Literary Associate Elizabeth Copps is interviewed!

Today, I have the pleasure of interviewing Elizabeth Copps, Literary Associate with the Maria Carvainis Agency, Inc. 

Elizabeth began her publishing career in 2010 as an MCA intern after graduating from Florida State University with a BA in English Literature. She was thrilled to join the agency full-time in 2011 as the new literary assistant. Two years later, she was offered the position of literary associate and is incredibly excited to build her own list of authors.

Elizabeth considers herself an eclectic reader, but she is particularly interested in literary, multicultural and contemporary fiction, women’s fiction, young adult and young adult crossover, gritty thrillers and mysteries, memoir and romantic suspense. She appreciates rich and believable characters who immediately draw readers into their world, and she is always captivated by a startling plot twist. Her favorite authors include, John Boyne, Chris Cleave, Gillian Flynn, John Green, Joanne Harris, Jhumpa Lahiri, Dennis Lehane, Stephen King, Daphne du Maurier, David Sedaris, Jeanette Walls, and Carlos Ruiz Zafón.

MCA’s clients include Mary Balogh, Sandra Brown, Candace Camp, Cindy Gerard, Kristan Higgins, Will Thomas, and Laura Wright among others.

Thank you for joining us, Elizabeth!

JF: Please tell us about your typical work day (and how many manuscripts you usually have waiting in your inbox).

EC: Our solicited manuscript log is ongoing, so I have a lot to sift through every day. I usually read between 5 and 10 manuscripts a week depending on whether I am reading partial or full projects. Regarding query letters—the agency usually receives between 20 and 25 letters a day. We try our best to respond to every query within 10 business days of receipt.

JF: What gets you excited in a query letter?  Do you have any pet peeves when it comes to submissions?

EC: Queries that read similarly to a blurb on the back of a book always make me sit up and take notice. I love tight, witty language. Additionally, I want to be hooked by a story’s concept from the first sentence or two of the pitch—but fascinating and unusual characters appeal to me as equally as an intriguing plot. 

As far as pet peeves are concerned, I have three biggies:

1. Failing to research our agency’s submission guidelines. It’s clear to me when authors have not done their due diligence. Query letters that are not personalized, or queries with 30 other agents copied on the same email are giveaways.

  

2. Providing biographical information before describing the writing project. I’m very interested in hearing about a writer’s credentials or reading a short biography, but a writer’s first job is to sell me on their book. 

3. Starting with an excerpt of the novel instead of a formal pitch. I appreciate receiving 10-15 sample pages in a separate attachment so I can get a sense of the writing, but it is disorienting to begin reading a sample without any context.

JF: Certain agents edit a manuscript prior to shopping it to editors. Others don’t. How would you describe your process?

EC: Providing our authors strong editorial feedback is a service we pride ourselves on at MCA. We want the best, most polished version of our client’s work to land on an editor’s desk.  

JF: What do you enjoy most about representing authors to the publishing industry? Least?

EC: In publishing, I really do feel like I get to have my cake and eat it too. I have the privilege of working with highly creative minds as well as impressively business-savvy men and women. I love that I’m in a position where the two sides of the industry merge.

The most unenjoyable aspect of the business has to be sending rejection letters. It’s a necessity, but it can be really difficult. Agents receive rejection letters too, so I know that it is never a good feeling to see one pop up in your inbox.

JF: Which social media venues do you consider most important for authors:  a website, a blog, Twitter, Facebook, or Goodreads? Are there others you recommend?

EC: Knowing their way around all types of social media platforms can only benefit authors, especially those who are hybrid or self-published writers. I will say that I believe having a strong website is a necessary foundation for any writer. A website should contain links to an author’s Facebook, Twitter, blog etc. as well as the option to sign up for a weekly or monthly newsletter. Play to your strengths. For example, if you know you can keep up a Twitter account, do so. If you know you hate Facebook and will rarely post, you won’t do yourself or your readers any favors by starting up an account.

JF: What one piece of advice would you offer to authors who plan to pitch their novel to you at Colorado Gold?

EC: Have fun with it! Tell me why you’re passionate about the book you wrote. If I can see how enthusiastic you are about the characters and the plot, chances are I’ll be excited to read your work too.

JF: What do you do for fun when you’re not working?

EC: I’m a big foodie, and I should probably make my motto something along the lines of, “no cookie left behind.” I also have a serious travel bug. This year I am lucky enough to be doing quite a bit of domestic travel for business. Louisiana, Texas, Tennessee and of course Colorado are on the docket thus far for 2014.

JF: Now I would like to ask an off-track question. What did you dream of doing when you were twelve years old?

EC: I was convinced that I was going to be a famous painter. The best afterschool class my mom ever enrolled me in was called “Art Safari.” The classroom was in a converted warehouse, and the teacher filled it floor to ceiling with every art supply imaginable. The first day I walked in she looked at me and said, “Create!” It was pretty magical.

Thank you, Elizabeth!

You can visit http://mariacarvainisagency.com/ for submission guidelines, or meet with Elizabeth in Denver when she joins us at RMFW's Colorado Gold Conference, September 5-7, 2014.

Janet Fogg

www.janetfogg.com

Literary Agent Ella Marie Shupe Would Read Cave Etchings

I hope everyone gets an agent like Ella Marie Shupe.

Not that other agents aren’t top shelf, but I can definitely vouch for Ella Marie because she represents me. Professional, cordial, focused, and most of all, encouraging. I can’t state that enough. Just when I was beginning to think I was a hack, along comes Ella Marie with the Belcastro Agency. She requested my manuscript, read it in the time she said she would, and got back to me faster than she promised to chat about the book and representation. She called me right on the top of the hour that she’d scheduled. I mean…wow!

Ella Marie is a somewhat private person, but she loves books and her job. So, I was able to persuade her into an interview as long as I kept it on the good stuff.

We’re very tickled to have her join us today on the Rock.

CIR: Thank you for visiting with us, Ella Marie!

EMS: I mean…wow! Now I’m nervous. I hope I can live up to that shining introduction. Thank you so much for interviewing me.

CIR: Apparently, the norm is that agents easily work 12 hour days because that’s what the job requires…not to mention the dedication due to passion. From the messages we’ve traded, it wouldn’t surprise me if you put even more time in than that. Roughly how many hours a week do you read?

EMS: Well I’ve never counted how many hours per week I read. It is safe to say that I wake up reading and many times fall asleep reading. It’s a wonderful thing.

CIR: Of course, writers should take editing and polishing their manuscript as seriously as possible. However, if you request a full and enjoy it, but there are a couple of blemishes in it—for example, an omitted conjunction and maybe a dangling modifier, both of them towards the back of the book—would that cause you to reject it? I always worry about this even though I edit mine three times then send them to a couple of proof readers.

EMS: Please edit your manuscripts! It is so much easier reading a manuscript that isn’t full of landmines. Mistakes can sometimes jump out and over power the story. On the flip side, a well edited manuscript doesn’t sell me the story. If you have written something special, rest assured, I want it blemishes and all. I mean… a few blemishes and all.

CIR: What would an ideal author/agent relationship be for you?

EMS: Well, one just like ours! It is wonderful to work with authors that are so passionate about their manuscript. I have the utmost respect for a person who can take a blank page and turn it into a painting, a piece of music, or of course a book. The best author/agent relationship comes from mutual respect for the story. I love picking the author’s brain, getting into the dark recesses of the story and sharing not only where the story comes from, but also where it takes me, the reader. That’s the beauty of being an agent. How many people get to discuss their favorite books with their favorite authors? Lucky me… and I do it all the time.

CIR: Do you celebrate when a book you represent is picked up by a publisher? If so, how?

