NYRC Grand Finale Giveaway WINNERS

Congratulations to our dozen winners!
(winners have been emailed, so if you think you see your name, check your emails. NOTE: some of our emails have apparently been getting sucked into the spam vortex so if you see your name but didn't get an email, be sure to check those spam filters!) :)

WINNERS:

Alyssa S. wins:

A preorder of Phoebe North's STARGLASS

Joel S. wins:
A copy of ELLIOT AND THE GOBLIN WAR by Jennifer Nielsen

Prerna P. wins:   
A copy of MEANT TO BE by Lauren Morrill

JC wins:
An ebook of E.J. Patten's THE HUNTER CHRONICLES: RETURN TO EXILE

Sherry S. wins:
A Kindle e-copy of LACRIMOSA by Christine Fonseca

Angelica R. J. wins:
An e-copy of SUPER SWEET SIXTEENTH CENTURY by Rachel Harris

Stephanie S. wins:
An e-copy of PRETTY AMY by Lisa Burstein

Dawn A. wins:

An e-copy of ALL THE BROKEN PIECES by Cindi Madsen

Jenn N. wins:
An e-copy KATANA by Cole Gibsen

Heather wins:
SHAEDES OF GRAY by Amanda Bonilla (ebook or paperback)

Heather H. wins:
An ebook preorder of CAUGHT IN AMBER by Cathy Pegau

 Danielle D. wins:
A copy of RENEGADE by J.A. Souders 

Thank you to everybody who entered and attended our first ever New Year's Revisions Conference! It was a blast spending the weekend with you. 

How are your revisions going?

Door Prize Winner!!!

And the random winner of our door prize is...

*obligatory drumroll*

*****dawnall*****

Congratulations, Dawn! You've won:

From Amazon.com

Hundreds of books have been written on the art of writing. Here at last is a book by two professional editors to teach writers the techniques of the editing trade that turn promising manuscripts into published novels and short stories.

In this completely revised and updated second edition, Renni Browne and Dave King teach you, the writer, how to apply the editing techniques they have developed to your own work. Chapters on dialogue, exposition, point of view, interior monologue, and other techniques take you through the same processes an expert editor would go through to perfect your manuscript. Each point is illustrated with examples, many drawn from the hundreds of books Browne and King have edited.

Stick around for one more AUTHOR INTERVIEW and two more GIVEAWAYS.

Consult the schedule for ALL the conference goodness.

Agent Q&A Part Three: Marketing & Publicity

Late last year Operation Awesome asked YOU, our readers, for your most burning revision questions that you'd like to ask our panel of agents. We'll be posting them throughout the New Year's Revisions Conference, but first here's a little more about our awesome panel of agents:

The Agents

Laura Bradford established the Bradford Literary Agency in 2001. She considers herself an editorial-focused agent and takes a hands-on approach to developing proposals and manuscripts with her authors for the most appropriate markets. During her own misadventures as a writer, Laura came to understand the importance of having a friendly but critical eye on your side, a career strategist in your corner and a guide who can lead you through the travails of publication. She continues to actively build her client list and is currently seeking work in the following genres: Romance (historical, romantic suspense, paranormal, category, contemporary, erotic), urban fantasy, women’s fiction, mystery, thrillers and young adult as well as some select non-fiction.

Josh Getzler is an agent and founder of HSG Agency. He left Harcourt in 1993 to get an MBA from Columbia Business School. After Business School, Josh spent 11 years owning and operating a minor league baseball team (the Staten Island Yankees). He left baseball in late 2006 and rejoined the book world on the agent side. Josh worked at Writers House until November 2009, building a list of novelists, YA and children’s book authors, and the occasional nonfiction writer; then joined Russell and Volkening. Josh represents fiction and nonfiction (mostly fiction, much of which is crime-related (mystery, thriller, creepy…)), adult and YA/middle-grade books (though not picture books). And please don’t send religious fiction. He is particularly into foreign and historical thrillers and mysteries, so send your ruthless doges and impious cardinals…and your farmhouse cozies!


Erin Harris is a literary agent at Folio Literary Management. She represents literary fiction, book club fiction, contemporary YA, and select narrative non-fiction titles. Some of her clients include: Times Magazine contributor and former Newsweek correspondent Carla Power, Executive Editor of The New Criterion David Yezzi, and the novelists Bryan Furuness and Jennifer Laam. Erin began her career in publishing in 2008 and has worked for both William Clark of WM Clark Associates and Irene Skolnick of the Irene Skolnick Literary Agency. She received her MFA in Creative Writing from the New School and her BA in literature from Trinity College (Hartford, CT).

Natalie Lakosil is an agent and Laura’s assistant at the Bradford Literary Agency. An honors graduate of the University of San Diego, California, Natalie holds a B.A. in Literature/Writing. After nearly four years at the Sandra Dijkstra Literary Agency and a brief dabble in writing author profiles and book reviews for the San Diego Union Tribune, Natalie joined the Bradford Agency in February of 2011. Natalie is drawn to talented, hard-working new authors with a fresh, unique voice and hook. Her specialty is commercial fiction, with an emphasis in children’s literature (from picture book-teen), romance (contemporary, paranormal and historical), upmarket women’s fiction and select nonfiction. Her interests include historical, multi-cultural, paranormal, sci-fi/fantasy, gritty, thrilling and darker contemporary novels, middle grade with heart, and short, quirky picture books.

Victoria Marini is an associate literary agent with the Gelfman Schneider Literary Agency,and an assistant to Jane Gelfman, Deborah Schneider, and Heather Mitchell. She began taking on clients in 2010 and is actively building her list. She's looking for adult literary fiction, commercial fiction, and women's fiction, plus YA (especially literary, contemporary, heartwarming and funny, or dark, edgy, and commercial), Middle Grade (fantasy and coming-of-age humorous), and nonfiction (narrative non-fiction, humorous/pop-culture non-fiction, and memoir, as well lifestyle/how-to non-fiction).

