnCon Reading Room Contest
Hey all, remember that contest from #WriteOnCon where the winner gets $1,000 and a session with a literary agent? Well, I really need your help!
Friend and fellow writer, Amy Trueblood made the top five of that exciting contest with her story Fighting Chance. Now she needs your help to pull out on top.
What can you do?
Go vote here! Check out the top five entries and see if you believe Fighting Chance should be one of the winners. Voting for the winners will continue until September 8th.
We're always talking about standing with our fellow writers. Here's your chance to do it.
Friend and fellow writer, Amy Trueblood made the top five of that exciting contest with her story Fighting Chance. Now she needs your help to pull out on top.
What can you do?
Go vote here! Check out the top five entries and see if you believe Fighting Chance should be one of the winners. Voting for the winners will continue until September 8th.
We're always talking about standing with our fellow writers. Here's your chance to do it.
August 25, 2013
My Hamsters Have Agent and Will Travel
I'm happy and excited to announce that I have an agent for my middle grade story, Pygmy Hazards. The ink is barely dry on my contract with Sarah Negovetich of Corvisiero Literary Agency. If you are interested in knowing more about my silly hamsters, please check the pages above, where you'll find the query letter I used.
I started querying in April by entering a few small contests, probably jumping the gun a little as the manuscript wasn't completely polished. Several requests for partials came my way--four in fact. It seemed my query had the voice to attract positive attention. In May, the querying began in earnest with small batches of ten or twelve. The very first query got a partial request.
Then a new trend happened. I began to receive a lot of personalized rejections, noting that the writing was strong and the sample pages were very funny but it wasn't a 'good fit' or 'right for them.' Time went by and the collection of form rejections grew along with the personalized notes. Here and there, I got a full request, but they were few and far between. I say this not to try and claim my road was super difficult, but to prove that it only takes one person to fall in love with your story. That everyone is going to garner rejections.
More time passed and I continued to send out query letters and enter contests, but it seemed my luck had turned. While other writers loved my query and pitches, my story didn't seem to be what agents were looking for. But then a partial from those April contests turned into a full.
About a month later I got a request to chat from that agent. We talked on the phone and it was THE CALL. It was a Friday and I had a week to think it over and make my decision. I didn't know what to do with myself for the rest of the day. I could barely sit down, let alone think. Luckily, something helpful appeared on twitter a few days before my offer. (Thank you, twitter!) Daily Dahlia posted the second part of a blog post about Nudging and Multiple Offers. It was exactly what I needed. I used the advice from that post to nudge on my outstanding requests and queries that were less than a month old.
That same afternoon I got another partial request and overnight came a full request. The agents with my material promised to get back to me soon. Things were moving quickly. Other agents declined with congratulations.
By Tuesday I had two offers, having gone through two THE CALL sessions, and two agents were still considering. Now the days passed slowly as I tried to weigh which agent would be right for me by talking to clients, researching on the internet, and reading the contracts. (A friend with contract experience gave me help there. Thanks, Don!) Friday morning came and the two agents still considering decided to bow out. By then my decision was made. Sarah has a love of speculative fiction as deep as mine. We seemed to have the same goals and dreams. I accepted her offer.
Here comes the embarrassing part. We had no ink in our printer. Duh, I couldn't print the contract to sign and return to Sarah. The formal announcement couldn't come until it was all finalized. Needless to say, I was dying to tell people. (A secret keeper I am not! The news slipped to many of my CPs before the first day was over.) I scrambled to ask my mom to print for me, trying to find time to get over there all while getting dinner before the first high school football game of the season. My son is in the marching band and we couldn't miss his performance.
My mom's printer was on the fritz. Of course! We drove to buy ink but by the time we got home, it was time for football. 11:30 that night I was coaxing the printer to go faster. Big sigh. It all got done and here it is announced!
Finding an agent has exactly been a quick process. There were four other manuscripts and five years of effort before it all paid off. But I'm so eager to see what the future brings!
I started querying in April by entering a few small contests, probably jumping the gun a little as the manuscript wasn't completely polished. Several requests for partials came my way--four in fact. It seemed my query had the voice to attract positive attention. In May, the querying began in earnest with small batches of ten or twelve. The very first query got a partial request.
