Stacey Glick interview at Writer’s Digest

It’s been a while since I wrote about the kinds of projects I’m looking for, and since I answer that question and many others in an interview I did that was recently published on, I thought it would be nice to share it with our loyal blog readers.

The interview goes into some detail on my background, my list, and my thoughts on many different aspects of the market, where it is now, and where it is going.

I thought Ricki’s questions were really targeted to my interests and as a result we managed to squeeze a lot of information into a fairly brief interview.

I hope it’s useful to anyone reading, and if I didn’t answer all of your questions or you have others you’d like to ask, ask away and I will do my best to respond to each and every one. Promise! Enjoy.

4 Responses to Stacey Glick interview at Writer’s Digest

  1. Kim says:

    How do agent tastes line up with reader demand? I have a contemporary re-telling of a classic, which I understood from one agent are very popular, but the responses I’m getting on my middle grade are, “it’s been overdone,” even though there’s only been one blockbuster re-imagining the story and no contemporary re-telling. I recently heard a young agent say that she can’t wait for YA dystopians to go away because she likes cozy contemporary YA. Yet it seems that the public still wants to buy/read YA dystopians and not books reflecting her taste as much.

    Every writer, stranger, and friend perk up when I give the pitch to them and I have writers from that age group excited to read it. Is it just a lost cause?

    • Kevin A. Lewis says:

      Brief afterthought, Kim-please don’t think I bagged my project on the basis of that one flaky turndown, priceless though it was-I just took a hard look at the scene and realized that teenage girls who are funny, hip, resourceful & ironic are greatly in demand by agents as lead characters while teen boys with the same resume…Not so much. So I traded up to expectations and sent Prince Charming back to the darkness and obscurity of the 12th Century. It’s not about the reading audience in this instance, but the people who control access to them-courage in a lost cause being a doubtful virtue and all. I’ve really got to stop hitting Starbucks before I log onto this site…!

  2. Stacey says:

    It’s a good question, Kim, and as always there’s no one right answer. I’d generally say that editors and agents feel like they’ve been pitched classic retellings often so unless there’s some really special unique hook and/or (hopefully and) the writing is blow you away good, it might be difficult. The key is to make your work as good as it can be and then keep trying. In the end, it’s subjective and it’s about finding someone who has your vision for the book. Good luck!

  3. Kevin A. Lewis says:

    Kim, the fact of the matter is that a lot of agents selection process is entirely whim-driven with no regard at all to market currents-and while I don’t try to be James Patterson about it, any agent I run across who’s like this I drop contact with at once. I once had a contact at Writers House who couldn’t get behind a Middle Grade fairytale spoof I was plugging “because it didn’t have enough literary value”! I dropped both him and the project posthaste, and have Something Bigger on the stove now…(insert ominous rising organ music here) Just keep plugging-it’s all a numbers game……..

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