Kathleen Rushall is an agent at Marsal Lyon. She started as an intern at the Sandra Dijkstra Agency, and then spent almost two years at Waterside Productions. Kathleen looks forward to garnering fresh voices, strong narratives, and whimsical tales in all areas of young adult literature including contemporary fiction, suspense, Southern gothic, historical fiction, and science fiction. She is open to all genres of YA, but has a soft spot for thrillers, horror, romance, laugh-out-loud voices, and would love to find a dark mystery. She’s also open to New Adult queries. Kathleen is looking for funny, character-driven, quirky picture books and all genres of big voiced middle grade fiction. Kathleen also represents select nonfiction and is interested in parenting, cooking, crafts, business, alternative medicine, women’s interest, humor, pop-culture, and some how-to.


The Q&A Part Three: Marketing & Publicity

On to the questions! Once we had our agents cornered, some of the questions went off topic. But that's OK -- they answered anyway. Here's what they had to say about marketing, publicity, and industry changes.

Are marketing tips part of your work with authors?

 

Laura Bradford: Having been in the business for a while, I have some anecdotal information about marketing/promo ideas I have seen work and not work. But I do not tout myself as a marketing expert. If a client wants my input and advice on marketing then of course I do share what I know.

Josh Getzler: Absolutely. I spend a great deal of time with authors discussing what they ought to do to maximize their reach. Given that the goalposts have moved a bit over the last years, with the publishers expecting authors to do more self-promotion, it is incumbent on writers to also be marketers. And while some are naturally good at it (or have a professional or educational background in marketing), many do not. If we want to maximize sales, then the author needs to be as up-to-speed as possible. Now, I can't DO the marketing for them in most cases (I largely reshare and retweet and offer encouragement). But it's necessary for me--and most agents--to be conversant with the better self-marketing strategies.

Erin Harris: Marketing tips are absolutely part of my work with authors, particularly because I’m interested in building long-term professional relationships– I care about a writer’s career, not merely his/her current book project. This means that author branding and future goals are always central to the conversation.

Natalie Lakosil: Yes, to the extent that I can advise. I’m not a publicist, so my knowledge is based on what I see and hear about; I keep a running list of ideas (the template of which I posted on my blog) and update as I can, and am happy to brainstorm with clients.

Victoria Marini: They are, yes, but I’m not generally the creator of the tips. I point my authors toward resources I’ve found; feature articles, blog posts, news letters, WEBinars, Conferences and Expos, etc.

Kathleen Rushall: Yep. Agents wear many hats: book doctor, contract expert, cheerleader, brainstorming partner, and career consultant, to name a few. While we aren’t full blown publicists, we definitely see the importance of marketing. I like helping authors with quick tips to expand their social media reach, or about suggested events, book blurbs, blog, or book launch help, etc.

Now more than ever, publishers are drawn to writers who have social media platforms and are able to help promote their own books. Brainstorming innovative ways of reaching one’s audience is crucial, and I enjoy being a sounding board for my authors’ ideas – as well as devising my own unique strategies for them.

Do you advise authors (with either small press, traditional or self-pubbing) to do a short story giveaway to generate buzz for a novel? Ex. say a novel is being traditionally pubbed or pubbed by a small press, is it fair/good idea for an author to self-pub a short story, like a prequel, and should the short story be free?

 

Laura Bradford: This seems to be a really specific question. I have had authors who have given away “bonus material” through their websites. I have had authors self pub short stories/prequels related to their traditionally pubbed/epubbed novels. I have had authors publish novellas intended to be used as promotional tools through their NY publishers. Sometimes they have been offered for free, sometimes they have been made available for a low price. I think it depends on the situation and I can’t make a blanket statement like prequel short stories intended for promotional use should always be free instead of sold for 99 cents. It just always depends. On the length of the piece, what it is related to, when it is released.

Josh Getzler: I've made a couple of deals recently where I bundled these kinds of short stories into contracts--or indicated to the editors as I negotiated that the author intended to do so. Look, it's far more necessary if the author already has a number of books out and therefore a built-in readership (both authors I just mentioned had had numerous novels and stories already published). Then the story serves as a preview, a marketing tool.

Erin Harris: This is a great question, and one that doesn’t have a singular answer. The scenarios you outline above are all very different! What might work for a self-published title won’t necessarily work for a traditionally published title. But what remains true across the board, I think, is that early buzz helps move copies come publication day. Releasing content in advance, as a kind of teaser (who doesn’t love a good preview at the movies?) can be a highly effective strategy. Content that derives from the book, but isn’t an excerpt of it, can also help boost sales.

For a book that is being traditionally published or published by an indie press, the agent and author must consult with the publisher – after all, the publisher now controls the rights to the author’s material! Ideally the publicist, the author, the agent, and the editor work in concert to dream up and implement the best pre-publication publicity strategy for the author’s particular project. This can sometimes include generating fresh book-related material for the author’s website or e-publishing a short story tie-in etc.

For authors who self-publish, the rules are clearly different – and still being written.

Natalie Lakosil: Yep. Why the heck not? If an author doesn’t want to do it perpetually free, I’d advise to at least do a free giveaway for a few weeks. A lot of publishers are now doing these tie-in shorts under digital imprints, which is a route I’d suggest going first for the sake of consistency on edits and cover, but even if a house doesn’t want/offer to do it (usually authors need to initiate) I still think it’s a good idea.

Victoria Marini: This is a question I would have to answer on a case-by-case basis. I might suggest a free companion novella in between novels, like THE CHAIROS MECHANISM by Kate Milford, for example. But for debuts, excerpts have proven more effective than short story giveaway

How would you incorporate publicity and would you recommend authors to work with publicists?

 

Laura Bradford: Well, most major publishers will assign each author an in-house publicity liaison and ideally this will be a mutually beneficial relationship where the publicist and author can share the promo workload and put their heads together to come up with some interesting promotional ideas. But of course not all publicists are AMAZING, just like not every author comes equipped with marketing savvy and a spirit of aggressiveness when it comes to promo. Publicity is important.

Discoverability is key. Some authors are capable of carrying a lot of the publicity workload themselves. Some have no clue where to start. Some have really outstanding publicity pros assigned to them at their publishers, some don’t. But hiring an outside publicist can be expensive. And it can be hard to know who and what will be effective. It is certainly possible to spend a lot of money to hire a publicist only to end up with an ineffective campaign. On the subject of hiring outside publicists I caution my authors to be really careful and make sure they check references, talk to previous clients before considering throwing down a wad of cash for a publicist. All publicists are not created equal and some are worth their weight in gold and some are not.