Then a new trend happened. I began to receive a lot of personalized rejections, noting that the writing was strong and the sample pages were very funny but it wasn't a 'good fit' or 'right for them.' Time went by and the collection of form rejections grew along with the personalized notes. Here and there, I got a full request, but they were few and far between. I say this not to try and claim my road was super difficult, but to prove that it only takes one person to fall in love with your story. That everyone is going to garner rejections.
More time passed and I continued to send out query letters and enter contests, but it seemed my luck had turned. While other writers loved my query and pitches, my story didn't seem to be what agents were looking for. But then a partial from those April contests turned into a full.
About a month later I got a request to chat from that agent. We talked on the phone and it was THE CALL. It was a Friday and I had a week to think it over and make my decision. I didn't know what to do with myself for the rest of the day. I could barely sit down, let alone think. Luckily, something helpful appeared on twitter a few days before my offer. (Thank you, twitter!) Daily Dahlia posted the second part of a blog post about Nudging and Multiple Offers. It was exactly what I needed. I used the advice from that post to nudge on my outstanding requests and queries that were less than a month old.
That same afternoon I got another partial request and overnight came a full request. The agents with my material promised to get back to me soon. Things were moving quickly. Other agents declined with congratulations.
By Tuesday I had two offers, having gone through two THE CALL sessions, and two agents were still considering. Now the days passed slowly as I tried to weigh which agent would be right for me by talking to clients, researching on the internet, and reading the contracts. (A friend with contract experience gave me help there. Thanks, Don!) Friday morning came and the two agents still considering decided to bow out. By then my decision was made. Sarah has a love of speculative fiction as deep as mine. We seemed to have the same goals and dreams. I accepted her offer.
Here comes the embarrassing part. We had no ink in our printer. Duh, I couldn't print the contract to sign and return to Sarah. The formal announcement couldn't come until it was all finalized. Needless to say, I was dying to tell people. (A secret keeper I am not! The news slipped to many of my CPs before the first day was over.) I scrambled to ask my mom to print for me, trying to find time to get over there all while getting dinner before the first high school football game of the season. My son is in the marching band and we couldn't miss his performance.
My mom's printer was on the fritz. Of course! We drove to buy ink but by the time we got home, it was time for football. 11:30 that night I was coaxing the printer to go faster. Big sigh. It all got done and here it is announced!
Finding an agent has exactly been a quick process. There were four other manuscripts and five years of effort before it all paid off. But I'm so eager to see what the future brings!
August 22, 2013
Query Questions with Amy Boggs
Writers have copious amounts of imagination. It's what makes their stories so fantastic. But there's a darker side to so much out of the box thinking. When a writer is in the query trenches, their worries go into overdrive. They start pulling out their hair and imagine every possible disaster.
Here to relieve some of that endless worrying is a new series of posts called Query Questions. I'll ask the questions which prey on every writer's mind, and hopefully take some of the pain out of querying. These are questions that I've seen tossed around on twitter and writing sites like Agent Query Connect. They are the type of questions that you need answers for the real expert--agents!
If you have your own specific query question, please leave it in the comments and it might show up in future editions of Query Questions as I plan to rotate the questions.
Today's agent is Amy Boggs of the fabulous Donald Maass Literary Agency.
I’ve heard August is a time when publishing shuts down. Does that make it a better or worse time to query?Oh if only that were the truth. Sure there are folks on vacation, but on the querying side of things, it doesn't make much difference. The only time that is a bad time to query is when I suddenly have stacks of client manuscripts to edit, on top of new boilerplates to negotiate, and some fires to put out. But it's not like a querier will know when those times are, so don't worry about it. Query when you want.
Does one typo or misplaced comma shoot down the entire query?I once I had an author whose first line of his query informed me his book was an "urban gantasy." Reader, I signed him. No one ever makes a fuss about occasional mistakes (well, on the publishing side; you do get nitpicky readers), because the actual content is far more important.
Do you look at sample pages without fail or only if the query is strong?As long as the book is a genre I represent, and the query isn't obviously bigoted, I read the sample pages. One of my co-workers, Jen Udden, actually reads the sample pages first and then reads the query, and teases me for getting all excited over a query only to find the sample pages lackluster. I can't help it really, because I get excited over cool ideas, but Jen's right; in the end, it's the writing that matters.