EMS: It brings tears to my eyes. Publishing a book is giving it life. It’s taking a manuscript and transforming it into a book. There is such a desire to make that happen, that there is joy mixed with the relief. Relief in knowing that people will be able to receive the gift the author has given.

CIR: Per our trademark, I have to ask a bizarre question. If stories were still etched in caves (or chiseled in rock) and had to be decoded would you still read them?

EMS: I would have no choice. I love to live vicariously through stories. It makes up a big part of my life. If I didn’t decode stories, what would I possibly do? I would hate to wait around to get clubbed over the head. No, I’m definitely the type of person that would stare at etchings until they made sense. Of course, I’m also the type of girl would carry my own club. No one disturbs me when I’m reading.

Thanks, Ella Marie!

Interview conducted by Gusto Dave Jackson urban fantasy and YA western steampunk author represented by...well, that's been established already.

Literary Agent With The Seymour Agency: Nicole Resciniti

E-mail interview by Pat Stoltey

Nicole Resciniti is an AAR accredited literary agent with The Seymour Agency. She represents most fiction genres and occasional nonfiction.

According to the January 2012 interview on Chuck Sambuchino’s Guide to Literary Agents blog, Nicole is a member of AAR, ACFW, RWA, and Mensa. She has degrees in biology, psychology, and behavioral neuroscience.

CIR: Nicole, have your studies given you any help in unraveling the writer’s mind and behavior, or is that a hopeless quest?

Nicole: The psych definitely helps (grinning). From a neurological standpoint, creativity is a process. I’m always fascinated by the ways in which the human mind works, where people draw inspiration, how they select their words. I don’t think writing is a glimpse into an author’s soul, but I do think there is something indicative of the author’s beliefs/perspectives in everything they craft. I love getting to know someone through their books.

CIR: At what point in your life did you decide to become a literary agent, and what attracted you to that profession?

Nicole: I didn’t follow a traditional publishing track. I had interned with Mary Sue and found that I could help a lot of people. There is no better feeling in the world than making ‘the call.’ It is rewarding and joyous and satisfying in a way I don’t think I can adequately express. I LOVE my authors. I think they are among the most talented people on the planet. It’s a privilege to be able to assist them on their literary journey.

CIR: What are your most recent book sales? What authors and new releases are you promoting this summer?

Nicole: My most recent sales include Cecy Robson’s urban fantasy series, beginning with SEALED WITH A CURSE: A WEIRD GIRLS NOVEL (PENGUIN) which debuts in 2013 and Kaitlyn Ballenger’s paranormal romance EXECUTION UNDERGROUND SERIES (HQN) which also debuts later next year. I really like finding unpublished authors. Their debuts are an inspiration to everyone that it can be done!

For this summer, I have a bunch of projects that I absolutely love. I’m listing them alphabetically:

--Macy Beckett—This author also writes as Melissa Landers. Macy’s contemporary romances are set in Sultry Springs, Texas, where first loves find second chances. SULTRY WITH A TWIST, marks the first in this series. These are fun, flirty, bring-to-the-beach reads. Love this author! As Melissa Landers, her YA series kicks off later next year from Disney with ALIENATED.
--Amanda Carlson—You can check out the prequel to her UF series with the novella BLOODED, which is available now. Her kick-ass Jessica McClain series launches with FULL BLOODED (ORBIT, a division of HBG), both here and in the U.K. If you’re into action and adventure, with some sexy supernaturals, she’s your girl.
--Amanda Flower—Her Amish-inspired cozy mysteries release from B and H Publishing, beginning with A PLAIN DEATH. The heroine is awesome and once you read one, you’ll wish you had the whole series at your fingertips!
--Julie Ann Walker—Julie’s series features the men of Black Knights Inc. They’re custom motorcycle mechanics by day and Uncle Sam’s last resort by night. HELL ON WHEELS marks the first book, with back-to-back releases beginning in August. This author is amazing!
--In the fall, look for CONJURE by Lea Nolan and Jaime Rush’s new paranormal series THE HIDDEN.

CIR: How do you find most of your new clients?

Nicole: Variety of ways. Conferences, recommendations and slush. Meeting clients is helpful because the agent/author partnership is a close one.

CIR: You and Mary Sue will be attending and taking pitches at quite a few writers’ conferences this year. What advice do you have for authors who want to pitch their novel to you?

Nicole:  Know your work. Be calm. Remember that we want new clients. We want to like your work. Prepare something that reads like the back cover of a book, a couple of paragraphs that comprise the essence of the project. Know your word count, target audience, and any comparable authors.

Try to make sure the agent you're pitching reps what you’re trying to pitch them. We don’t handle poetry, for example, so if someone were to take a pitch appointment with me about a poetry book, I would, unfortunately, have to pass on the project.

CIR: What are you currently looking for in genre and sub-genre? What are you tired of reading?

Nicole:  I’m open to anything commercial right now. I’m not really looking for any non-fiction at this point, unless there is a really strong platform.

I ALWAYS want romance, YA, MG, and anything sci-fi/fantasy. I’m burnt out on Dystopian and vampires. I’m very interested in contemporary stories, both YA and women’s fiction. I’d like to find more category fiction.

CIR: According to your agency’s guidelines, you accept e-mail and snail mail queries and are open to submissions at this time. What do you want to see in a query letter?

Nicole: The best queries, to me, read like the back cover of a book. Concise, engaging, and just enough to make me want to know more. I always need genre and word count, and any info about the author is appreciated.

I, personally, don’t take snail mail. Electronic is free and better for the environment.

In the email submission, please paste in the first five pages of the manuscript. Sometimes I skip straight over the query and right into the story.

CIR: The publishing world and social media opportunities have changed a lot since the January GLA interview. What kind of web presence do you recommend today for the unpublished author who’s looking for an agent?

Nicole: Start building your platform now. Website, Twitter, Facebook, Blogs, Goodreads, reviews… Get your name out there and establish an online presence. Editors look for this. They will check you out to see what you have to say and to determine if you’re dedicated to the marketing or just a random poster. With that said, make sure what you’re saying is professional. The industry is small and bashing another author or editor is NOT advisable.

CIR: Once a book is sold, what do you expect from your client in the way of marketing and promotion? For instance, do publishers ever send new authors on book tours? Do you think blog book tours (virtual tours) are useful?

Nicole: B and H is sending Amanda Flower on a very large book tour. Other houses are advertising for my authors in RT and RWR, Goodreads and/or on Facebook. Promotional materials are available and we negotiate for things like that throughout the process. I am 100% behind blog tours. These are a very useful way to reach readers and reviewers and with so much of the industry moving into digital fields for reading and purchasing, obtaining reviews and being accessible to readers is a must. We work with our authors to establish a balanced approach to marketing and advertising their upcoming releases. Our agency loop allows our authors to share information and marketing strategies. We encourage networking.

CIR: Finally, what do you do for fun (besides reading our queries and submissions)?

Nicole: Eat. I love food. Sad, and perhaps overly simple. But a good meal makes me happy. I also run (not fun, lol), but it helps with the stress and keeps me from becoming totally sedentary, as staring at a computer for ten hours a day can do.

CIR: Nicole, thanks so much for being our guest on the rock today.

Nicole: It was an absolute pleasure! Thank you so much for hosting me. I would just like to thank every author out there for giving me a job and something to get excited about each morning when I check my inbox. Keep writing. Do NOT give up. You can achieve your dream. Throughout your journey, I wish you the very best!

Writers can learn more about Nicole Resciniti and Mary Sue Seymour at the agency website and on Facebook. Nicole can also be found on Twitter.

