Category Archives: our clients

Making the Long Wait Work For You

It’s great to be able to say that I love my clients to pieces, every last one of them. I’m lucky to have a lot of empathetic authors in my stable, people who understand that publishing often moves at a glacial pace and who are willing to take that slow ride with me.

This is a business of long-range plans. In track-and-field parlance, it’s a marathon, not a sprint. It takes time to develop a good, bulletproof proposal; time to perfect a manuscript so that it is suitable for presentation to a publishing-industry professional. Then it takes time for acquiring editors to consider it; to bring it to their acquisitions boards and to the dreaded marketing department, which often has the final Yea or Nay. And, assuming the book does find a home with a publisher, it can be a full year or two before it’s edited, designed, printed, and available for sale.  Publishing schedules are planned far ahead, with projects lined up and slotted in like backed-up planes on a runway, waiting to take off.

Many authors now realize that this lag time can be maximized to market that forthcoming book. It’s the chance to build and strengthen your platform, to size up publicity opportunities that might be available further down the road when the book is launched. Monthly magazines that work four to six months ahead have to be pitched well before their long lead times. Holy-Grail dream targets like Terri Gross on NPR’s Fresh Air or anything with the name Oprah in it need to be approached early. And all the while, you can be increasing your social media presence on Twitter, Instagram, and Facebook.

These days, unless you pay dearly for the services of a public-relations firm, nobody is going to do all of this for you. Publishers’ overworked marketing staffs can only devote so much time to each book, each season. The more you can bring to the table marketing-wise, the better your chances of a successful book. That’s why publishers are always on the lookout for authors who bring their own strong platform with them.  If you can offer that, you’ve already won half the battle.

Do you have any of your own thoughts on how to maximize that waiting time? I’d be happy to hear them.

 

5

Angels Among Us

 I’m thrilled to be the new kid on the block here at D&G, one of the classiest and most respected agencies in the business. This is a great team of people to be working with.

I’ve been thinking a lot this week about libraries and librarians. My client Chris Grabenstein’s Middle Grade adventure THE ISLAND OF DR. LIBRIS just published on March 24, and it’s already been embraced by the same librarians who loved Chris’s recent bestseller ESCAPE FROM MR. LEMONCELLO’S LIBRARY. When we’re kids, we take plenty for granted. Throughout my childhood, librarians were just always there, and I never really appreciated all they did for us, or what courageous warriors they could be.

It is librarians who have always been the first line of defense against book-banning. It is librarians who struggle, in the face of constant budget cuts, to keep their stock as full, wide, and up-to-date as possible. And it is librarians who are determined to get kids started reading early, and to encourage them to keep reading beyond the age when they are distracted by sports, TV, and video games.

But sometimes they take that extra step and become heroes. It’s no wonder that we now have The Lemony Snicket Prize for Noble Librarians Faced With Adversity. Inaugurated by Daniel Handler and the American Library Association last year, it is presented at the Summer ALA conference. The first winner was Laurance Copel, who was honored for her work in New Orleans’s Ninth Ward. This year, on June 28, the recipient will be Scott Bonner, director of the Ferguson Public Library in Ferguson, Missouri. What did he do to reap this award? Let’s start with the fact that he kept the library, located just a couple of blocks from where armed militia were clashing with protestors, open and active throughout the unrest following the Michael Brown shooting.  Amidst the surrounding rioting, looting, and violence, Bonner hung a sign on the library’s entrance:  “Stay strong, Ferguson. We are family.”

All through those disturbing weeks, with the local school system shut down, Bonner recruited volunteers, teachers, and church groups to provide educational activities for up to 200 children per day. He organized community groups to offer a wide range of programs and services to help affected local citizens and businesses to recover. Bonner, the sole full-time librarian on the staff, had started on the job only weeks before, yet he instantly became a mainstay of the community right when Ferguson needed one. He even brought the Small Business Administration into the library to make low-interest loans and aid available to local Ferguson businesses. So successful was Bonner’s outreach that his programs become SRO, and he had to expand activities into rental space in the church next door.

I had the pleasure of speaking briefly with Bonner on the phone last week. He sounded solid, unassuming, and down-to-earth as could be.  But in my book, he, like so many other librarians, has a pair of white wings on his back, and walks a few feet off the ground.