Do crazy fonts caused by email gremlins make for an automatic rejection?Naw. If a query is totally illegible due to email gremlins, I just paste it into Word. Wacky email backgrounds and font colors might raise an eyebrow, but really, I'm just grateful the days of glitter-in-the-envelope-queries are pretty much over.
Do you prefer a little personalized chit-chat in a query letter, or would you rather hear about the manuscript?Personalized chit-chat is fine as long as it's real; so often, though, queriers try to force it because they've been told to do it, and that just feels awkward. If you don't have anything to personalize, by all means, just dive in. My eyes have learned to skim those opening paragraphs for genre and word count, and I only really read them if there's a mention of a book/author I love or represent, or a show I love, or something about my Twitter feed. Regardless, keep it short. And whatever you do, don't lie. I can't eyeroll hard enough at people who say they loved a book by one of my authors when the title they mention is the title it sold under rather than what it published under. (Still not an auto-reject, though.)
Most agents have said they don’t care whether the word count/genre sentence comes first or last. But is it a red flag if word count is not included?Why not include it? I don't see it as a red flag, because some folks just forget it, but if a querier's word count is so out there that they feel the need not to include it, then they need to stop querying and work on their manuscript. A fact of print publishing is that word counts make a big difference in price and marketability, so trying to ignore a problem like much too short or much too long of a manuscript is delaying the inevitable.
Is there a bias against querying authors who have self-published other books?No. Some folks are very smart and savvy about self-publishing, and that's great. Some folks think self-publishing is as easy as clicking a button and then realize their mistake, and that's fine. We all make mistakes. It makes things a little trickier if they have sales numbers that interfere with whether or not B&N will decide to stock that author, but even that can be surmounted. Just don't query me with what you've self-published. Give me your next and new.
Do you go through a large group of queries at a time or hold yourself to a few?I tackle queries whenever I have time. Sometimes that's a bunch at a time, sometimes that's a few while I'm scanning signed contracts. I always reject in a bunch, though. I know form rejections suck, but for me it's the difference between responding to two weeks' worth a queries in 5 minutes or an hour, and I'd rather have that hour to actually read the queries.
How many queries do you receive in a week? How many requests might you make out of those?It varies, but around 100 a week. Requests vary even more, but about 1-5.
Many agents say they don't care if writers are active online. Could a twitter account or blog presence by a writer tip the scales in getting a request or offer? And do you require writers you sign to start one?It would never tip the scales when it comes to an offer; Twitter and blog presence only truly correlate with sales for non-fiction, and I do strictly fiction. Sure they can help fiction sales, but big social media presence doesn't equal big readership, so I have to love the book itself. It can help on getting a request, although generally this happens outside the query structure. I often follow unpublished writers on Twitter if I enjoy their feeds, and then if I see they're going to start querying soon, I'll ask about it. I've also found interesting manuscripts by hearing someone talk about their manuscript in writer forums. This works both ways; I recently had an author find me through my being a part of #MSWL (Manuscript Wish List). I ended up loving his book and signing him.
That said, I wouldn't force my writers to go out and do social media if they don't like it. I think it's a good idea to try what is out there and see what works for you, what you enjoy. But I care more about the writing itself.
What bio should an author with no publishing credits include?A line or two about them is not remiss, particularly if it's salient to the work. For instance, my author Holly Messinger, who wrote a supernatural book set in the Old West (THE CURSE OF JACOB TRACY), mentioned her research in such a way that made it clear she knew her stuff, knew the society, and knew the themes and motifs of Westerns. Impressive for one line, but she managed it. But nothing at all is fine, too.
What does ‘just not right mean for me’ mean to you?It means I wouldn't be willing to read the manuscript over a dozen revisions and fight for years to find it a publisher. There are some manuscripts that sell quickly in the first round of submissions. There are some manuscripts that are a long slog. As someone who hopes for the best but prepares for the worst, I want a book that I think will do the former but that I will stick with even if it's the latter.
What themes are you sick of seeing?Chosen Ones, prophecies, destiny. So often these become a plot prop; everything relies on the main character knowing they're meant to save the world or fall in love with Love Interest. Can't characters just want to save the world because it's worth saving? Can't they fall in love because they're awesome and worth loving? I always like to point to Harry Potter on this one; we didn't even know there was a prophecy until five books in, and even then the emphasis was on the fact that the prophecy was just an option, not an absolute, and that the choices of those involved mattered more. That's an infinitely more interesting story than "I'm doing this because I was meant to do this."
