Category Archives: conferences

Just Breathe

 

Thrillerfest, the International Thriller Writers’ annual convention, was held earlier this month and, as I’ve done each of the past several years, I participated in its event known as PitchFest. Over the course of two and a half hours, in a kind of agent-author speed-dating setup, I spoke with nearly twenty aspiring thriller writers for an allotted span of ten minutes each.

I heard some good pitches, and asked several writers to send me their manuscripts. I’d gotten lucky at PitchFest two years ago, when I signed up the French Canadian Secret Service member Simon Gervais. He had a crackling idea for a spy thriller—and who better to write it? That manuscript, THE THIN BLACK LINE, was ultimately acquired by Lou Aronica of The Story Plant, and it is now burning up the amazon charts, particularly in its Kindle edition. Since then I am eager to get to PitchFest each July to find out what other promising debut writers I might meet, because—you never know.

But this year I heard something that left me a bit rattled. Sure, there’s a lot of tension behind  the scenes at a make-it-or-break-it event like this, where an author has everything riding on the impression he or she will make, and on whether they have developed and presented the right “elevator pitch.” Many of them have paid dearly to take time off work and to self-finance a trip to New York for the chance to pitch their big project. This was the first time, however, that I heard that some attendees were so nervous just before PitchFest that they were hyperventilating, and that some were even close to the point of passing out! Yikes. If that means we agents have a certain power, I don’t like that kind of power. I don’t want to be a figure who is capable of putting someone into a state of such distress at the prospect of facing my yea or nay.

We’re all in this together. We need each other, and we agents are only as good as the writers we represent. Without our writers, we would have no business; we would not be making a living; and I, for one, would be missing out on the deep and nourishing connection I enjoy with the authors I’m lucky enough to claim as my clients.

So if you are a writer attending a similar conference, trust in your own talent, and know that you’ll be at your best if you can try to adopt a Zen attitude and relax. We agents are there because we are eager to meet you, and because we don’t want to let The Big One slip through our fingers. Together, we can make it work.

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Right Behind You

Yesterday I had an interesting–and rather bracing–exchange with a writer whose work I read, admired, and ultimately, after much time and consideration, decided not to represent. I’d sent her a note that was well-meaning but bland; I wrote that I’d not “fallen in love” with the material, and without the ability to be a wholehearted champion for the work, that I didn’t feel I could represent it. I got a civil but pointed note back, urging me to reconsider–not my decision–but the very pat “didn’t fall in love” phrase that has become the book world’s answer to “it’s not you, it’ s me.” This writer pointed out that it’s patronizing and more or less reviled by authors. I agreed that it is an easy shorthand, the catch-all diagnosis of the publishing business. But perhaps we who work with words have a certain responsibility to be a little less lazy when stringing them together.

Still, turning people talented people down is never easy, and we agents are often wrong. I’m at a writer’s conference now, and every editor and agent here has a tale of the book that got away—or more precisely, the book we failed to see.

Taste is apallingly subjective, and sometimes it’s hard to put a fine point on exactly what drives my reservations. More often than not, it’s a combination of factors; undeveloped storyline, characters with whom I’d rather not pass 350 pages, utter lack of editorial vision for how to place it. Sometimes I read the testaments of lives of people far braver and more extraordinary than I will ever be, but I worry that the telling does not match the tale, or the story is suited to a smaller circle of readers than most publishers would wish to reach.

I grumble and occasionally rail at the rejection letters I receive as well, but is there a way to soften the blow? Many notes I send are form rejections. We try hard to craft one that is professional and respectful, though it is by definition impersonal. It would be impossible to respond to all the mail that we receive. But know that despite all the maladroit notes and form letters, the late responses and the missed chances, most agents really do get it. We get the frustration, the disappointment, we respect your efforts and exist to support them. True, the works in question are not our own, but they are our livelihood, a reflection of our taste, our ideals, and often long collaborative efforts. It would be absurd to imagine that my emotional stake in a book is as great as that of its creator, but we agents are right behind you.

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Stealing Horses at Grub Street

I’m writing on the train home from Boston, where I spent three days at Grub Street’s Muse and the Marketplace conference.  It was a whirlwind of activities, pitch sessions and manuscript critiques. In addition to meeting a host of promising new writers, I was happy to be able to attend a couple of panel discussions.   I sat in on a workshop taught by two of my Boston-based clients, Adam Stumacher (whose short story “Subject, Object ,Verb” was just named a finalist by Narrative Magazine)  and Qais Akbar Omar, whose memoir A Fort Of Nine Towers: An Afghan Family Story, was published by FSG. Together, they tackled the important but thorny marriage of “politics and prose,” looking at how writers can effectively grapple with political themes in their work.  Adam, who teaches writing at Grub Street, and Qais, who has an MFA from BU but is a storyteller of the Afghan tradition (he’s a definite outlier in the MFA versus NYC debate) came at the subject quite differently, but in complementary ways.