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Friends in Unexpected Places

FGI’ve mentioned my love of Book Riot’s Book Fetish column before, but this might be its most exciting week yet.  I’ve also probably mentioned my love of infographics.  So it’s no surprise I’m a huge, huge fan of Pop Chart Lab.  I spend time every year browsing their booth at the Union Square Holiday Market, hoping they’ll create a new design that’s just right for me (or, okay, one to buy as a gift, but let’s be honest, I’m there for me first and foremost).   Their work is fantastic, but I’ve never found the right one.  UNTIL NOW.  Thanks to Book Riot, I know they’ve created a Fiction Genres chart!  (Pictured here, but check out their site to see it close up.)  I excitedly clicked over, while simultaneously reaching for my wallet.  I already knew I was definitely going to buy it but I thought I should at least pretend to do my due diligence and started zooming in on the poster.  And that’s when I spotted it: hanging out by the Romance marker, right by D.H. Freaking Lawrence, is “On Dublin Street (Young).”  Now if you’re not a student of my personal client list, you might not realize that On Dublin Street by Samantha Young is a book that I represent.  Just sitting there on the poster of my dreams, waiting for me to urgently buy two copies so that I don’t have to decide whether to put it in my home or office. (Obviously I did that before typing this blog entry.  Priorities!)

That might be the loudest I yelped (and the most ALL CAPSedly I declared my excitement to my DGLM colleagues via IM), but it’s not the only time recently that I’ve come across one of our own in a not-so-bookish place.  Just yesterday I discovered, to the delight of my inner twelve year old, that the film adaptation of The Maze Runner was nominated for an MTV Movie Award.  You can say there are more important prizes to be won in the worlds of books and movies, but I have a totally unreasonable nostalgic soft spot for that golden popcorn statuette.  I know what I’ll be doing on Sunday, April 12th.  (Trying in vain to convince a friend who has cable that they want to watch an awards show they haven’t cared about since they were 15, if ever.)

BL PosterFortunately, I discovered those in the privacy of my office and home, respectively.  Not so for coming across this fantastic ad for Richelle Mead’s Bloodlines series in the subway station.  I might have yelled “Oooh!” so loud I startled a stranger who was walking beside me, earning myself quite a dirty look.  Not that I’m sorry: if that’s the most alarming thing she heard in the New York City subway that week, it was a very good week indeed.  Plus, book ads in the subway are totally Oooh-worthy.

I work and live surrounded by books, and as Rights Director have a constant flow of DGLM client news coming through my email account and Twitter feed, but it’s extra exciting when our clients’ work jumps out at me from the places I’m not expecting them.  Now to go order myself the perfect frames for those posters…

74

Lyric Literature

My first exposure to the Avett Brothers was Colleen Hoover’s Slammed.  Over dinner a few months after she became a client, we talked about the band and she recommended one of their live albums.  Since I’m almost as crazy about music as I am about books, I went off and started listening…and promptly fell in love (“I and Love and You” is on constant rotation in my brain).

But, this isn’t the first time I’ve been led to an artist that I became infatuated with through a reference in a book.  The Mambo Kings Play Songs of Love led me to explore the golden age of Cuban music (pre-Castro, pre-exodus), for instance.  And, novels like  A Visit from the Goon Squad  are veritable treasure troves of musical references while memoirs like Patti Smith’s, Keith Richards’ and Neil Young’s can keep you looking up song titles on iTunes for weeks.  Since I believe great songwriting is poetry and poetry is storytelling that rhymes (or doesn’t), I love the marriage of literature and music.

On this Valentine’s eve, what devastating, unforgettable songs have you come across in books?

11

Where are all the guys in YA?

Following up on Miriam’s recent post about writers’ groups being comprised of mostly women, I came upon this piece in The Atlantic about female authors dominating the YA market. It discusses how NPR Books this summer had fans choose the 100 Best-Ever Teen Books and of the 235 books being considered for the list, 147 (63%) were written by women.

Certainly there are many bestselling male authors across all categories, but I think it’s fair to say that the YA market is dominated by female authors. We all know that many of the biggest books and series of the past decade were written by women, including, as the piece points out: Harry Potter, The Hunger Games, and the Twilight books. Each of these series went on to attract a large fan base that included boys and girls, and women and men, one of the reasons they were able to achieve such huge success. The movies didn’t hurt either.