What three things are at the top of your submission wish list?1. Non-British Empire or -USA steampunk. Although I use the term "steampunk" here, steam isn't a pre-requisite. I mean it more in the spirit of the idea: take a historical period, ramp up the technology, and give it a twist. So much steampunk I see focuses on aesthetic ("It's Victorian England with goggles and cogs!"), but what interests me more is deeply engaging with the history and riffing on it. There is so much more world history to explore. I often talk about wanting Mayan steampunk, but I'd also love Ottoman Empire steampunk or Hunnic Empire steampunk, or any of the infinite possibilities. Yes, it takes a lot of research, care, and awareness, but that should be true with any book. 2. High fantasy sans war, impeding or otherwise. Not to say I don't want those that explore war, but so much of what I see relies on it to be the main conflict of the book. There are other ways to build tension. Look at Megan Whalen Turner's THE THIEF. It centers on one country trying to take over another by coercion into marriage rather than by might. (The other books in the series contain war, but in ways that show how it extends outside of battle; and book 3 has impending war, but that is far from the center of the novel. Just read the whole series, for real.) Personally, I love intricate politics more than battles, and oh boy would I love a high fantasy where the villain wasn't an evil king or sorcerer but was someone like OTHELLO'S Iago.
3. Science fictional retellings of classic novels. I admit, I just signed one of these, and it has given me a hankering. It's so cool to see how sci-fi authors can rework familiar characters and plots with brilliant twists and inventive worlds.
What are some of your favorite movies or books to give us an idea of your tastes?My movies would be terrible examples, because I love movies that center on storytelling, but hate books that do so. I think it's because movies are a shorter format, so I can handle that amount of navel gazing. Anyway, favorite books:Megan Whalen Turner's Queen's Thief series: An alternate ancient Greece setting with adventures, politics, meddling gods, and a romance that is pretty damn unique in YA. See my love above. :) Terry Pratchett's NIGHT WATCH: You have to read the Guards series in order for this book to really have its impact, but it's the one I literally pack in my bag for any transoceanic trips, just in case I find myself marrooned on a desert isle. I could read it forever. And my brain's kinda overloading on trying to pick other books. Too many good books! A terrible problem, I know.
-------------------------------------------------------------------------------------------------------------------------------------------------------------------
Amy Boggs is a sci-fi/fantasy geek always looking for more things to geek out about. Fortunately, she often gets to do this professionally as a literary agent at the Donald Maass Literary Agency. She grew up in Salt Lake City, Utah, and came to New York City by way of Vassar College. She loves her adopted city, despite its lack of mountains. When not reading, she wanders the streets, museums, and theaters of NYC. Amy is looking for fantasy and science fiction, especially urban fantasy, steampunk (and its variations), YA/MG, and alternate history. Historical fiction, Westerns, and works that challenge their genre are also welcome. She is seeking projects with characters who are diverse in any and all respects, such as (but not limited to) gender, race, ethnicity, disability, and sexuality.
Here to relieve some of that endless worrying is a new series of posts called Query Questions. I'll ask the questions which prey on every writer's mind, and hopefully take some of the pain out of querying. These are questions that I've seen tossed around on twitter and writing sites like Agent Query Connect. They are the type of questions that you need answers for the real expert--agents!
If you have your own specific query question, please leave it in the comments and it might show up in future editions of Query Questions as I plan to rotate the questions.
Today's agent is Amy Boggs of the fabulous Donald Maass Literary Agency.
I’ve heard August is a time when publishing shuts down. Does that make it a better or worse time to query?Oh if only that were the truth. Sure there are folks on vacation, but on the querying side of things, it doesn't make much difference. The only time that is a bad time to query is when I suddenly have stacks of client manuscripts to edit, on top of new boilerplates to negotiate, and some fires to put out. But it's not like a querier will know when those times are, so don't worry about it. Query when you want.
Does one typo or misplaced comma shoot down the entire query?I once I had an author whose first line of his query informed me his book was an "urban gantasy." Reader, I signed him. No one ever makes a fuss about occasional mistakes (well, on the publishing side; you do get nitpicky readers), because the actual content is far more important.