Josh Getzler: I've had a number of authors hire publicists, and others explore it and not pull the trigger. It's fine if you can afford it. Publishers don't love it sometimes, and so it's a good idea to hire a publicist who will serve a complementary role; ie, don't have a publicist send a release to Publishers Weekly and Library Journal when the publisher's own department will already do so). I've seen publicists be very successful planning blog tours, which many authors don't have the time or inclination to do, and therefore hire it out.

Erin Harris: When a traditionally published author hires a freelance publicist to supplement the publicist assigned to the book at the publishing house, I think it’s very important for everyone to remain on the same page – communication becomes paramount.
In my experience, publicity outreach needs to take place at least 6 months prior to publication, in order for it to be effective.

Natalie Lakosil: Good publicists can be great, but pricey; I think whether or not I would advise for an author to work with a publicist would depend on a variety of factors, such as, what is the in-house publicist already doing/going to do, and would a publicist cover enough new ground, what the publicist could do/is offering, if just hiring on one as a consultant vs. full time makes more sense (if the author just needs some ideas to kick around vs. actual legwork), if the author can AFFORD one, if the author has already tried all the social networking/school visits/signing/reviewing/blog hopping etc he/she can, and the reputation of the publicist.

Victoria Marini: I, as an agent, don’t incorporate publicity beyond tweeting, seeking blurbs, generating word-of-mouth-buzz, and educating my clients about marketing and promotion. I’ve never advocated hiring a publicist for my clients, but I wouldn’t necessarily be opposed to it. I just think a self-published or small-press author can do a lot on their own – through plenty of hard work – without the expense of a publicist.

What are your thoughts on the recent merger of Random House and Penguin?

 

Josh Getzler: Like most people I am nervous that the merger will result in a downsizing and combining of editorial divisions. There are already fewer options for submissions than there were in, say, 2007, and my job is very much to submit manuscripts to the largest number of appropriate editors. Many publishers have a one-and-done philosophy: If you've submitted to one editor at an imprint, you're finished. So the more imprints around, the better. This isn't even a matter of looking to pitch publishers against each other for auctions. It's simply a matter of having as many sustainable significant outlets for books. To this point, both Penguin and Random House were certainly sustainable, and it was still getting tougher and tougher to place manuscripts. If in the merger we lose, say 1/3 of the editors and get a smaller (if still large) Penguin Random House, then it simply squeezes the Buy Side that much more.

Erin Harris: It is my hope that the merger of Random House and Penguin will benefit both companies and the publishing community overall. If banding together fortifies the major houses, preserving their vision and ensuring their survival, then I am for it. With change comes opportunity.

Natalie Lakosil: I’m pretty disappointed the name isn’t going to be something cooler than Penguin Random House. I’m also apprehensive to see who gets laid off/what editorial changes there will be. But generally hopeful they’ll stick to their guns and keep the same level of “healthy competition” they already tout.

Victoria Marini:  I am… cautiously optimistic, let’s say.

Thank you to all of our agents and all of our readers who submitted questions.

Agent Q&A Part Two: Querying

Late last year Operation Awesome asked YOU, our readers, for your most burning revision questions that you'd like to ask our panel of agents. We'll be posting them throughout the New Year's Revisions Conference, but first here's a little more about awesome panel of agents:

The Agents

Laura Bradford established the Bradford Literary Agency in 2001. She considers herself an editorial-focused agent and takes a hands-on approach to developing proposals and manuscripts with her authors for the most appropriate markets. During her own misadventures as a writer, Laura came to understand the importance of having a friendly but critical eye on your side, a career strategist in your corner and a guide who can lead you through the travails of publication. She continues to actively build her client list and is currently seeking work in the following genres: Romance (historical, romantic suspense, paranormal, category, contemporary, erotic), urban fantasy, women’s fiction, mystery, thrillers and young adult as well as some select non-fiction.

Josh Getzler is an agent and founder of HSG Agency. He left Harcourt in 1993 to get an MBA from Columbia Business School. After Business School, Josh spent 11 years owning and operating a minor league baseball team (the Staten Island Yankees). He left baseball in late 2006 and rejoined the book world on the agent side. Josh worked at Writers House until November 2009, building a list of novelists, YA and children’s book authors, and the occasional nonfiction writer; then joined Russell and Volkening. Josh represents fiction and nonfiction (mostly fiction, much of which is crime-related (mystery, thriller, creepy…)), adult and YA/middle-grade books (though not picture books). And please don’t send religious fiction. He is particularly into foreign and historical thrillers and mysteries, so send your ruthless doges and impious cardinals…and your farmhouse cozies!


Erin Harris is a literary agent at Folio Literary Management. She represents literary fiction, book club fiction, contemporary YA, and select narrative non-fiction titles. Some of her clients include: Times Magazine contributor and former Newsweek correspondent Carla Power, Executive Editor of The New Criterion David Yezzi, and the novelists Bryan Furuness and Jennifer Laam. Erin began her career in publishing in 2008 and has worked for both William Clark of WM Clark Associates and Irene Skolnick of the Irene Skolnick Literary Agency. She received her MFA in Creative Writing from the New School and her BA in literature from Trinity College (Hartford, CT).

Natalie Lakosil is an agent and Laura’s assistant at the Bradford Literary Agency. An honors graduate of the University of San Diego, California, Natalie holds a B.A. in Literature/Writing. After nearly four years at the Sandra Dijkstra Literary Agency and a brief dabble in writing author profiles and book reviews for the San Diego Union Tribune, Natalie joined the Bradford Agency in February of 2011. Natalie is drawn to talented, hard-working new authors with a fresh, unique voice and hook. Her specialty is commercial fiction, with an emphasis in children’s literature (from picture book-teen), romance (contemporary, paranormal and historical), upmarket women’s fiction and select nonfiction. Her interests include historical, multi-cultural, paranormal, sci-fi/fantasy, gritty, thrilling and darker contemporary novels, middle grade with heart, and short, quirky picture books.