Through readings of their own work, as well as selections from writers like Isaac Babel and Anton Chekhov, Stumacher and Omar reminded the audience that the job of the writer is to render accurately, to tell a story without judgement—and to resist the urge to proselytize.  Here’s Chekhov, in a celebrated and often quoted letter:  “When I depict horse thieves, you want me to say that stealing horses is wrong. But surely this has long been known without me saying so. Let the jury condemn them, but it is my job simply to show them as they are.”

Because I am interested in projects that engage global issues, I often get query letters for works of fiction that promise to draw attention to the plight of a worthy and under-represented story.  Much as I may agree with the writer’s impulse, I am invariably suspicious of the means they employ. Too often the political novel features characters that are simply mouthpieces, sock puppets rehearsing the views of their creators, or straw men waiting to be knocked down.  I’m all for the novel (and memoir)  of ideas, but only when it doesn’t  lean so heavily on a theme that the story is lost.  Like most readers, I don’t like being told what to think.  Instead, I want to see the situation clearly and formulate my own emotional and intellectual response.

What authors do you think do this particularly well?

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Real live agents!

Last week I had the pleasure of meeting with students at the University of Tulsa. The screenwriting program organizes this Agents’ Summit biannually to give students, faculty, and interested community members the chance to meet agents  – real live agents! – and learn about the ins and outs of finding representation for your book, screenplay, or theatrical play.

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It’s the most important part of any conference…the COFFEE

Or, as the coordinating professor told me, “Now our students get to see that you aren’t scary!”

He continued, “We want them to take their work seriously and understand its potential. We want them to realize they can apply for internships! We want them to keep writing!”

The visit was a very inspiring experience – the campus was beautiful, downtown Tulsa is full of amazing coffeeshops and interesting museums, and most importantly, the students were so bright, interested, and creative. They asked smart, thoughtful questions, like “What one quality are you looking for most in a query?”* and “How much should I change my book to fit what is popular right now?”**

It was a great reminder that in the daily grind of answering emails, reviewing contracts, and evaluating proposals, I also get to work with gifted writers who love putting stories on paper and sharing them with readers. Even when it’s hard or lonely work, even when they have to be brave enough to share the results of that work with “not scary” agents like me! And it’s exciting to know that there are a bunch of young writers out there getting ready to follow in their footsteps.

What questions have you always wanted to ask a “real live agent”? What keeps you motivated to work on your writing when you get discouraged? 

 

*We all said things on the variety of “Voice!” and “Characters we can’t forget about.” 

**Not at all! It’s important to be familiar with your category and think about where you would find your readers…but it’s also important to write the best book you can write, based on the inspiration that’s driving you. Don’t chase the market – it might be gone by the time you get there, and then you’ll be stuck with a book you aren’t invested in. 

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Boston and Austin

As spring finally approaches (fingers crossed that the snow forecast for later today fails to materialize,) I’m looking forward to a couple of terrific writers’ conferences. The first is Grub Street’s Muse and the Marketplace, a Boston-based literary extravaganza that takes place first week of May, by which point, sunshine and shovels will surely have vanquished the snow. Right?

There, I’ll listen to pitches, give detailed manuscript critiques, and sit in on as many workshops as I can, especially Adam Stumacher and Qais Akbar Omar’s panel discussion on “Politics and Prose” where they’ll explore the altogether tricky business  of addressing political issues through narrative.   Next up is the Writer’s League of Texas Conference in June.  Both Boston and Austin are literary (rhyming) towns with their own vibrant cultures of letters, and I love to see how place affects writers and their works.   In any event, The WLT conference organizers asked me, as well as host of other Texas-bound agents and editors, to respond to some questions about the publishing process that I thought I might pass along.  If you don’t have plans to be in the Lone Star State or Beantown in the next few months, you might have a look.  Both Grub Street and the Writers League of Texas have robust websites that are teeming with excellent resources.

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Gonzo innovation

Anyone else out there excited for football this Sunday? Sure, I wish the Giants were playing, but we all knew that wasn’t going to happen this year. However, I’m pleased to have legitimate rooting interests in both games. One of my college roommates grew up in Appleton, Wisconsin, right next to Green Bay, so when the Giants are out, I’m willing to get on the Packer bandwagon. And in the AFC, I just root for whoever’s playing against the Patriots, of course…

Anyway, in reading up on the match-ups this weekend, especially Packers/Seahawks, I stumbled on this article, which, despite the title, talks about how basketball, baseball, and football are going to see some wildly inventive coaching in the next few years, spurred on by advances in statistics and Moneyball-style analysis. A lot of food for thought here, especially if the Patriots make it past the Colts—as much as I hate Belichick, the man is nothing if not inventive. The trick he pulled last week with the four O-line set seems like “gonzo” coaching personified.