Literary Agent with MacGregor Literary: Amanda Luedeke

By Janet Fogg

Today, Chiseled in Rock has the pleasure of interviewing Amanda Luedeke, a Literary Agent with MacGregor Literary. Amanda is a graduate of the acclaimed Taylor University’s Professional Writing program, and before joining MacGregor made her living as a full-time writer, freelancing for newspapers and marketing agencies. She met Chip MacGregor at an author signing, and before she knew it, she was helping him with all the little stuff she now assumes he just didn’t feel like doing. Shortly after, Amanda was hired as Chip’s Assistant.

Two years ago Amanda transitioned into the role of agent, and she brings unique interests to the MacGregor team. She represents mainstream and CBA projects, and her areas of interest include nonfiction, literary fiction, women’s fiction, paranormal romance, urban fantasy (and other speculative genres geared toward women), African American romance, speculative fiction (including steampunk, fantasy, horror, etc), YA, and twenty-something/post college-aged hip lit (think Joe Meno, Brad Land, JD Salinger).

CIR: Amanda, thank you so much for joining us here on the Rock! First of all, any recent changes in the types of books you represent or other announcements you’d care to share?

AL: Yes! Lately, I’ve been diving into Science Fiction/Fantasy and loving it. So take a walk down that aisle in your local Barnes & Noble, and that’s the type of stuff I’d really like to see. Horror, fantasy and especially a really great science fiction romance series geared toward women. I’m moving away from doing any children’s literature aside from YA, and I’ve also decided to list African American romance as one of my categories. I wasn’t expecting to find success there, but it’s been working out, so I’m just going with it!

As for nonfiction, I’m very flexible. I’ve represented a resume book, a military gift book and a Christian zombie nonfiction project called UNDEAD by Clay Morgan. So the sky is the limit there.

CIR: Would you briefly describe the preferred method to query your agency?

AL: On our website, it says that we’re closed to queries, but that’s not necessarily true for me. I prefer for people to email me a query. If they want to paste a writing sample in the email, that’s fine. But the best way to query me is to meet me face to face. I have a Facebook agent page that lists out all of the conferences I’ll be attending this year. If you’d like to meet me, check it out.

CIR: If possible, please share your favorite opening line from a query.

AL: I see so many, that they really do blend together, but I know that I’m most likely to read the entire query if the author begins it by letting me know why they chose me...prove I’m more than a name on their hit list. Making it personal can go a long way.

CIR: Do you have any pet peeves, when it comes to submissions?

AL: Where to begin?! Authors who insist they’re the next JK Rowling. Authors who haven’t completed their fiction projects but are querying anyway. Authors who don’t know what I represent. Authors who throw a bunch of questions at me instead of doing their research first. Authors who insist I call them if I want to learn more. Authors who are protective about their work and afraid I’m going to steal it. Authors who don’t want to tell me the ending to their book...they want me to read it. Authors who send their manuscripts as PDF attachments instead of Word docs. The list goes on...

CIR: Pet peeves when working with a client?

AL: Trust is a huge thing when working together. When I feel that an author doesn’t trust me to do my job and work hard for them, it’s an indication that we might not be as good of a fit as I thought.

CIR: How about pet peeves when being interviewed?

AL: I love being interviewed. I think because I look so young (anyone want to take a guess at how old I am?), I appreciate any opportunity I can get to prove that I know the business. In other words, I’m not here because someone owed my dad a favor. I’m here because I worked hard and have the agent eye.

CIR: What do you love the most about being an agent? What frustrates you?

AL: I love working with people. Love travel. Love books. And I LOVE the thrill of the sale. The most frustrating part, and I think I speak for most agents when I say this, is the time spent between deals. It’s funny, but book deals seem to come in waves. The time in between those waves can be frustrating.

CIR: What types of books would you like to see more of as an agent?

AL: Science fiction of all sorts...I think there’s a desire to take this fantasy/paranormal wave and turn it into a science fiction wave. At least that’s what I’m hearing from editors, and it makes sense. You can only do so much with vampires and fairies and magic before you run out of fresh ideas. But the desire for an otherworldly adventure is still there. Science fiction needs to rise to the occasion.

CIR: What’s the one thing an author can do to catch your eye?

AL: Be polished. From your manuscript to your query to your professionalism. Writers are weird, and I’m ok with that. We’re artists, after all! But first impressions really count.

CIR: Any predictions about what might be the next big thing in publishing?

AL: Aside from Science Fiction, we might see a stronger interest in dark stories. Dark fantasy (thanks to Martin), dark thrillers, horror, dark literary fiction. And from an industry POV, I think we’ll see more digital-first imprints pop up within bigger houses.

CIR: What trend(s) do you see fading?

AL: Urban fantasy and paranormal romance. Though they may keep going for awhile, they won’t be what they were. I also think we’ll see YA move away from fantasy-related themes to more of a gritty contemporary approach.

CIR: What’s one piece of advice would you offer to authors everywhere?

AL: Don’t write for the trends. Focus on those crazy book ideas you have that might not yet fit into what’s hot. You’re more likely to impress an agent or editor and if all else fails, digital publishing is a really great alternative to seeing whether you’re on track with readers.

CIR: With e-pub sales strengthening, are your contract negotiations with publishers changing in regard to, for example, the amount of an advance? Or any other contract terms?

AL: Authors make more on e-book royalties than they do on print royalties, so I haven’t gone into any major advance negotiations based on that alone...what I have done, though, is try to define what “out of print” means for these books that will made available in digital format. Because they could theoretically be in print indefinitely. As an agent, I need to make sure there is a clear point at which the book goes out of print and rights are reverted.

CIR: How do you pursue your relationships with publishers? What happens when a manuscript you’re representing continues to be rejected by your preferred publishers?

AL: Because I’m based in Indiana, I make a point to visit NYC so that I can meet editors. Once I start working with an editor on a project, I’ll try to stay involved throughout the process as opposed to just falling off the radar (which is typical of agents).

When I just can’t sell a manuscript, I tend to take a step back and evaluate the feedback we’re getting. Feedback is an easy way of figuring out whether there’s an issue with the manuscript or it’s just a matter of finding the right editor with the right needs at the right time.

CIR: Now, in accordance with our CIR M.O., I would like to ask an off-track question. If you could travel through time, when would you travel to and why?

AL: I have a fascination with Vikings. I think I’d travel back to the Viking ages to meet my ancestors...maybe make the trip over to Iceland to make an appearance in an Icelandic Saga or two.

CIR: Amanda, thank you again for your time and such thoughtful responses! We look forward to meeting you at the 2012 Pikes Peak Writers Conference in Colorado Springs, April 20th - 22nd.

You can follow Amanda on Twitter @amandaluedeke. She blogs every Thursday on growing your author platform at Chip's Blog (it happens to be #10 on Writer’s Digest’s list of top websites for writers) or you can visit her Facebook group at Amanda Luedeke – Literary Agent. Please visit MacGregor Literary for even more information.

Interview with Agent Sharon Belcastro

Interview with Agent Sharon Belcastro
by j.a. kazimer

It is my pleasure to interview my agent, Sharon Belcastro of the Belcastro Agency for the Chiseled in Rock Blog. Sharon's been my agent for over four years, and I cannot say enough good stuff about her, but I'll let you read for yourself.

JK: Welcome Sharon. Thank you for taking time to answer a few questions for us. First off, can you tell our readers what genres you accept and what sort of thing you're currently looking for?

SB: Thank you Julie. I am so humbled by your kind words and your interest to interview me because I’m really not that interesting. Ha ha. We accept fantasy, all things paranormal, historical fiction, literary fiction, women’s fiction, YA, crime, thriller and suspense, true crime and crime fiction. We aren’t so crazy about chick lit, erotica or straight romance. Right now we are looking for that novel that is unique and addictive regardless of genre. One that grabs us from the first chapter. You know like, "Opening my good eye, I tried to focus, something I regretted immediately. Ivan wasn’t wearing pants, or underwear, or skin for that matter. He stood in front of me in full muscle, veined, and skinless splendor. 'Laundry day?' I gestured to his sagging pectorals." (from The Body Dwellers by me. I told you that Sharon rocks!).