Victoria Marini is an associate literary agent with the Gelfman Schneider Literary Agency,and an assistant to Jane Gelfman, Deborah Schneider, and Heather Mitchell. She began taking on clients in 2010 and is actively building her list. She's looking for adult literary fiction, commercial fiction, and women's fiction, plus YA (especially literary, contemporary, heartwarming and funny, or dark, edgy, and commercial), Middle Grade (fantasy and coming-of-age humorous), and nonfiction (narrative non-fiction, humorous/pop-culture non-fiction, and memoir, as well lifestyle/how-to non-fiction).

Kathleen Rushall is an agent at Marsal Lyon. She started as an intern at the Sandra Dijkstra Agency, and then spent almost two years at Waterside Productions. Kathleen looks forward to garnering fresh voices, strong narratives, and whimsical tales in all areas of young adult literature including contemporary fiction, suspense, Southern gothic, historical fiction, and science fiction. She is open to all genres of YA, but has a soft spot for thrillers, horror, romance, laugh-out-loud voices, and would love to find a dark mystery. She’s also open to New Adult queries. Kathleen is looking for funny, character-driven, quirky picture books and all genres of big voiced middle grade fiction. Kathleen also represents select nonfiction and is interested in parenting, cooking, crafts, business, alternative medicine, women’s interest, humor, pop-culture, and some how-to.

The Q&A Part Two: Querying

If you reject a query with sample pages or a submission and the writer makes major revisions based on that reason or another agent's recommendations, is it acceptable for the writer to follow up without a revise/resubmit to see if you'd be interested in seeing the revised project?

 

Laura Bradford: Sure, I never mind that. I can always say no. Some other agents don’t allow re-submissions so I’d recommend checking each agent’s website to see if they expressly say anything about whether they are ok with it or not (I actually have that answer on my website’s FAQ section).

Josh Getzler: That mostly depends on how far down the road I went with the project. A simple resubmit after a generic query/pass typically won’t get the author too far. If I gave specific recommendations, and had shown real interest, and then passed, and the author comes back with a substantially rewritten book, then it would be OK.

Erin Harris: I am open to seeing a revise/resubmit if a writer has made significant changes to their original manuscript. Usually, though, I will tell a writer if I’d like to see their work again post revision. If I haven’t told you that expressly, then your project probably isn’t the right fit for me, regardless of subsequent editing.

If you do find yourself in a revise/resubmit situation, I highly recommend writing your target agent a concise, thoughtful note, explaining your situation. Also, always include whatever correspondence you’ve previously had with that agent.

Natalie Lakosil: Of course. Just not so much if they try and sneak it in again without mentioning I’ve seen it before!

Victoria Marini: I can’t speak for everyone, but sure. This doesn’t bother me.

Kathleen Rushall: I probably wouldn’t re-approach an agent with changes unless it was something he or she had requested.

The queries that hooked you from the start, do you find it is because of voice, content, or mostly both?

 

Laura Bradford: If we are talking about a query LETTER, then probably content. If we are talking about an entire query submission (because I ask authors to include a sample of the work), then probably the voice in the sample pages.

Josh Getzler: I typically am initially hooked by the idea, reeled in by the voice, and landed by the content. I’ll see “I have an historical mystery set in a village in 18th century England,” and be intrigued and read on. But then the voice has to hit me pretty much right away. If those happen, I’ll really read on.

Erin Harris: It’s definitely both – voice and content. With queries, I’m looking for a compelling concept that is clearly and succinctly articulated. I want to know the genre, title, word count, and premise immediately, at a glance.

It comes as no surprise, then, that I strongly advise against burying these seminal details with the inclusion of a lengthy and chatty introduction. Do not be verbose. Do not get bogged down in every intricacy and plot detail of your manuscript.

Be professional and respectful, research the agent you are querying in advance, and be sure to follow their specific guidelines.

Natalie Lakosil: Content on query, voice on sample pages.

Victoria Marini: Both. I’m a sucker for a great idea, first, and then the voice will drive me to read the sample pages.

Kathleen Rushall: Voice is always first for me.

And for those queries that don't quite hook you (on the fence), what is it that persuades you to ask for more?

 

Laura Bradford: Good writing in the sample and a strong voice can certainly convince me to give a ms a chance even if I perhaps don’t think I like the subject matter. Curiosity can also be a strong motivator, too (what is going to happen next?!)

Josh Getzler: Either the topic (see above for a good example), or the author’s background. If the author is an expert in a time or topic, or works in the field, or is previously published, or has a Ph.D (because then I know he or she can write a long paper), I will sometimes give greater leeway than if I’m not compelled at the opener of, say, a fantasy novel. The farther we are from reality, the less bona fides you need, but the less rope you get!

Erin Harris: I ask writers to attach the first ten pages of their manuscripts to their query letters. If the writing in the sample is incredibly engaging, but I didn’t find the style of the query letter effective, I will still request a larger sample of the writer’s manuscript.
I’m sympathetic to the fact that some amazing writers may not quite understand how to present their own work at this early stage in the publishing process. Though they will need to hone this skill if they are to become successfully published authors!

Natalie Lakosil: If the content sounds ok, but it reads really well, I’ll ask for more. If the content and sample pages sound ok, but it’s a genre/type I’m dying to find, I’ll read more and hope it just needs to catch its stride.

Victoria Marini: Curiosity. I may not love it, but if I’m curious, I’ll probably ask to see more.

Kathleen Rushall: Rarely, but sometimes, if I see something I like (great voice or really fresh hook) but it’s crowded out by other elements, I’ll request more to see if the part I like comes to fruition later in the writing. If I can see that the writer is capable of taking the book where I’d hoped, then I know revisions to perfect the other parts are possible.

Do you have any advice for unagented or previously agented published authors who are looking for an agent? Is the process different (for instance, can the author query with a proposal), or do you still prefer to see a completed manuscript?

 

Laura Bradford: I really, REALLY don’t like to sign an author based only on a partial ms. I need to read something that is complete in order to feel confident about an author’s abilities and in the case of a previously published author I will look at a previously pubbed complete novel. The process isn’t really different for published authors vs unpublished authors. The published author still has to get my attention, write something I am compelled by that I think I can sell. The published author also has to be someone I think I can work well with. I recently signed a published author who I knew really, REALLY well as a friend for years before she found herself looking for a new agent. And despite the fact that I knew HER really well and liked her very much, I still elected to read a couple of her published manuscripts before formally offering representation. So I even hold my friends to the same standards as any other querying author, LOL.