Meanwhile, I had drinks last night with a client who was in town for the Digital Book World conference, which focused heavily on data and statistics. And from his description of the presentations, I think there might be a parallel to what’s going on in sports. After all, both sports and publishing at some level start with talent. And then the team/publishing house develops the talent of the athlete/writer, which these days typically involves data analysis, in order to generate wins/book sales.

So, does that mean we’re in for some gonzo innovation on the publishing side? Well, time will tell, though one could argue the PRH merger was pretty gonzo in its audacity. I’ll certainly be watching to see if publishers start pulling some Belichick-style stunts in the coming months—or not, especially if Tom Brady loses yet another Super Bowl. One can only hope…

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Notes from the kid lit conference front lines

I was asked this past spring to join the council for the Rutgers University Council on Children’s Literature (RUCCL.org), a group that has been in existence for forty years. RUCCL is known for putting together each year an annual conference where aspiring authors and illustrators send in samples of their material which are then evaluated by published authors who also sit on the council. Those whose work gets the highest scores are admitted to the conference and paired with industry mentors who volunteer to spend the day meeting with these authors.

I attended the conference for the first time Saturday, October 18th. It was a wonderful day, full of positive energy and hard-working authors, illustrators, agents and editors all coming together with a love of children’s literature. A highlight for me was meeting the author Collen O’Shaughnessy Mckenna, who has been out of the business for many years, but who brought with her and signed for my girls a copy of her book FOURTH GRADE IS A JINX, published by Scholastic in 1990. I happen to have a fourth grader, so all the better!

The two main components of the conference are the Five-on-Five session where five (or so) authors who work in similar categories sit with agents and editors at a round table and talk about anything the attendees are interested in hearing or learning more about.

Then the grand finale is the One-on-One session where the author or illustrator meets for a full hour with the industry professional they’ve been paired with. It was great to walk around and see pairs of people in every corner of the campus. The feedback we got from the attendees was really positive and that hour spent with an industry professional is priceless.

In between the two events is the key note speaker. This year it was the lovely Nancy Werlin, who spoke about the many ways to find joy in the writing life.

As far as takeaway advice for authors, one of the things that struck me was how prepared so many of the authors were for the conference and their meetings. Many had attended the conference before, and even those who did not seemed to have a good working knowledge of the industry and of the editors and agents who were in attendance. No matter what level of the writing game you are at, it’s so important to do your research and know your audience. I can’t tell you enough what a difference it makes to be prepared.

I’m looking forward to planning and attending again on October 17, 2015. For all of you children’s authors out there, please send in an application. I’d love to meet you there!

Writer’s Digest x2

Coinciding with my turn to blog this week, I was fortunate to realize that one of my wonderful clients was kind enough to write a guest blog post on Writer’s Digest about the author-agent relationship, and share her experience at finding an agent and publisher.

There are a couple of reasons I wanted to link to the WD piece. First, I thought this post might be useful to aspiring authors. I think it gives a unique perspective that is just that – personal and individual. I always find stories of how authors got their start fascinating because they are all so similar in terms of the process but so different in terms of how it plays out. And there is something to be learned from each and every story. Beth talks here about how she got 32 rejections before she got to me. Persistence can certainly pay off, but so can paying attention to your rejections and learning from the feedback. She also talks about researching agents before you submit, a very important part of the process if you want to target an agent that is right for you and your work.

Second, I spent most of the day this past Saturday at the Writer’s Digest annual Pitch Slam conference at the Roosevelt Hotel in NYC where the several hundred attendees took turns pitching the many agents who volunteered to be there. Each author waited in line for the agent they wanted to pitch to, and then had 3 minutes to share their story. The day was broken up into 3 one-hour pitch sessions where they split up the attendees to make the room less crowded (I’m told it was the first time they did it this way, and it worked really well).  I really enjoy meeting aspiring authors in the trenches and seeing motivated people who are looking to improve their craft and network with professionals. It was a very fun, productive, exhausting day for authors and agents alike!