JK: How did you get started in the publishing/agent business?

SB: I’ve always been a geeky book worm. While all the other kids in the neighborhood were playing kick the can, I was sitting on the steps reading a book. But it took me a lot of years to realize I could actually do something with that passion. After a degree in engineering, a master’s in business and 20 years in corporate America, I decided I wanted to really LOVE my job rather than just make a good living. So I took all that I had learned from the business side, took a year studying the publishing business, brought on the talent I needed from the writing side in my partner Ella Marie and launched Belcastro Agency.

JK: How many queries do you receive in an average week? From those, how many requests do you make?

SB: We receive about 50 queries per week and may request 2-3 full manuscripts although we only sign 1 in several hundred manuscripts.

JK: What unique features make you sign a client/manuscript?

SB: A really unique voice and concept and a writer that is not completely head over heels in love with themselves.

JK: What is the most important thing a writer can do for their career?

SB: When it comes to writing, read-read-read. After being published, get your name out there through every outlet applicable. Find all the Facebook pages and communities that relate to your genre and get engaged. Share your advice, experience, expertise, articles you find helpful, everywhere and anywhere you can. Of course mentioning your book as often as you can without being too obnoxious about it.

JK: (CURSES! CURSES! CURSES! CURSES! CURSES! CURSES! CURSES! CURSES! CURSES!) Oops, sorry about that...

JK: What are your current favorite books?

SB: Besides those from our beloved authors of course, I’m tending toward the quirky or the literary these days. The Night Circus by Erin Morgenstern, The Invisible Wall by Harry Bernstein, anything Christopher Moore, Mistress Shakespeare by Karen Harper, The Glass Castle by Jeannette Walls, Wench by Dolen Perkins-Valdez, The Virgin Blue by Tracy Chevalier, Water for Elephants, The Dust of 100 Dogs by A.S King, Henrietta Hornbuckle's Circus of Life by Michael de Guzman and currently reading The Midget's House (A Circus Story...A Love Story...A Ghost Story) by Anita Bartholomew. I could go on for hours. And I just noticed there seems to be a circus theme running through my list. Hmmmmm.

JK: Thoughts on E/Indie Publishing? Will it eat all of publishing as we know it?

SB: Given the way of movie and music stores, I’d say it’s really going to put up one heck of a fight if it doesn’t.

JK: And finally, what advice do you have for new writers?

SB: Read, read, read. Learn what agents and editors are looking for and not looking for in terms of writing. Ask for and take criticism well. And finally, don’t start your query letter with, “I’m giving you two weeks to read my future best selling novel…………”


Thank you, Sharon, for taking time out of your busy schedule to talk with us
Thank you girl. Love you loads!
.
If you are interested in learning more about or the guidelines for submission at the Belcastro Agency, please visit http://www.belcastroagency.com/

My Agent Is My Publisher?

If you haven’t heard about the latest trend in publishing your response to my title was probably similar to mine when I discovered these new hybrid publishers. I very intelligently said: Whuh? Literary agency publishing houses? Are they nuts?

Just typing my title made me glance around to see if I’d accidentally fallen into a parallel universe. Nope. Still here. Living in a world where the publishing industry is breaking down and reforming itself like the fractals in a kaleidoscope.

I have to admit, after the initial shock, a literary agency publishing house becomes an intriguing idea. I mean, who would know if a book is good enough to epublish, but the discerning eye of an agent? And a lot of literary agencies have large social networking and marketing platforms where they can market the book.

The idea could have merit.

However, you might wonder how your agent—the person is supposed to represent you in your negotiations with you publisher—can represent you effectively when they are your publisher?

Hmm.... Good question.

Not a lot of answers—yet.

Let’s face it. The publishing industry is changing so fast that most organizations are making up rules as they go. Right now, each of these hybrid agency/publishers has their own epublishing rules and regulations. And no one is monitoring them.

So let’s take a look at the benefits and drawbacks to this arrangement.

Benefits

ePublishing Your Backlist

It all started as a way for agents to publish their client’s backlist. I mean, how great is that? The author already has a following of readers, so any books that were not under contract were just sitting there gathering dust when they could be selling at the lovely 70% royalty levels on Amazon.

It was a natural instinct of the agency to help their clients and themselves to earn additional revenue by e-publishing any books that were out of print and out of contract. They have the skill to do it for their clients. The clients starts earning revenue on what was essentially a dead book. Win-Win.

New Authors Experience A Publishing Wasteland

Agents have been grumbling a lot lately. They represent too many great manuscripts that are going unsold. The big houses just aren’t picking up new authors in the same numbers as in the past. So, after they’ve exhausted the traditional publishing route, some agencies are backing their authors by epublishing them.

What’s not to love? A new author gets some traction on their career. The agency gets to build them up and make them ready for traditional publishing. They might even teach the author a thing or two about book marketing.

So far, it's a love fest. Except for a few unsightly details....

The Drawbacks

There’s only one drawback that I can think of, but it’s a doozy. Who represents you?

I’m not saying that your agency is doing anything wrong. They probably have the best of intentions. However, no one is really representing you in this transaction. It’s a conflict of interest for them to be your agent and your publisher. So no matter how much you love your agent and how excited you are about being published, you need to tread carefully.

Options for Covering Those Pretty Assets of Yours

This agency/publisher hybrid might be a great way to launch your writing career in a tough publishing environment, but don’t let it go to your head. Take your time deciding. Do your research. Here are a few things you'll want to consider:

• There are other epublishing companies. And you can epublish yourself. So look around at other ebook publishing companies. Contact them to see what they have to offer in comparison. I bet they’ll have no problem making you an offer once they know your agent wants to publish you.

• Compare what else these companies have to offer, beyond royalty rates. Do they have a marketing system for you? Are they willing to promote you? Do they provide cover design and layout? What kinds of rights will they have and for how long? Are there any other terms you need to consider?

• Nail down the issues of tracking the sales and percentages. Are the royalties a percentage of the gross or the net? If net, then what is included in the net expenses?

• Define what this means for your future books. Will your agency represent you in future books that you want to get traditionally published? How does this publishing contract effect the rights of your books if you get picked up by a publisher later? Think long term as you explore your options.

• Ahem. Royalties. We all know writers are shy and just super excited to get any kind of publishing deal, but this is your livelihood we are talking about, so don’t be afraid to negotiate. Find out what other epublishing companies are offering, then use that information to negotiate to get what you want.

• Finally, memorize this phrase: All contracts must be looked over by a contract lawyer before you sign anything.

These new hybrids might be a wonderful opportunity for an author or it could be a nightmare. Success or failure will depend on the agency and your own good sense.

An Interview with Sara Megibow of the Nelson Agency

Interviewed by Tamela Buhrke

Okay kiddies, we have a very special treat for you today. The vivacious Sara Megibow of the Nelson Agency is here to give us her insights into the business of writing.

For those who are in the mood to publish, Sara is enthusiastically accepting new clients. She represents young adult and middle grade fiction, romance, science fiction, and fantasy, commercial and women's fiction (including chick lit) and high concept literary fiction.

If you plan to attend the Rocky Mountain Fiction Writers Gold Conference on September 9, 10 and 11th, Sara will be available for pitch sessions; be sure to sign up early to snag a spot in front of her.