Josh Getzler: Yes, I do still need to see a completed manuscript in almost every circumstance (in fiction). Certainly if an author has books under contract, it’s less fraught, and the chances are better. But often times that kind of switch comes with a story, or angst, or issues, and with the credibility of presumed quality comes a different kind of question for me: If an author is switching agents, why? Is it a problem of commitment? Is the author going to be difficult? I advise an agent-switcher to be very clear and open about why he or she is making the change. I’ll find out anyway, and it’ll be easier with full disclosure. Most of the time, the reasons are very understandable, but it’s very helpful for me (or any agent, really) to understand the circumstances.

Erin Harris: If a previously published author queries me, then I need to know all about their publishing history. My advice is for authors to be forthright. If you aren’t honest upfront, the truth will eventually come to light. It’s important that we’re on the same page from the outset, so that it can be a productive professional relationship for us both. Depending on the project – and the author – I would take a look at a proposal or partial manuscript.

Natalie Lakosil: I still prefer a completed manuscript, but it really depends on WHO they are published with, HOW RECENT and HOW WELL (i.e., sales #s). If the author hasn’t had anything published in over 5 years and/or is starting over, or if the author is only published with smaller presses and trying to break into NY, or if the author doesn’t have fabulous sales #s, a full is better to go out on submission with so really better to consider upfront.

Victoria Marini: The process is still the same, for me. It might be a help if you previously had an agent, but it might also be a hindrance. Either way, I’m still going to read your letter, read your sample, and go from there.

Kathleen Rushall: The process for finding an agent isn’t much different for previously agented authors as it is for unagented authors. I’d still want to see the full manuscript and consider all your work, goals, vision and background.

If someone submitted something that had a lot of potential, but you could tell it would require a lot of work at both ends, would you take it anyway? Or pass....

 

Laura Bradford: Honestly, these days I’d probably pass. Earlier in my career when my list was smaller I had more time to take on those rougher projects. As any agent’s career develops we necessarily have to change how we make decisions about what we take on. I am totally open to taking on work that might not be an easy sell, the longshots, if you will but I am much harder pressed to take on something that could be incredibly labor intensive. And I am an editorial-focused agent so I always expect to do some work on each ms I take on. The risk-reward ratio has to be right. I’ll take on something that requires more work provided the potential payoff is proportional.

Josh Getzler: I spend an enormous amount of time and effort on potential projects, many of which don’t pan out. I’m not afraid of a lot of work. I’m at a stage where I’m a little pickier about it than I used to be, and need to be very certain of the potential marketability of the project, but I’m willing to do the work if the author is. I will also more often ask for revisions on these kinds of projects without making the offer of representation (in the same way that more editors are making suggestions before going to ed board and buying books). It’s not the way the writer really wants the process to go (in either situation!), but it limits the risk for the agent (or editor), and doesn’t get us into the uncomfortable situation of having asked for extensive revisions based on potential, receiving an unsuccessful revision for whatever reason, and needing to break up before submission. But I’m very happy to roll up my sleeves and help an author I think could eventually make it—it’s one of the great joys of my job!

Natalie Lakosil: I would probably offer a R&R, depending on what has potential. If the potential is in the writer, not the plot, I’d want to see the author’s next work. But if the potential is in the plot/hook and the author has a fabulous voice, I’d probably go for a R&R. My old boss had a saying: focus your energy on the shortest distance between you and a published book. I’d say that applies – I don’t have as much time as I used to to hone talent, so I need more of a full package than I used to to offer representation.

Victoria Marini: That depends on whether I’m confident we can both execute our respective responsibilities. If I can identify the problems, articulate the solutions, and feel confident the author can make the necessary changes – Yes, I’ll take it on. If I know something is wrong, but I can’t quite tell what or how to fix it, I have to say “no.”

Erin Harris: Yes! If I love a project, have the right vision for it, and think the author and I make a good team, then absolutely, I sign the writer up right away, even if the project requires a lot of work on both ends.


Thank you to all of our agents and all of our readers who submitted questions. 

The Magic In Middle Grade: Remembering Your Audience During Revisions - Jennifer Nielsen

The middle grades are a wonderful time for readers. Books for this age boast heroes such as Percy Jackson, Harry Potter, and Roald Dahl’s wonderful Matilda. There are classic stories such as A WRINKLE IN TIME or THE WESTING GAME that will live forever, and amazing newcomers that are added to our favorites shelves each year.

However, authors who write middle grade novels face specific challenges. Most are solved by one simple trick: remember your audience.

The middle grade reader might be as young as 6 and as old as 15. Within those ages, there is obviously a huge span in maturity, reading ability, and interests, so please consider those variations in writing your specific book. However, there are some traits that most middle graders have in common:

* A growing curiosity about the world.

* A love of “useful” knowledge (information they can bring into their own lives).

* A maturing sense of humor.

* A sense of idealism and fair play.

* An aptitude for moral questions and gray areas in judgment.

* A loyalty to their peers and value systems.

These very traits are what make some of the biggest middle grade books so popular. As the story’s hero wrestles with his moral boundaries, the reader begins to define his as well. As the heroine fights the injustice in her family or peer group, the reader identifies similar injustices in her own life. The more that you can help your reader connect to your hero through their shared traits (even if the conflict is far beyond a normal child’s experiences), the stronger their bond will be to your story.

During revision, it’s also important to remember a few key points about middle grade readers. After each chapter, consider pausing to ask yourself these questions.

Question

1. Would a real person of my character’s age behave this way, or have I distorted typical behaviors to accommodate my plot?

Why is this important?

Middle grade readers are the most likely of any age to spot a phony character and feel cheated for it. They can accept and even identify with a character of extraordinary traits or abilities, but only if that character’s actions and motives are believable. If you don’t personally know someone in the age for which you are writing, it’s time to get to know them!

Question

2.  How old is my main character compared to the expected age of my reader? Is the character’s gender the same as I expect for my readers?

Why is this important?

Middle grade readers are usually quick to figure out the age of the story’s hero. Although they will make exceptions, they generally prefer to read about a character who is slightly older than them. The crossover between boys and girls who will read about the opposite gender is growing, and there has also been a greater willingness by girls to read about boy characters than the reverse. Yet, this is still an important point to keep in mind.