Do you look at sample pages without fail or only if the query is strong?As long as the book is a genre I represent, and the query isn't obviously bigoted, I read the sample pages. One of my co-workers, Jen Udden, actually reads the sample pages first and then reads the query, and teases me for getting all excited over a query only to find the sample pages lackluster. I can't help it really, because I get excited over cool ideas, but Jen's right; in the end, it's the writing that matters.
Do crazy fonts caused by email gremlins make for an automatic rejection?Naw. If a query is totally illegible due to email gremlins, I just paste it into Word. Wacky email backgrounds and font colors might raise an eyebrow, but really, I'm just grateful the days of glitter-in-the-envelope-queries are pretty much over.
Do you prefer a little personalized chit-chat in a query letter, or would you rather hear about the manuscript?Personalized chit-chat is fine as long as it's real; so often, though, queriers try to force it because they've been told to do it, and that just feels awkward. If you don't have anything to personalize, by all means, just dive in. My eyes have learned to skim those opening paragraphs for genre and word count, and I only really read them if there's a mention of a book/author I love or represent, or a show I love, or something about my Twitter feed. Regardless, keep it short. And whatever you do, don't lie. I can't eyeroll hard enough at people who say they loved a book by one of my authors when the title they mention is the title it sold under rather than what it published under. (Still not an auto-reject, though.)
Most agents have said they don’t care whether the word count/genre sentence comes first or last. But is it a red flag if word count is not included?Why not include it? I don't see it as a red flag, because some folks just forget it, but if a querier's word count is so out there that they feel the need not to include it, then they need to stop querying and work on their manuscript. A fact of print publishing is that word counts make a big difference in price and marketability, so trying to ignore a problem like much too short or much too long of a manuscript is delaying the inevitable.
Is there a bias against querying authors who have self-published other books?No. Some folks are very smart and savvy about self-publishing, and that's great. Some folks think self-publishing is as easy as clicking a button and then realize their mistake, and that's fine. We all make mistakes. It makes things a little trickier if they have sales numbers that interfere with whether or not B&N will decide to stock that author, but even that can be surmounted. Just don't query me with what you've self-published. Give me your next and new.
Do you go through a large group of queries at a time or hold yourself to a few?I tackle queries whenever I have time. Sometimes that's a bunch at a time, sometimes that's a few while I'm scanning signed contracts. I always reject in a bunch, though. I know form rejections suck, but for me it's the difference between responding to two weeks' worth a queries in 5 minutes or an hour, and I'd rather have that hour to actually read the queries.
How many queries do you receive in a week? How many requests might you make out of those?It varies, but around 100 a week. Requests vary even more, but about 1-5.
Many agents say they don't care if writers are active online. Could a twitter account or blog presence by a writer tip the scales in getting a request or offer? And do you require writers you sign to start one?It would never tip the scales when it comes to an offer; Twitter and blog presence only truly correlate with sales for non-fiction, and I do strictly fiction. Sure they can help fiction sales, but big social media presence doesn't equal big readership, so I have to love the book itself. It can help on getting a request, although generally this happens outside the query structure. I often follow unpublished writers on Twitter if I enjoy their feeds, and then if I see they're going to start querying soon, I'll ask about it. I've also found interesting manuscripts by hearing someone talk about their manuscript in writer forums. This works both ways; I recently had an author find me through my being a part of #MSWL (Manuscript Wish List). I ended up loving his book and signing him.
That said, I wouldn't force my writers to go out and do social media if they don't like it. I think it's a good idea to try what is out there and see what works for you, what you enjoy. But I care more about the writing itself.
What bio should an author with no publishing credits include?A line or two about them is not remiss, particularly if it's salient to the work. For instance, my author Holly Messinger, who wrote a supernatural book set in the Old West (THE CURSE OF JACOB TRACY), mentioned her research in such a way that made it clear she knew her stuff, knew the society, and knew the themes and motifs of Westerns. Impressive for one line, but she managed it. But nothing at all is fine, too.
What does ‘just not right mean for me’ mean to you?It means I wouldn't be willing to read the manuscript over a dozen revisions and fight for years to find it a publisher. There are some manuscripts that sell quickly in the first round of submissions. There are some manuscripts that are a long slog. As someone who hopes for the best but prepares for the worst, I want a book that I think will do the former but that I will stick with even if it's the latter.