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MG vs YA

Two weekends ago, I had the pleasure of attending the Pacific Northwest Writers Association conference in Seattle. At the opening Agent’s Panel, I gave my usual spiel of what I’m looking for–Adult nonfiction, a smattering of offbeat adult fiction, and the broad range of children’s projects–YA, Middle Grade, and picture books. After that, I settled into my seat in the ballroom for a long stretch of power pitching, where the writers line up for 4-minute pitch meetings one after the other in the hopes of getting a request to see a full MS.

As exhausting as power pitching can be, it does serve to give an agent a good idea of what writers are generally working on these days. Although we often recommend that writers NOT write for the market, it’s natural for writers to turn to what seems to be popular. And hence, I heard a ton of MG pitches, which makes sense, since a ton of editors seem to be focusing on it these days.

But what surprised me about these MG pitches is that a solid majority of them featured a main character who was 13 years old. Which, if you go by the traditional demarcations of MG as ages 8-12 and YA as 12 up, means that they’re really writing YA. At the same time, the stories seemed to be solidly MG–heavy on fantasy and school stories, light on teen issues and racy content.

So what gives? Do these writers not know the basic guidelines? Are they just trying to age down their YA novels for the market? Or has MG become more elastic and less constricted by age distinctions than in the past?

Frankly, I’m not exactly sure, so I was very interested to read this article from PW Children’s Bookshelf, which looks at how bookstores are struggling with how to shelve MG and YA. And from their survey, it seems that stores are making up their own rules–some are keeping YA and MG totally separate, some create overlapping sections of 8-12, 10-14, and 14 up, while others lump them all together. Different strokes for different customer bases, perhaps, but for me it seems like there’s just confusion all round about where books belong on the shelf.

So, what’s a writer to do? Well, like a lot of category distinctions in publishing, unfortunately, it doesn’t seem like there’s a clear answer. My personal feeling is that despite the shifting winds, a writer seeking representation is still better off adhering to the old guidelines–if your character is 12 or under, it’s MG, 13 and up, YA. Not that I’m trying to take the easy way out here, but the last thing I want to hear from an editor is that they love the book but aren’t sure where it would live on the shelf–that’s a classic rejection line.  So I’d much prefer an author adhere to what’s been done in the past when starting out and go genre-busting on book 2.

That said, others may have different ideas of what marks MG versus YA these days, so I’d love to know what you’ve been hearing. Are 8-12 and 12 up still recommended? If not, what are folks suggesting as new guidelines?

 

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BEA: Not just about the free books

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$16 for this, folks.

As you heard from Jessica, last week brought the crowds and chaos of Book Expo to the cavernous Javits Center. Once you’ve got a few BEAs tucked under your belt, it’s easy to get a little jaded, or even grumpy – yes, it’s cold in there. Yes, the floors are hard, the food is overpriced (and not good), the aisles are crowded, and all the hot galleys vanish so quickly! I get it, I do. But I still kind of love BEA. And I recognize that it’s an incredible privilege to GET to attend, let alone have my entry pass and day out of the office handed to me.

Sure, it’s fun to dash around collecting pens, buttons, posters, even ice cream sandwiches and champagne, if you work it right! It’s fantastic to be handed early copies of books you’re dying to read, and to have publicists shoving books you’ve never heard of in your hand, promising you it’s going to be amazing (one of these I read in one sitting over the weekend because omg yes it IS that good). And, when you’re Industry, it’s also a bit of a reunion week. You get to catch up with friends from previous jobs that you haven’t seen in a year, or meet contacts face-to-face that you email every day or know from Twitter. If you’re lucky one of your industry pals might even let you stash your bag of galleys under their table so your back doesn’t break!

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Bag of books!

But it’s not really about the free stuff or the socializing. As Jessica said, BEA is “a tangible manifestation of people whose lives revolve around reading.” At BEA I chatted with a blogger from Georgia who was thrilled out of her mind to be at BEA. She had cashed in frequent flyer miles and was sharing a hotel room with three other ladies in order to be there. In another line I talked to a delightful mother-daughter pair of children’s librarians from Iowa who were so eager to meet children’s book authors – not just to meet them, but to talk to them about the books their little patrons love and the books they believe need to exist. They took their responsibility to the kids in their community so incredibly seriously. I was inspired.

I love working in publishing in NYC, but it’s also so easy to take it for granted because I get to live and breathe books without even trying. I am surrounded by indie bookstores and could go to an author event every night of the week. I don’t have to plan my year around one big book event, or spend my vacation in a grim convention center. So I’m going to try to be a little less crabby about BEA’s inconveniences next year. And in the meantime, I’m going to work even harder on my little corner of publishing to make sure that the bloggers in Georgia and the librarians in Iowa get incredible books to keep them excited about reading. Because that’s what this industry is really all about. And I’m proud to be a part of it.

Have you ever been to BEA?