Question

3. What are the stakes if the hero loses?

Why is this important?

No matter what type of book it is, middle grade readers love stories where losing has major consequences. As you revise, look for places to raise the stakes and make life even harder for your hero.

Question

4. Are there places where humor can be added?

Why is this important?

It’s certainly not mandatory to have humor in a story, and absolutely true that there are many wonderful stories where humor doesn’t play any role at all. However, if you have the type of story that can benefit from some humor, then readers will love it all the more!

Question

5. Where does the story slow down?

Why is this important?

Some middle graders are more committed readers than others. To reach the greatest number of readers, learn to see the places in your story that kids will want to skip, or worse, just put down your book! Look for ways to maximize action, draw your readers into the next chapter, and that either explore the familiar in a new way, or else introduces something new in an exciting way.

And finally…

Remember that middle grade readers live in the stories they love. While the book is in their hand, they are the hero of that character’s adventures, experiencing similar emotions, dilemmas, and tests. Give them a story where they can one day write and tell you how they are just like the hero, how they wished they had that same power, or skill, or experience. Write the story you wish had existed when you were that age. Or for that matter, that you still wished you could read!

JENNIFER NIELSEN was born and raised in northern Utah, where she still lives today with her husband, three children, and a dog that won't play fetch. She is the author of The Ascendance trilogy, beginning with THE FALSE PRINCE; of The Underworld Chronicles, beginning with ELLIOT AND THE GOBLIN WAR; and will write the sixth book of the Infinity Ring series. She loves chocolate, old books, and lazy days in the mountains.

For most kids, accidentally starting an interspecies war would be the biggest event of their lives. But for Elliot Penster, it was only the beginning. When the Brownies, who are on the hopelessly losing end of that war against the Goblins, make Elliot their King, there’s one Brownie who isn’t celebrating. And he’s just made a deal with the Goblins to get rid of Elliot.

“Nielsen cleverly keeps the action and humor flowing from one silly obstacle to the next... This quickly addictive page-turner also entices readers with many sensory details, such as tenacious Gripping Mud, surprising tasty turnip juice and a tingly invisibility potion gone wrong... Definitely a series to invest in...” – Kirkus

“Oh dear. Funny names (Fudd Fartwick, Tubs Lawless) and unexpected events (almost being scared to death) tumble through the pages, and Nielsen writes about them with tongue in cheek.” - Booklist

Find ELLIOT AND THE GOBLIN WAR in the following retailers!

Indiebound

Amazon

Barnes & Noble 

Agent Q&A Part One: Revisions

Late last year Operation Awesome asked YOU, our readers, for your most burning revision questions that you'd like to ask our panel of agents. We'll be posting them throughout the New Year's Revisions Conference, but first here's a little more about our awesome panel of agents.

The Agents

Laura Bradford established the Bradford Literary Agency in 2001. She considers herself an editorial-focused agent and takes a hands-on approach to developing proposals and manuscripts with her authors for the most appropriate markets. During her own misadventures as a writer, Laura came to understand the importance of having a friendly but critical eye on your side, a career strategist in your corner and a guide who can lead you through the travails of publication. She continues to actively build her client list and is currently seeking work in the following genres: Romance (historical, romantic suspense, paranormal, category, contemporary, erotic), urban fantasy, women’s fiction, mystery, thrillers and young adult as well as some select non-fiction.

Josh Getzler is an agent and founder of HSG Agency. He left Harcourt in 1993 to get an MBA from Columbia Business School. After Business School, Josh spent 11 years owning and operating a minor league baseball team (the Staten Island Yankees). He left baseball in late 2006 and rejoined the book world on the agent side. Josh worked at Writers House until November 2009, building a list of novelists, YA and children’s book authors, and the occasional nonfiction writer; then joined Russell and Volkening. Josh represents fiction and nonfiction (mostly fiction, much of which is crime-related (mystery, thriller, creepy…)), adult and YA/middle-grade books (though not picture books). And please don’t send religious fiction. He is particularly into foreign and historical thrillers and mysteries, so send your ruthless doges and impious cardinals…and your farmhouse cozies!


Erin Harris is a literary agent at Folio Literary Management. She represents literary fiction, book club fiction, contemporary YA, and select narrative non-fiction titles. Some of her clients include: Times Magazine contributor and former Newsweek correspondent Carla Power, Executive Editor of The New Criterion David Yezzi, and the novelists Bryan Furuness and Jennifer Laam. Erin began her career in publishing in 2008 and has worked for both William Clark of WM Clark Associates and Irene Skolnick of the Irene Skolnick Literary Agency. She received her MFA in Creative Writing from the New School and her BA in literature from Trinity College (Hartford, CT).

Natalie Lakosil is an agent and Laura’s assistant at the Bradford Literary Agency. An honors graduate of the University of San Diego, California, Natalie holds a B.A. in Literature/Writing. After nearly four years at the Sandra Dijkstra Literary Agency and a brief dabble in writing author profiles and book reviews for the San Diego Union Tribune, Natalie joined the Bradford Agency in February of 2011. Natalie is drawn to talented, hard-working new authors with a fresh, unique voice and hook. Her specialty is commercial fiction, with an emphasis in children’s literature (from picture book-teen), romance (contemporary, paranormal and historical), upmarket women’s fiction and select nonfiction. Her interests include historical, multi-cultural, paranormal, sci-fi/fantasy, gritty, thrilling and darker contemporary novels, middle grade with heart, and short, quirky picture books.

Victoria Marini is an associate literary agent with the Gelfman Schneider Literary Agency,and an assistant to Jane Gelfman, Deborah Schneider, and Heather Mitchell. She began taking on clients in 2010 and is actively building her list. She's looking for adult literary fiction, commercial fiction, and women's fiction, plus YA (especially literary, contemporary, heartwarming and funny, or dark, edgy, and commercial), Middle Grade (fantasy and coming-of-age humorous), and nonfiction (narrative non-fiction, humorous/pop-culture non-fiction, and memoir, as well lifestyle/how-to non-fiction).