In our own DGLM stable, we have a handful of male YA authors, including the bestselling James Dashner, Geoff Herbach, Andrew Smith, Danny Marks, and Shandy Lawson, but collectively the majority of our other YA authors are women (all of mine are), which confirms the theory based at least on our small sampling. And when I think about the queries I receive for YA, they are usually from women.

So I’m curious why this is. Is it that women read more YA fiction? Is there, as some suggest, the element of nostalgia for women remembering their teen years? Would you like to see more YA fiction from men? Or does it not make a difference who’s writing the books you read? Share your thoughts, and I’d love to start seeing more YA queries from men! (ps-this is my last post until after Labor Day, so enjoy the last few days of summer!)

10

Jealousy is all the fun you think they had*

Personally, I think jealousy is a great motivator.  Who hasn’t experienced a moment of jealous rage so virulent that it’s propelled them  to action?  Whether it’s romantic or professional, this base and vile emotion can force you to get off your keester and make things happen.  Okay, sometimes, it lands you in jail—not so good.  But, when we are jealous of someone’s accomplishments and able to see the effort and talent behind them, we can parse the elements of their success and try to apply them to our own circumstances.  Also, there have been some epic feuds born of jealousy that make for great entertainment—Gore Vidal and Norman Mailer; Mario Vargas Llosa and Gabriel Garcia Marquez; Bugs Bunny and Daffy Duck….

The kind of jealousy we encounter on an almost daily basis is creative and professional.  Why is so and so getting bigger advances than me?  Why did she get a better review from the Times when everyone knows she’s a hack?  Why did [fill in the publisher’s name] give him an eight-city tour when they can’t even get my books in stores?  And so on.

Our response, in soothing, zen-like tones is something along the lines of “Be patient, grasshopper.  Unimaginable success will be yours.”

Uh…yes…well…more often it’s “Stop whining and stay focused on your own work.  No one can write your book better than you and being jealous of other people’s success is just distracting you from doing your best work, not to mention meeting your deadlines.”

So, this piece in Writer’s Relief made me think about the uses and misuses of jealousy and wonder whether it is, indeed, a motivator?  Can you keep it in check and make it work for you? Or is it just a corrosive, soul destroying thing you wish you could banish from your creative life?  Who are you most jealous of?

*Erica Jong

UPDATE:  I love the link Tamara posted in the comments so much, that I thought I’d share it with you here:

http://therumpus.net/2011/03/dear-sugar-the-rumpus-advice-column-69-we-are-all-savages-inside/

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Why I signed.. Brodi Ashton

I thought I’d give you, our readers, a bit of insight into what I like and what I look for in a submission.  It’s often hard to articulate what does and doesn’t work once you get past simple mechanics and formatting–which is one of the reasons agents often blog and write about those details.  I hope hearing about why I signed Brodi Ashton gives you a window into my thoughts.

This story is going to start in a surprising way, maybe even for Brodi herself!  Brodi came to me highly recommended by not just one but several clients.  I had actually been hearing about her for quite some time before she queried me.  The clients recommending her were enthusiastic about not just her work, but also as a person.  Everyone seemed to like her.  You’re probably thinking that this was all weighing heavily in her favor, and the truth is, it was…and wasn’t.  By time she queried me, I’d heard such good things that I was a bit overwhelmed by the praise, and frankly concerned she couldn’t live up to it.  But her email query was very friendly, and I really liked the sound of her novel, which she mentioned was based in part in Greek mythology:

“17-year old Nikki Beckett has just returned from the Underworld to a family who doesn’t know where she’s been, a boyfriend who doesn’t know why she left, and old friends who think she’s using. But Nikki won’t have time to answer questions. She only has six months at Park City High before the tunnels of the Underworld come for her again. Six months for goodbyes she’ll never be able to say out loud. Six months to find redemption, if it exists.

She didn’t plan on Jack’s reaction to her return. The boy she betrayed so long ago doesn’t care why she left him or why she’s back, as long as he doesn’t lose her again.

When Nikki discovers she didn’t return to the surface alone, being near Jack becomes dangerous – for him. Cole, an Everliving, followed her back from the Underworld, and he needs Nikki in order to make his push for the throne. He’ll do anything to make it happen, even if it means going back to high school.