What themes are you sick of seeing?Chosen Ones, prophecies, destiny. So often these become a plot prop; everything relies on the main character knowing they're meant to save the world or fall in love with Love Interest. Can't characters just want to save the world because it's worth saving? Can't they fall in love because they're awesome and worth loving? I always like to point to Harry Potter on this one; we didn't even know there was a prophecy until five books in, and even then the emphasis was on the fact that the prophecy was just an option, not an absolute, and that the choices of those involved mattered more. That's an infinitely more interesting story than "I'm doing this because I was meant to do this."
What three things are at the top of your submission wish list?1. Non-British Empire or -USA steampunk. Although I use the term "steampunk" here, steam isn't a pre-requisite. I mean it more in the spirit of the idea: take a historical period, ramp up the technology, and give it a twist. So much steampunk I see focuses on aesthetic ("It's Victorian England with goggles and cogs!"), but what interests me more is deeply engaging with the history and riffing on it. There is so much more world history to explore. I often talk about wanting Mayan steampunk, but I'd also love Ottoman Empire steampunk or Hunnic Empire steampunk, or any of the infinite possibilities. Yes, it takes a lot of research, care, and awareness, but that should be true with any book. 2. High fantasy sans war, impeding or otherwise. Not to say I don't want those that explore war, but so much of what I see relies on it to be the main conflict of the book. There are other ways to build tension. Look at Megan Whalen Turner's THE THIEF. It centers on one country trying to take over another by coercion into marriage rather than by might. (The other books in the series contain war, but in ways that show how it extends outside of battle; and book 3 has impending war, but that is far from the center of the novel. Just read the whole series, for real.) Personally, I love intricate politics more than battles, and oh boy would I love a high fantasy where the villain wasn't an evil king or sorcerer but was someone like OTHELLO'S Iago.
3. Science fictional retellings of classic novels. I admit, I just signed one of these, and it has given me a hankering. It's so cool to see how sci-fi authors can rework familiar characters and plots with brilliant twists and inventive worlds.
What are some of your favorite movies or books to give us an idea of your tastes?My movies would be terrible examples, because I love movies that center on storytelling, but hate books that do so. I think it's because movies are a shorter format, so I can handle that amount of navel gazing. Anyway, favorite books:Megan Whalen Turner's Queen's Thief series: An alternate ancient Greece setting with adventures, politics, meddling gods, and a romance that is pretty damn unique in YA. See my love above. :) Terry Pratchett's NIGHT WATCH: You have to read the Guards series in order for this book to really have its impact, but it's the one I literally pack in my bag for any transoceanic trips, just in case I find myself marrooned on a desert isle. I could read it forever. And my brain's kinda overloading on trying to pick other books. Too many good books! A terrible problem, I know.
-------------------------------------------------------------------------------------------------------------------------------------------------------------------
Amy Boggs is a sci-fi/fantasy geek always looking for more things to geek out about. Fortunately, she often gets to do this professionally as a literary agent at the Donald Maass Literary Agency. She grew up in Salt Lake City, Utah, and came to New York City by way of Vassar College. She loves her adopted city, despite its lack of mountains. When not reading, she wanders the streets, museums, and theaters of NYC. Amy is looking for fantasy and science fiction, especially urban fantasy, steampunk (and its variations), YA/MG, and alternate history. Historical fiction, Westerns, and works that challenge their genre are also welcome. She is seeking projects with characters who are diverse in any and all respects, such as (but not limited to) gender, race, ethnicity, disability, and sexuality.
August 20, 2013
End of Summer Blues
My sister sent me this picture yesterday. Her copies finally came!
As summer winds down and I head back to work with the lovable pygmies, I'm reminded again what is important. The pygmies will inundate me with hugs and happy greetings. I can't wait to see them and hear all about their loose teeth and t-ball games. But I'm also reminded that my aunt passed away yesterday.
She had seven children and was one of those no nonsense, tell-it-like-it-is ladies. Truth be told, I was a little bit afraid of her. But she had a heart of gold and would have done anything for me. We hadn't seen each other in years, but I remember her caring for my grandmother with such tenderness.
One of the copies of Kindar in the picture above was for her. Kisses, Aunt Elaine. We'll miss you.