Kathleen Rushall is an agent at Marsal Lyon. She started as an intern at the Sandra Dijkstra Agency, and then spent almost two years at Waterside Productions. Kathleen looks forward to garnering fresh voices, strong narratives, and whimsical tales in all areas of young adult literature including contemporary fiction, suspense, Southern gothic, historical fiction, and science fiction. She is open to all genres of YA, but has a soft spot for thrillers, horror, romance, laugh-out-loud voices, and would love to find a dark mystery. She’s also open to New Adult queries. Kathleen is looking for funny, character-driven, quirky picture books and all genres of big voiced middle grade fiction. Kathleen also represents select nonfiction and is interested in parenting, cooking, crafts, business, alternative medicine, women’s interest, humor, pop-culture, and some how-to.

The Q&A Part One: Revisions

What is the most consistent change you ask for in a revise & resubmit?

 

Laura Bradford: I am not sure there is really a ton of consistency when it comes to R&R requests I make. I suppose I might most commonly request plot changes of some kind. If the writing is clumsy or the voice doesn’t work I am liable to just pass on a ms rather than request a revision. Plot tends to be something that can be fixable. I have asked authors to make genre-related changes… like in a contemporary romance with suspense elements I might suggest that it might sell better without the suspense elements. Or in a romance-mystery mashup I might suggest emphasizing the romance more so editors would better see where it might logically be shelved in stores. I could suggest that an ending might need to be reconceptualized. I could suggest adding or dropping a secondary storyline because the story was either too busy or not busy enough. I might suggest that a ms submitted as a single-title romance be better suited as a category romance and to make changes accordingly.

Josh Getzler: For children's books, it's making the age correct. I find myself moving ages up and down a year or two in order to make the character, plot points, and tone all be believable. For adult books, the revisions are much more varied, but usually involve cutting. In crime, it's often ratcheting up the pace.

Natalie Lakosil: Plot arc/context issues. I won’t offer a R&R if the voice/writing isn’t grabbing me, so it’s always going to be if I see enough promise and potential in the story but I want to be sure the author can tackle the changes/make it happen.

Victoria Marini: I don’t know that there is one. The kinds of consistent problems I have with manuscripts: pacing, flat characters, inert openings, endings that crumble apart… I don’t generally ask for an R&R on those. Were I forced to pick-on, I tend to ask for revisions that create more delayed gratification regarding the “big reveal” of a secret or a surprise.

Erin Harris: Again, it is difficult to generalize, because every manuscript is exceedingly different, but I will say that I am always hyper-critical of the first 10 pages.

These are the pages that convince a reader to buy your book in a bookstore or online. These are the pages that convince an editor to invest time in your work. They are akin to the handshake at the beginning of a job interview. You only get one chance to make a first impression.

Kathleen Rushall: Usually when I ask for a revise and resubmit, it’s because I saw something I really liked but that may have gotten lost in the current delivery of the story. Often, my R&R will have to do with pulling out the parts I found most promising, and streamlining the rest of the manuscript to help that element shine.

Post-Nano, what do you suggest as a starting point for that first round of revision?

 

Laura Bradford: I think it depends on the writer. Some authors write lean and in revision go back and fill in details and color. Some authors write long and have to go through in revision and streamline. Writers should have a sense of their strengths and weaknesses. Every author should have beta readers or critique partners…they will certainly help an author see what their strengths and weaknesses are if they are unaware of them. And choose beta readers and crit partners wisely. Some may be great at checking for continuity but terrible at spotting typos and bad grammar. Get a few reads on your work from people who can point out big picture concerns (like a lack of momentum or an unlikable hero) and smaller details (use of the wrong there/their/they’re). Set a reasonable deadline for yourself to get your revisions completed.

Josh Getzler: Read your manuscript as a reader, and have someone other than a close friend or family member read it as well. Are you interested? Is it compelling? Are there places where it looks like you were writing just to get your word count done? The first go-through after Nano is usually pretty big. It's the real question Do I have a book here, or an exercise? Is it a real story that people will spend money to read?

Erin Harris: Take another look at your opening pages, writers. Do they establish the Who, What, Where, When, and Why of your novel? Do they set the plot in motion immediately by introducing a conflict? Do they create tension by revealing what is at stake for the protagonist? The opening pages must do all of these things – and in arresting prose. It’s a tall order.

Natalie Lakosil: Nothing. Don’t touch it for two weeks. Then re-read it and see if it all makes sense.

Victoria Marini: Leave the book alone for a while. If you don’t start – wherever that may be for you – with a set of fresh eyes, it will all be for naught.

Kathleen Rushall: My first piece of advice would be to set it aside for awhile. You just wrote at full throttle to produce this story in a crunch. Now it’s time to ruminate on it.

Take a step back and consider it. During your revision break, you should continue to read books within the genre you’re writing. Know what’s currently working and any expected conventions. Question your characters: does the reader care enough about them? Do they have real goals? Are their motivations clear? Is their personality shown through action? How is the voice?

As you consider fleshing out your characters, also think on your plot and how this serves to do that (two birds here). You want your characters to develop organically with the plot. Is your plot arc complete and it’s now a matter of bolstering it? Or did you finish your draft before the story really ended? Use your resources at hand. As you begin mulling all this over, send your draft to beta readers and critique partners. While you consider your next move, have others dive in and offer feedback.

What is the most common revision request you make for a picture book manuscript?

 

Natalie Lakosil: Cuts. A lot of picture books are longer than they need to be. Otherwise, narrative arc.

Victoria Marini: I don’t take-on picture books unless they are by clients I already have, and in that case, I ask that they think about how the illustration will tell 50% of the story; what will the illustrations show us that the text does not?

Kathleen Rushall: I see a lot of picture books that I think have a promising story or loveable character, but that are either too long (word length) or too complicated. My most common picture book R&Rs involve cutting extraneous bits and guiding the writer to get to the heart of the story.

Is there such a thing as a writer changing too much during a requested revision?

 

Laura Bradford: Sure.

Josh Getzler: Sure, but it doesn’t happen too often.

Natalie Lakosil: Yes. Unfortunately, sometimes a writer can revise to a point that the manuscript loses its original magic. It’s a hard balance, so I’d definitely be sure to keep in mind what the agent/editor LIKED about the original, too, when revising!