CIR (Tamela): Most people stumble over my first and last name, so my first question is meant to help all those people who may want to introduce themselves to you at the RMFW Gold Conference this September; how do you pronounce your last name?

Sara: MEG-uh-bow (MEG like Meg Ryan - UH like duh - BOW like the bow in a little girl's hair) :) It's Russian (we think)


CIR: As the Associate Agent at Nelson Literary Agency, you represent commercial fiction, women’s fiction, romance, young adult and middle grade, as well as science fiction and fantasy. On your bio, you mention that you’d personally love to work on more science fiction and fantasy. What kind of scifi/fantasy manuscript would you like to see come across your desk?


Sara: OOOoooo - all kinds of science fiction or fantasy! I love futuristic, space opera, dystopian, epic fantasy, urban fantasy, paranormal - you name it, I love it. In fact, I love sf/f for adult books AND young adult books, so I am particularly greedy.

I'd say that the number one reason I end up passing on an sf/f submission is because a writer hasn't mastered the art (yet) of showing a unique world to the reader in an organic way. A shorter way of saying that? World building. World building is, to me, the most important aspect of sf/f - I am hunting for books that are unique and spectacularly well-written (like HUNDRED THOUSAND KINGDOMS by NK Jemisin, ASH by Malinda Lo, THE IRON DUKE by Meljean Brook and DIVERGENT by Veronica Roth).

I'd like to see more gorgeous epic heroic fantasy (like, of course, NAME OF THE WIND by Patrick Rothfuss or THE WAY OF KINGS by Brandon Sanderson) or high energy blockbuster fantasy (like THE LIES OF LOCKE LAMORA by Scott Lynch). I'd like to see science fiction novels that really tackle moral as well as physical issues - so not just overpopulation and martial law, but also fertility, first contact and terraforming (like SONG OF SCARABAEUS by Sara Creasy). I'd also love to see some really off the wall characters - pirates, scientists, Indiana-Jones-esque adventure heroes and heroines. I don't want to see just gun-toting alpha males and alpha females, but characters with complexity and irony.


CIR: With those genres being in a bit of slump, what do you think would revitalize them?

Sara: I don't think sf/f is in a slump. I think books like Patrick Rothfuss's THE WISE MAN'S FEAR, Gail Carriger's SOULLESS, Paolo Bacagalupi's THE WINDUP GIRL, Cherie Priest's BONESHAKER, Joe Abercrombie's THE HEROES etc. prove that sf/f is vibrant and exciting.

Also, if someone says "slump" - what does that mean? Are sales numbers down? (no) Are units sold down? (no) Is visibility down? (no) Or, is this just a reaction to the feeling that breaking in to sf/f as a debut author is hard (yes)? There are fewer sf/f novels on the shelves than, say, romance novels, but that's always been true. There are, perhaps, fewer imprints to submit to as a debut sf/f author, but that's always been true too. So, slump? no. Hard? yes.

CIR: You recently taught writing classes and offered agent critiques as part of a charity drive. When working with new writers, what do you find are the most common misconceptions about becoming an author? What traits should new writers cultivate to help them become publish-worthy.


Sara: There is a difference between writing and publishing. Creating literature is an art and people who write should enjoy the writing. It's a WONDERFUL skill - one that I envy very much!

Publishing, however, is a business - filled with contracts, royalties, lawyers, deadlines, profit and loss statements, etc. If a writer finds him/herself in a position of being interested in publishing, then there are three major traits to adopt in order to take that step towards publication:

1) The writer must have a completed, professional, superior and unique book.

2) The writer should then invest time in learning about the business. Our website (www.nelsonagency.com) has a link called "submit manuscript" loaded with resources, FAQs, sample query letters, etc. If one were to spend an hour a week reading everything we post there, then that person would be lightyears ahead, in terms of knowledge

3) The writer should invest NOW in a professional author website - short bio, a headshot, a bit about what you write, a link to your blog or other social media

Finally, there are a ton of common misconceptions about publishing. It would be super nice if everyone understood the process before signing the agent-client agreement. But, that's ok - we all learn as we go. I try to help my clients acclimate to this weird new world. :)

First of all - it's a job. There are expectations (like deadlines), rules of the game (like contracts), time commitments (like writing and marketing). Our agency believes that publishing should make you money not cost you money, so we try to encourage authors to save. Still, there are some financial investments (like conferences, website and perhaps some marketing materials). Also, a NY publishing contract is a serious legal document - there is an element of "losing control" of your work if you decide/agree to publish - the publishing house has the final say on content, cover, back cover copy, release date, your next book, positioning your book, etc etc etc. We hope for "meaningful consultation" but, like I said, a publishing contract is a serious legal document and some of the most common, unfortunate, misconceptions come from misunderstanding legal rights. An agent helps a writer navigate these waters but all new authors go through a bit of a culture shock.


CIR: No agent interview would be complete without touching on the dreaded query letter. Do you have a process for filtering the query letters you receive? Do experience and references help or is it primarily the story that interests you?


Sara: *big smile* I totally understand the strain and worry that writers feel when they compose that query letter. If it makes you all feel any better, I compose a query letter when I submit a book to an editor!

Let's see - the process? We read 150-200 query letters a day. To be honest, a writer has seconds to stand out in the slush pile. Yes, we read carefully (we have to, right? If I pick the wrong clients and can't sell books then I have no job). But really and truly what I am looking for in a query letter is superior writing. Concept is important, although I will still pass on a great concept is the writing isn't strong enough. Listing contest wins, publishing history, experience, etc. catches my eye. Ultimately it's always the quality of the writing though.

I will say that meeting me at a conference, especially if you have a pitch session with me, is usually a good way to convince me to read a work!.


CIR: Most agent interviews focus on how new writers can get their big break. Here’s a bit of a twist. What advice would you give published authors who are trying to break through to the best seller’s list?


Sara: If there were a formula for getting on a bestsellers list, I would be a rich woman. :)

However, I will say that writing breath-taking books is the first place to start. Yes, make soul-scorchingly good books! That's step one.

Then the next step is platform. The question, of course, becomes "should I spend my time marketing or spend my time writing?" Another question to which I don't have the crystal-ball answer. Self promotions does affect book sales, though, so if you're serious, serious, serious about your career I would recommend finding time to write and market. Have a blog (Roni Loren whose debut contemporary erotic romance comes out in January was running her blog long before she signed with me. It's GENIUS! http://fictiongroupie.blogspot.com.)

Have a professional author website - clean, interesting, updated (Ashley March has been running guest blogs, giveaways, contests and interviews on her website with tremendous results! Her books are selling very well and her active website has driven incredible brand name recognition. (http://www.ashleymarch.com). A writer may also twitter or Facebook or speak at conferences or at libraries. All of these things help recognition and sales.

Third, don't burn bridges. Publishing is changing so rapidly right now - if you want to grow a career it's impossible to say who your best friend will be in 5 years. Also, publishing is a small business - we all know each other, so if you make unprofessional choices - we'll know about it!

Finally, yes - look at your options. Anything I write here today may be 100% different even tomorrow. As of today, a writer can publish a book using the traditional method of distribution (traditional publishing which, as of today, includes print books and ebooks) or by self publishing (which is typically just ebooks, but likely will be changing also). Both methods are legitimate forms of distribution - the savvy author asks "how can I leverage the strengths of traditional publishing AND the strengths of self-publishing within the legal bounds of each. In these "gold rush" times where self publishing ebooks can feel like the ticket out of the slush pile, it will be important for authors to make good business decisions and NOT emotional decisions. Research, evaluate, listen to experienced people from all sides of the business and be smart. "But I could make more money in self-publishing" is not a good reason to self-publish. "self publishing ebooks is a legitimate form of distribution" is a good reason. Conversely "but I want to hold a print book in my hand" is not a good reason to traditionally publish. But "traditional publishing is a legitimate form of distribution" is a good reason. See the difference?