Jack would sacrifice anything to help Nikki defeat Cole, but the choice will be Nikki’s: serve the Underworld, or rule it.”


Greek mythology?  Supernatural beings?  Undying love?  And a heroine who who must choose between two seemingly terrible alternatives?  Yes, please!  Paranormal books continue to sell very well, and this pitch was full of both romance and high stakes–something I knew editors were looking for.  I was also impressed that I was able to understand the heart of the story very easily from a short pitch, despite not understanding the rules of the world yet.  I was paying attention by this point, but it was the next paragraph of her query that really drew me in:

“I wrote this story because as a teenager, I had a friend who just took off one day. When she returned months later, she was different. Broken. I never found out where she went, but I wondered what would do that to a person as I watched her try to reclaim her life. I was fascinated in the before and the after, so this story looks at why Nikki left and the struggle after she returned.”

I love to know where writers get their ideas.  And I really loved that Brodi used Greek mythology to explain why something happened in real life–just like the Greeks used myths to explain the world around them.  So, before I got her email I was apprehensive that she couldn’t live up to the hype, and then she blew me away with just the kind of story I love.  I was totally, completely hooked, and I hadn’t even read a word yet.  Though she’d included a sample, I didn’t need to look at those pages to know I’d be reading the whole book.  So I quickly requested the manuscript that day.

Needless to say, the manuscript lived up to the query letter.  I knew about half way through that I wanted to work with Brodi, but the moment when I knew I could sell this book came only a few pages from the end when–and this is hard to admit–I may have teared up.  Or cried.  Whatever you want to call it.  The story moved me in a way that I did not expect.  Before I could reach out to her, Brodi let me know she already had more than one offer of representation, and I immediately set up a time to speak with her.  We discussed the book at length, and it turned out that she and I had a similar vision for it and the rest of the series.  We talked about what I thought worked and what needing more fleshing out, and we talked about dramatically changing the very end of the book.  I was happy with the conversation, confident that my vision was the right one for the book, and nervous beyond belief.  In the end, I was lucky enough to have Brodi choose me over several other agents clamoring for her book, now titled EVERNEATH.  In the fall, we accepted a pre-emptive offer from the amazing Kristin Daly at  Balzer + Bray, and the book is due out in 2012.

So that’s why I signed Brodi Ashton.  Hope it gives you a better idea of what I’m looking for and what the process is like.

2

Thoughts on ALA

Yesterday morning, the American Library Association announced its annual slate of children’s book awards, including the Newbery and Caldecott Medals. Congratulations to all the winners, especially Jewell Parker Rhodes and A.S. King (who just happen to be DGLM clients). Go team!

It’s always interesting to look at the slate of winners and see if there are any lessons to be drawn for the future. Hence, some thoughts, although with a major caveat—I, er, haven’t read any of them yet…

  • CALDECOTT:  A Sick Day for Amos McGee, illustrated by Erin E. Stead, written by Philip C. Stead. Though it had been discussed on-line as a contender, it’s still rare for a debut to win the medal. That said, I can see why it won: The art has a great blend of classic line and child-friendly simplicity, much like Caldecott favorite Marla Frazee. But I’m particularly struck the story and how it features an adult main character, which is one of the big no-nos in picture book writing. Kudos to the Steads for pulling it off—I’d love to see more writers break the rules like this!
  • NEWBERY: Moon over Manifest by Clare Vanderpool. Also discussed on-line as a contender, also a debut, though that’s less unusual for Newbery. Like Amos McGee, it seems a bit retro—historical fiction often comes across as old-fashioned these days. Granted, Newbery has a long history of loving historical fiction, but it’s telling that in a year when ebooks and apps were the talk of the town, the librarians chose to look back to the past. So I’ll be curious now to see if Moon starts to take off in the trade, or if it’s regarded as hopelessly institutional—that’s a question prospective MG writers should consider, too,  especially as the gap between trade and institutional seem to be widening further.
  • PRINTZ: Ship Breaker by Paolo Bacigalupi. Really eager to read this one! I have to say, Newbery could take a nod from Printz when it comes to balancing high-interest subject matter and art (i.e., trade and institutional). Year after year, they seem to pick winners and honor books that run the gamut of YA genres and subject matter. I will say, though, that this year’s list seems pretty dark, especially compared to last year’s winners. A reflection on 2010 in general? It’ll be interesting to see if things brighten up for YA in 2011.
  • CORETTA SCOTT KING: I’ll probably catch hell for saying this, but could we please get some new names in here? Not that winners Rita Williams-Garcia and Bryan Collier aren’t deserving, but you look at the winners and honors over the last ten years, and it’s the same players over and over again. Can’t we expand the club a bit?