Victoria Marini: Yes. But it’s not so much about the changes as about the voice. I haven’t seen an author make too many changes, yet. But, I have seen authors polish and polish and polish the heart and guts right out of the story.

Erin Harris: Yes, I do think it’s possible to throw the baby out with the bath water. However, I don’t think this happens very often…

Many writers have an easier time revising voice, setting, and plot, but they struggle with theme. One concern is to not let it beat readers over the head. How do you suggest writers revise for theme in order to make it as seamless as everything else?

 

Laura Bradford: I am pretty sure I have never in all my agenting days asked an author to revise for theme. I have no idea how to even answer this question.

Josh Getzler: Ultimately, as trite as it seems, show don’t tell, and don’t preach. An interesting story with a bright voice will allow you to get your points across without it feeling like medicine.

Erin Harris: A book is an ecosystem in which all of the organisms operate symbiotically. Theme is tied to voice is tied to setting is tied to plot. Given this view, I find it somewhat difficult to discuss these narrative components separately, because in my mind, they are all inextricably linked! Every book strives for perfect continuity.

That said, I think when “theme” isn’t quite working, it’s often because the author isn’t clear in her own mind about her authorial intentions. Before good writing can happen, good thinking needs to happen. An author needs to really know what it is, fundamentally, that she wants to say. What is her message? What is her book about on an emotional or philosophical level?

Sometimes the author “knows” what she’s trying to say before the writing process begins. A whole book, chapter, or sentence can exist in her mind before it appears on the page.

Other times (and I think this is more frequently the case), a writer needs to work through her ideas on the page and the “knowing” – the crystallization of her message – is a discovery that she arrives at.
It makes sense, then, that she would need to revisit the material written prior to her discovery, and revise it with her underlying intention in mind. This, I think, is how one edits for theme.

Natalie Lakosil: I’d say make it real; don’t force opinions or messages or be preachy. If theme has been pointed out as a problem, well, ask where it’s hitting readers over the head and fix it. I’d look at anywhere the author may be imposing an opinion rather than a realistic situation. To be honest, though, I can’t say I’ve ever rejected a book for a lack of a theme.

Victoria Marini: This is tough; I feel like Theme originates within the struggle of the characters. By that logic, I suppose creating a subtle, seamless theme is really about developing the character through the conflicts; experience, thought, behavior. Let those characters do their learning and their work. If you’re worried that you’re bludgeoning us with symbolism (hello C.S. Lewis!) my advice is to really stop thinking about what message you want to convey and just let the character experience the story and its problems.

I've seen a few agents talk about how writers should take their time with revisions on a revise/resubmit invitation and not worry about rushing to get it back to the agent. Any input on an ideal average time frame? Is there such a thing as taking too long?

 

Laura Bradford: I actually don’t care how long an author takes to complete an R&R for me (for the most part). If I know that I have suggested some significant changes and the author fires the ms back to me in 3 days, I would frankly be a bit wary that the changes were rushed and incomplete. That said, it is totally possible that an author take so long to do a revision that by the time they send it back the marketplace, or my own list composition has changed so that no longer can I or should I take it on. If I am looking for a YA sci fi right now because the market is hot and an author takes a year to send back a revision the market may not only be not-hot anymore but completely glutted. The opportunity was missed. I don’t send R&Rs very often so if I do I am really serious about getting the material back so I would be really bummed if I never heard from the author again, especially if I spent a lot of time writing really thorough notes. Taking a month or 2 or 3 to do a revision is certainly fine. Best advice is just to follow up with the agent and just let them know that you are working on the revision and give them an estimate on when you’ll send it.

Josh Getzler: For most novels, there really isn’t such a thing as taking too long. There are certainly exceptions that prove the rule—if you are seeing a trend and trying to ride the wave of it, you can miss it by taking too long. But that’s why agents really really try to discourage our clients from trying to hit trends. If you see a bunch of Twilight knockoffs (or Harry Potter or Lee Childs or Hunger Games or 50 Shades) and try to write one, you will be disappointed—every publisher will already have a long list of books coming down the pike trying to take advantage of the trend. Look, if you are able to see one coming, and are fortunate enough to have a great idea and can pull it off, terrific. But most of the time, folks are disappointed.

For your standard novel, however, which isn’t particularly timely, the goal is to get it right. However long that takes, take it. There are a lot of agents, and we tend not to be going anywhere. And you really only have one shot at submission to publishers, so it really needs to be the best it can be. But don’t worry about an agent saying “oh, you took too long getting back to me—I’m not interested any longer.”

Erin Harris: I’m sure every agent thinks differently about the ideal timeframe for turning around a revision on a revise/resubmit, but for me, there is no such thing as taking too long. Since I do think it’s possible for writers to submit work prematurely, I always encourage writers to resubmit when they feel ready.

Natalie Lakosil: I used to think there was no such thing as taking too long, but I’ve recently come across several situations where this wasn’t true. First, if an author takes over a year, the market may have changed and it may be impossible to sell that kind of book at that time. Second, if an author is taking forever and a day on a revision, and not even writing anything else in the mean time, I may have doubts as to the author’s ability to sustain a career in writing. That said, it is true, NEVER rush a revision. But I’d say…longer than 4 months and I may start to wonder (depending on the extent of the revisions, of course).

Victoria Marini: I don’t believe there’s such a thing as taking too long. The point is that when we open a revision, we should feel like we’re reading a whole new novel. If someone turns a revision back to me in a week, I know they didn’t recreate the book sufficiently enough to get me or an editor to reconsider it. As far as I’m concerned, the longer you take the better.

Kathleen Rushall: I wouldn’t worry about taking too long. It’s much more of a problem to rush a revision than to take a leisurely time on it. If your revision is rock solid and you’ve done a thoughtful, thorough job, an agent will still be happy to see it even after months have passed. Whereas, if you rush through your revision and submit it far too early you run two risks: the first being that you didn’t do the revision justice and it’s haphazard, and the second being that the agent may not think you’ve taken the revision seriously. Turning in a revision too early can work against you. We know writing takes time, and we know that thinking can take time too. A good revision isn’t just about doing it; it’s about formulating the changes in your head and getting them right when you do write it all out. We understand that and want to see it happen!


Thank you to all of our agents and all of our readers who submitted questions.