So - my final answer? To break out in your career - write amazing books, build platform, don't burn bridges and make educated distribution decisions.


CIR: A few months ago, when Amanda Hocking’s success at self-publishing was announced, you tweeted that someone sent you statements suggesting that agents had become irrelevant. Now that Ms. Hocking has signed a deal with a major publisher, I suspect they may be regretting that. With the publishing industry changing so unpredictably, how do you see your role as an agent transforming?


Sara: My role as an agent is changing fundamentally. To be honest, it's 100% true that authors do not need agents. A savvy author can hire an entertainment lawyer to negotiate their contract, hire a publicity company to market their book, pay a professional editor (with all the layoffs in NY, there are plenty of great editors looking for work) and find a truly spectacular cover artist. Many writers don't want those responsibilities (plus auditing the royalty statements, tracking sales, selling foreign rights, selling audio rights, pursuing film options, etc etc etc). But, there exists another large segment of the population who DO want complete control over their career. Those authors likely will go on their own.

For the authors that still want a business partner, I'll still be here, and still tackling all the rights/contracts/marketing/publicity/editing that I always have! Incidentally, I am a marketing maniac! I'm a walking billboard for my clients. That's for sure one of my strengths as an agent. :)


CIR: Finally, we at CIR like to throw in at least one unexpected question into our interviews. A little bird told me that you are a Browncoat (a fan of the show Firefly). Browncoats (like me!) have been trying to find a way to bring the show back for years. If it were to be resurrected, what storyline would you like to see explored?


Sara: Oh geez - that is a tricky one! I loved the whole series and wanted more more more more! Of everything! I have a lucky coffee mug that says "My Firefly can beat up your Federation Starship" and I have a lucky hat that says "Shiny, Let's Be Bad Guys." :)

CIR: Thank you so much for sharing your time with us. We look forward to seeing you in the fall.

Note to self: Find out where Sara gets her Firefly paraphernalia.


To learn more about Nelson Agency and Sara Megibow, you can find her lurking at these fine internet establishments:


www.publishersmarketplace.com/members/SaraMegibow/

www.nelsonagency.com

Twitter:  @SaraMegibow

An Interview with Chuck Sambuchino

It’s my pleasure to welcome Chuck Sambuchino, editor for Writer’s Digest Books, Guide to Literary Agents, and Children’s Writers & Illustrator’s Markets, as well as the third edition of Formatting & Submitting Your Manuscript. Chuck is also the author of the recently released humor book, How to Survive a Garden Gnome Attack.

Pat: Chuck, I have to get one question out of the way up front. I read on your website that you are continuously on the lookout for the perfect chocolate chip cookie. Have you found it yet?

Chuck: Not yet, but currently my favorite chocolate chip cookies come from Blue Chip and Potbelly Sandwich Shops (the latter of which is actually oatmeal chocolate chip).

Pat: We’re here at Chiseled in Rock blog, which is (sort of, kind of) related to Rocky Mountain Fiction Writers based in Denver, Colorado. As a result, our questions will focus on items of interest to novelists…like getting an agent. Why, in this rapidly changing world of publishing, do writers need agents?

Chuck: As writers, we all have certain hopes for our books. We want them to be in every bookstore across America. We want them to be translated and available in Europe. We want a book tour. Essentially, we want the book to have a chance to break out and sell lots of copies. Etc., etc. To do these big things, you need to get published by a large publisher who can make these goals realities. But big publishers won’t take unsolicited submissions from writers; you need an agent to get the attention of the large houses in NYC and elsewhere.

Pat: What are the worst mistakes writers make when submitting to an agent?

Chuck: Submitting before they’re ready. Sometimes you just look at your manuscript and know deep down it’s still flawed and not ready—but you’ve read it so many times that you’re going to snap if you have to do one more revision. So you send it off. And just like you feared, it’s not ready and gets rejected. If you are at this stage, I urge you to set the work down for a few months and start on something new. Return to it later with fresh eyes to start again on revisions.

Pat: You are the editor for the outstanding Guide to Literary Agents Blog and the related newsletter. How and when did GLA launch the blog? Was it your project from the beginning?

Chuck: It launched about 3.5 years ago and I have helmed it ever since. It started off so small. I would get 300 page views in one day and celebrate. Now it’s getting scarily big. I have made so many friends and contacts through the blog—I am forever grateful to WD for making me start it years ago. Now it is a joy.

Pat: Why would it be useful for published or about-to-be published fiction writers to earn a guest post on the GLA Blog or to submit print articles to publications such as Writer’s Digest? May writers submit directly to you?

Chuck: Those who wish to actually pitch Writer’s Digest the magazine should query Zachary.Petit@fwmedia.com and put “Query” in the subject line. Besides that, there are six market books, such as Writer’s Market and Guide to Literary Agents, that accept article queries each year. Beyond that, you have my blog, where guest posts are highly visible but unpaid. The benefit to my blog is that it gets 130,000+ page views a month now, and that is a lot of eyes. People write for me to build their platform, make new writer friends, and, if they have a book to sell, promote their work.

Pat: With so much information available online, why should writers continue to buy books such as Writer’s Market and Guide to Literary Agents? Do you screen the agents and publishers before including them in the guides?

Chuck: Yes, we screen everyone and always have. GLA prides itself on being the biggest database out there, with just about every agent listed. Besides that, we try to include all the info writers need to find agents—recent sales, submission guidelines, which agents are at which agencies, etc. At the same time, I think more info being available online—such as agent interviews and more individual agency websites—always helps to supplement a search. Start with us to compose your master list to give yourself the best chance of casting a wide net. Then start researching each possibility online one by one to filter the list. Also, each WD market book comes with 90-150 pages of instructional articles and interviews on things like queries, synopses, proposals, how to compose a strong beginning to your story, etc. The books are more than just market guides—they’re educational, as well.

Pat: You attend a lot of conferences as speaker/instructor and as editor. Do you recommend conferences for writers at all levels?

Chuck: Heck yes I do. I am a huge fan of writers conferences and think they are great places to meet agents, make writing friends for life, and invest in your craft through education. If you are looking for a good conference or two, sign up for my free GLA newsletter at the Guide to Literary Agents website. In each newsletter, I list a dozen or two dozen upcoming conferences at the bottom. You can also follow us on Twitter (@WritersDigest & @ChuckSambuchino) for conference notices.

Pat: How do you feel about critique groups, especially for beginners? Feel free to give us the good, the bad, and the ugly.

Chuck: If you can surround yourself with people who are smart, truthful and encouraging, critique groups are priceless. Yes—it will always sting to hear those first thoughts of criticism. You want to make sure you’re teaming with people who are smart enough to offer worthwhile advice, and truthful enough not to just tell you what you want to hear.

Pat: When authors compare the snail’s pace at which traditional publishing progresses, as opposed to self-publishing or simply e-publishing, there’s a tremendous temptation to take the shortcut. What advice do you have for writers who want to self-publish?

Chuck: Self-publishing can be great if you have a significant means to promote yourself and your work. Do you have a very large blog or newsletter? Do you speak in front of large groups of people? Are you on radio and TV shows often? If so, you are in a position to self-publish and market yourself effectively.

When my humor book came out last fall, it was available in every bookstore across America. Furthermore, the publishing house paid B&N and Borders money to give the book good placement during the holidays. We’re talking hundreds and hundreds of stores. If you self-publish, you will never get your book into stores nationwide or this kind of treatment. My publisher made my book better, designed a great title, and got me press in USA Today, the New York Times, Reader’s Digest and AOL News, to name a few. They did that, not me. If you take the quick route, there are advantages, but you are on your own.