So, dear readers, what did you think about the awards? Pleased? Surprised? Outraged? I’d love to know. And finally, a BIG congratulations to Wilder Award winner Tomie dePaola. Hooray for Tomie!!!

Welcome to the new DGLM blog and website!

Welcome to our shiny new home, blog readers!  For the new year, we bring you a new DGLM site, a merger of our website and blog.  Thanks to everyone who made suggestions a couple months ago on features and tech questions—where possible we’ve incorporated your feedback, and other things we’re keeping in mind in case we can implement them in future.

We’ll be blogging as usual over here at www.dystel.com now instead of at Blogger, and there are also some other things for you to explore over to the right (unless you’re not currently reading this on the site itself, in which case you might want to just poke your head in and take a look!).  You might be interested in learning more about us and our clients.  If you’re an author looking for representation, perhaps you’ll want to peruse our FAQ, Submission Requirements, Who We Are and What We’re Looking For, and Nonfiction Proposal Guidelines.  Need something new to read?  Check out our Staff Recommendations, Recent and Forthcoming Titles, and What We’re Reading in the column on the right. Maybe you want to know where we’ll be?  We’ve got a calendar with our upcoming conferences and events in that sidebar as well!  Of course, if you’d like, please feel free to use the links over there to Subscribe, Follow, or Like us and share our site with others!  The new blog should start feeding into our Twitter and Facebook accounts today, so if you’re already following us there, you don’t need to do anything.  If you’re reading us in a blog reader, please subscribe to the new RSS feed.

Make yourselves at home!

As always, we want to hear from you!  What do you think of the new digs?  Any suggestions for improvement?  Glitches we may not have caught?  (We hope not, but let us know if so!)  New features that you’d like us to consider?  We can’t always implement everything recommended to us, but we’re always open to hearing your ideas.

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Where’s the love?

by Jim

On Friday, our commenter Jennifer asked the following question:

I have often heard agents discuss the fact that you need to “be in love” with a book in order to represent it…let’s say you take on a client because you’re in love with their first book, but you only like the next, or even the next few? Even my favorite writers are about 50% hit or miss for me. Some I love, some I just like, and some I even outright dislike. I imagine it would be unusual to really love every book someone wrote.

So I guess my question is two-fold. One, as an agent, do you often find yourself liking some stories more than others, or are you so passionate about a writer’s style that you tend to love them all, and two, what do you do if you aren’t feeling the same passion for subsequent books?

Tricky one, Jennifer! I think it’s completely fair to say that when we work with someone on multiple books, we won’t have an equally passionate reaction to each and every project they work on. If someone writes twelve novels, we won’t be equally fond of all twelve. Of course, chances are the author also won’t be.

The reason we always say that we need to fall in love with something in order to take it on is that we’re diving headfirst into a long, involved process with someone we haven’t worked with before. If you don’t love the book wholeheartedly, it’s a lot of dedication and time to offer something (and someone) without any guaranteed results. As we continue working with clients, we still want to love every book, but the dynamic has changedwe know how we work with these particular authors, how comfortable the fit is, what happened with that first novel, what shape their career might take. We’re still responsible for making sure that the best product possible gets out there, but we also have to make sure that our clients wishes and best interests are well represented.

Sometimes the situation can get tricky. Let’s say we don’t just not love a project; let’s say we actively dislike it. If our feeling is that the audience will have the same reaction, we have to say something. No one is helped by glad-handing. So there have been times when projects need to be set aside, or we make recommendations for other ideas that might be pursued. It’s not the most comfortable thing to bring up, but it’s necessary to be able to offer that kind of feedback. Our authors depend on our honesty and feedback. And we likewise depend on them, not to do everything we say, but to take our thoughts into account. The best agent/client relations are built on an ability to share thoughts and find compromise.

So no, we don’t love every single project the same, but ideally the base of every relationship with a client is deep admiration of their work. Even if you don’t love every single thing they do, you can still support and guide them.