It’s a gamble. There are certain ebook and self-pub success stories, but people need to understand they are very rare. I think that if you write a dynamite book, you can take either path and probably find success.

Pat: Methods of promoting and marketing our books have also changed drastically. Are real book tours and face-to-face book signings a thing of the past?

Chuck: It is tough to justify the traveling expenses to do them these days. When you do a signing, you may have 150 people, or you may have 8. If you have 8, you go in the hole for that night money-wise. Book tours still exist, though. Successful novelists still do them, and sometimes you see a group of connected writers do one together (example: three paranormal YA authors) and those can work real well. I myself like to get out to conferences and meet people rather than doing a random signing in Omaha or Boise.

Pat: In addition to your experience as a journalist and editor, you’re a playwright and a humor writer. I’d like to know a little more about How to Survive a Garden Gnome Attack, which is doing deliciously well with online booksellers. The short synopsis says:

"In 2009 alone, there were 987 attacks recorded by the Gnome Attacks Hotline based out of Berlin, Germany. Don’t bother asking your local authorities about these attacks–they can’t corral the data like we can. The fact is that if the public knew how many gnomeowners are mauled and attacked each year by their own statues, the public would erupt into mass chaos."

Where did you get the idea for gnome attacks, and do you have any more humor books in the works?

Chuck: I was watching the movie The Full Monty and there is a scene with a garden gnome. I started to get really creeped out. Then I thought: Certainly if I am creeped out by gnomes, others are, too. That was the genesis. The book itself is a humorous parody of a survival guide, teaching your average person how to defend themselves from a gnome attack inside and outside the house. Good for some laughs. As far as a follow-up, I recently passed some ideas on to Ten Speed Press. Wish me luck! At the speed the industry moves, I expect I will hear good news about foreign rights or film rights before a follow-up book.

Pat: Thank you so much for answering our questions, Chuck, and we do wish you luck with that second book of humor. I hope you’ll keep an eye on Chiseled in Rock blog and favor us with a link on Twitter or Facebook from time to time. We’ll be interviewing many of the agents and editors scheduled to appear at the Colorado Gold Conference in Denver in September.

Chuck: Good luck with the conference. If you are on the fence about going, GO.

Chuck Sambuchino can be found on Facebook and Twitter. To find out more about his books and scheduled appearances, please visit his website.

Interview conducted by e-mail from the Pat Cave

Writers Over The Edge: The Hack Job.

A hilarious short about the lengths to which a writer might go for publication...

posted by Tamela Buhrke

George paused in a dark corner of the hall. Not paying attention, Tom slammed into him. They tumbled to the floor.

“What are you doing?” Tom hissed. He gave George a shove as he picked himself up off the carpet.

“What if there’s a guard?” George whispered, still on his hands and knees. He crawled to the corner and peered down the dimly lit hall, tilting his head to listen. Tom half-expected him to sniff the air.

Finally convinced that no one was going to jump out and arrest them, George gripped the wall and lifted his fleshy body up to standing. Breathing heavily, he pulled a kerchief out of his pocket and wiped the sweat off his face. His hands were shaking. Tom knew the signs. George was two-seconds away from a massive panic attack. He was tempted to tell George the deal was off. Instead, he shook his head and elbowed his way past his wheezing friend. In the middle of the intersecting hallways, he spread his arms out.

“There’s no one here!” he growled. “It’s 2 AM, and this isn’t exactly Fort Knox.”

George looked around anxiously, putting his finger to his lips. Tom ignored him and marched down the right-hand corridor. Finding the correct door, he waved George over. Within seconds there was a click and the door glided open. He smiled at George’s incredulous expression.

“What? Did you think computer hacking was my only skill?”

Tom closed the door and pulled out a small penlight. He spotted three desks with computers.

“What’s the name of this literary agent?”

George pointed to the nameplate on desk number two. Tom had envisioned an agent's office as a well-manicured high-rise setting, not this cheap room in a low-rent suburban office district. He glanced over at his friend. Pale, balding and definitely a mouth breather, George didn’t exactly fit his idea of a successful author either.

Of course, that was the point. George wasn’t a successful author. This B & E was all about helping him get there.

Tom searched the desk as the computer booted. He found the password on a scrap of paper under the agent’s mousepad. Typical. He was always telling people not to hide their passwords on their desks. But did they listen? In a matter of moments, he was in the agent’s email. A quick search would pull up all of George’s correspondence.

“Uh, oh.”

George bounced up against him and peered over his shoulder.

“What?! What’s wrong?”

“Dude, this agent stores all your emails in a folder marked ‘LMAO.’”

“So?”

“So unless your fantasy novel is a comedy, you’re in trouble.”

George shook his head. “I don’t care about this agent, I only picked her because she was closest. My plan is bigger than her. I want you to send out an email from her to other agents and editors telling them how great my work is and how much she wants to sign me. See? Then the other agents will think I’m something special and they’ll try to sign me first.”

Tom rubbed his eyes, wondering once again why he was doing this. George pulled a wad of damp paper out of his jeans and handed it to his friend. On it was a list of email addresses and a message George had composed. It waxed poetic about George and his novel.

“Brilliant has two L's.”

“Just type it! The misspelling makes it more believable.”

Wishing he was home in bed, Tom typed out the ridiculous message, added the emails and pushed send. George clapped his hands silently and danced about the office. Tom looked back at the computer, worried that the image of a dancing George would spawn nightmares later.

He was surprised to see two responses in the agent’s inbox. Evidently, some West coast agents were working late. He opened the first email.

“You are such a crack up! That sounded just like him.”

Tom had a bad feeling as he clicked on the second.

“Ha! George Hardy, will he ever give up? I laughed so hard, I think I pulled something!"

Three more emails came in with similar results.

Tom closed the email program and shut down the computer. He ushered the still giddy George out of the office. As they walked down the hall, Tom put a hand on George’s shoulder.

“Ever thought about an acting career?”

An Interview with Marisa Corvisiero, Esq., Literary Agent with the L. Perkins Agency

Today, Chiseled in Rock has the pleasure of interviewing Marisa Iozzi Corvisiero. An experienced entertainment attorney, Marisa founded The Corvisiero Law Practice, a boutique law firm in midtown New York City. She is also an agent with the L. Perkins Agency, whose five agents represent approximately 200 authors in a variety of genres. Founded in 1987, the Agency also works with an established film agency and has agents in 11 foreign countries.

As an agent, Marisa represents science fiction, fantasy, horror, and romance, as well as young adult and children's literature. In non-fiction, she enjoys memoirs, how-to, guides and tales about the legal practice, parenting, self-help, and mainstream science, but no text books.

CIR: Marisa, please tell us about your dual professions and your start as an agent.

MC: I started wearing my agent hat after some of my author friends and colleagues asked me to represent them in their book deals through my law firm. Then I started submitting them too. We all know how difficult it is to find the right agent and to have editors take authors seriously if they are not represented or already pre published. In fact, many of the traditional publishers don’t accept un-agented work. So I started out by lending a hand. I lost a couple of paying clients when I started representing them as their agent (because agents are not paid until they sell the work). But it all worked out in the end. One thing led to another and eventually I joined Lori Perkins’ Agency, where I learned lots of lessons. Today, I continue to practice law at the Corvisiero Law Practice, and I represent several very talented authors. I am still building a client list.

CIR: It sounds as if there’s a great deal of communication and joint-decision making at your agency. Would you please describe your process, as far as signing a new writer?

MC: My process, although it is time consuming, is a simple one. All my queries are saved in a folder, when I review them, if I like the letter and the first few pages, I ask for the synopsis or the manuscript. If I’m not sure, I forward it to my two Junior Agents for their opinions. If I don’t think that the work is ready for publication and/or I don’t think that the story is marketable, I decline the query. Then if I like the story based on the synopsis, I ask for the manuscript. When I read the manuscript I have at least one of my Jr. Agents or readers read it as well. If we love a manuscript, I offer the author representation.

CIR: Certain agents edit a manuscript prior to shopping it to editors. Others don’t. How would you describe yourself and how important is it for a writer to be flexible about changing their manuscript?

MC: I don’t edit manuscripts myself anymore, but I always have comments for the author. I’m never short on opinions. ;) If I really like a manuscript, but I think that it needs work, I usually ask for a revision or suggest that the author have it edited. I often share the comments of my Jrs with the author as well. They always give me very good input.

CIR: The economic downturn has impacted every sector. Are there any new pressures on agents that stem from the current economy?

MC: I am fairly sure that the state of today’s economy has affected most of us in some way. For agents, it has made it more difficult to place books and has changed the structure of the deals. It is more difficult to place books because of the high mobility of editors, everything that is going on inside the publishing houses, and because most are making more conservative acquisitions in quantity and payment.

CIR: Your agency believes all authors should be published in both print and e-pub format. With e-pub sales strengthening, are your contract negotiations with publishers changing in regard to, for example, the amount of an advance? Or any other contract terms?

MC: E-books are the wave of the future, but I don’t think that print is going extinct anytime soon. So we strongly believe that every book should be out there in every media form. When negotiating with publishers, if they want to acquire the right to put a book out in all of these mediums, then my job is to make sure that the author is compensated accordingly, and that the publisher will in fact use these rights. If they can’t give the proper assurances, even though nothing is ever one hundred percent certain, then we try to retain the rights and offer them to someone else.

CIR: Is the ease with which writers can self-publish having a significant impact on you as an agent?

MC: Nope… and that could be all of my answer, but I’ll elaborate. A huge number of authors are going the vanity press route. However, even those writers that self publish still continue to submit their books to agents so that the agent can sell the book to a bigger press. Those publishers don’t, or shouldn’t, retain the rights to the author’s work for the simple fact that the press is not paying for the book. In the contrary, the author is paying the press to put the book out, so the author should have all the rights to the work. I’ll say it again, all authors should retain their copyrights when self publishing. Authors still want a large publisher to acquire their books because the publisher will have better distribution channels, will pay for the printing, will often pay an advance, and then royalties. Let’s face it, it is difficult to sell books and having a publisher’s help can make the world of difference. Anyone can have a book self published, it’s the selling that’s tricky. With this foreknowledge, most authors who have self published still seek an agent.

CIR: What do you enjoy most about representing authors to the publishing industry? Least?

MC: I love reading and pitching books to publishers. I only represent books and projects that I really believe in, and so my enthusiasm gives me an extra umph when telling others about it. I get very excited. What I like the least is that publishers have a certain quota of books that they will acquire, and so often they have a specific list of things that they are looking for and may pass up a great project just because they need to keep looking for the perfect fit. It can be discouraging, especially when you are the one breaking the news.

CIR: Are you hoping to increase your client base?

MC: Yes, I’m always looking for new talent. I am currently not accepting queries because I’m trying to catch up on the huge volume of queries that I receive monthly. I have quite a few queries that go back a while and I would really like to respond to all of them and hopefully find some gems. So even though queries are suspended, I am still taking on clients.

CIR: Do you have any pet peeves when it comes to submissions?

MC: I think that sometimes I’m more tolerant than other agents when it comes to queries. Of course, I don’t like it when someone misspells my name or sends me a query that is part of a mass e-mail, but I don’t think that it justifies turning an author away because of it. Do I take it into consideration if the rest of the query is weak? You bet. My real pet peeves though, are sloppy and difficult to read formats. I don’t like queries that start by telling me what the character was thinking or doing. To me, that should be in the middle of the letter. A good query should start by telling me that they have a romance (or other genre) 80K word (proper word count for age group and genre) finished manuscript that they think I will like it because…. I think that research is paramount. The author should know the genre of his or her work, the target readers (at least gender and age), and by knowing this, they can learn how long the work should be. I will be writing a blog post on this soon to put the info out there all in one place. In the mean time authors should keep in mind that the younger the reader the shorter the work should be. And the more sophisticated the reader (sci-fi/fantasy) the more allowance they have to get creative with a longer manuscript. But don’t go crazy. If your novel is longer than 115K especially for a debut, you should consider some edits. I know that there are novels out there that were the author’s first, and are much longer than that… etc, etc. I know. I’ve read Twilight and Harry Potter too. But they are among the few, and just because they made it, it doesn’t mean that it was easy. I think that they are wonderful series, but in a way they were lucky. Having said that… I’m not telling everyone to conform. I’m just saying that there are certain ‘rules,’ if you will, in the industry. If you really believe in your work and it doesn’t follow the norm, trust yourself (to a realistic level) and go for it with gusto. Just be prepared to know that it will harder than hard, but if you keep at it you just might get lucky too.

CIR: Any predictions about what might be the next big thing in publishing? What trend(s) do you see fading?

MC: I think that mythology and superheroes are fading, but not super powers. Submissions with “special” characters still come in by the lot. If you’re wondering about vampires and think that the market is saturated, think again. We are just obsessed with vampires and can’t seem to get enough. The trend that I do see is a new age of vampires that are not so sweet and glamorous (I’m obviously not including True Blood). Traditional vampires are inching their way back. I’m also predicting that there will be some very cool mermaid stories. I’m looking for a good one now.

CIR: Do you represent manuscripts that you believe will sell, even if you don't personally love the work?

MC: I represent manuscripts that I love and think that they will sell. It’s a must have combo. I’m not saying that if I love something but I don’t think that it will sell, I’ll turn it down. I’m saying that if I like something, I think that others will too, and therefore it will sell. It sounds a bit egocentric, but its not. My tastes are fairly ‘normal’ in that I’m usually on the same wavelength as others.

CIR: What one piece of advice would you offer to authors seeking representation?

MC: Do your research and always put your best foot forward. Learn about the industry, but don’t forget that in the end your writing speaks for itself. So hone in on your craft, keep learning and perfecting your work. And most importantly, never give up. This is a tough industry to break into. Agents are incredibly busy and will unfortunately review your work looking for reasons not to represent you, because unfortunately, that’s how most editors review work. So don’t give them any. Always submit finished work, the best work that you can possibly produce, and then be professional and attentive. It’s okay to innocently stalk your agent’s Facebook page and blog to see what they are up to, but don’t bombard them with follow up emails. Know the agent’s policy on responses and when it is okay to follow up or assume that they are not interested if you have not heard back. QueryTracker is a great source for see the actual response stats that the agents don’t tell you about on their blogs and websites. When you do hear back always respond quickly and be ready to provide a synopsis and your manuscript. If you meet an agent or make a connection somewhere, follow up graciously and always strike while the iron is hot. Don’t let them forget you.

CIR: Now, in accordance with our CIR M.O., I would like to ask an off-track question. What did you dream of doing when you were twelve years old?

MC: LOL I like this one...I wanted to be an Astronaut or Singer… you know, because the two have so many elements in common. So naturally, I became a lawyer.

You can visit the L. Perkins Agency at www.lperkinsagency.com for more information and submission guidelines. Marisa’s agent blog is at http://thoughtsfromaliteraryagent.blogspot.com or you could follow her on Facebook (personal Marisa Iozzi Corvisiero, fan Marisa A. Corvisiero-Literary Agent) or Twitter @mcorvisiero. The website for her law firm is www.corvisierolaw.com.

Thank you, Marisa!

Janet Fogg