PNWA 2015's Agents Forum

(Movie poster for next week's opening of: The Man from U.N.C.L.E.)

Fire Season is in full-swing here in the Pacific Northwest.  Even though I managed to slip away and visit family, my coworkers and I have been busy here at WA State Emergency Management.

 

So these PNWA recaps, along with my other blogposts, will be slow in coming.  I thought I'd do another quick list because I'm still being lazy pressed for time. 

 

Robert Dugoni continued his role as perennial emcee during the Agents Forum and introduced the following

 

Margaret Bail

 

Noah Ballard

 

Amy Cloughley

 

Ayanna Coleman

 

JD DeWitt

 

April Eberhardt

 

Connor Goldsmith

 

Shannon Hassan

 

Rachel Letofsky

 

Chip MacGregor

 

Mary C. Moore

 

Genevieve Nine (new to Andrew Brown Literary Agency)

 

Monica Odom

 

Rita Rosenkranz

 

Gordon Warnock

 

Carly Watters

 

Roseanne Wells

 

Jennifer Weltz

 

Terrie Wolf

 

and

 

Andrew Zack

 

Now I don't remember Katie Zaun being present, and instead I have a Dale Sevens listed in my notes.  He appears to be in cahoots with JD DeWitt of Ink Slinger Entertainment.

 

Anyway, last minute cast changes aside, the post-intro discussion dealt with the Four Minute Pitch Session.

 

That is everyone trying to sell (pitch) their book had four minutes, usually less, to win over an agent. 

 

So agents want to get down to basics, or as April Eberhardt summed it up:

 

Who? What? Where? Why should I care?

 

And of the four minutes you're given, you have only one minute to talk.  The remaining three minutes are for the agent to ponder what's good, bad and ugly about your book.

 

Be prepared to explain what compelled you to write this story.

 

A few other things to keep in mind:

 

Be open and knowledgeable about the genre you're writing in.

 

Have a clear idea on who the main character is and what's the conflict.

 

While speaking, be engaged with your listener (the agent), and make eye contact.

 

Advice against stalking:

 

As usual, we were treated to a friendly reminder not to stalk the agents. 

 

If you've attended more than one writers conference you've probably heard of agents being ambushed in bathrooms and having manuscripts slipped under their hotel room doors.

 

But one agent, I forget which one, took this year's Best Stalker Story, when she said she was approached by a writer wannabee while swimming laps.

 

Talk about a good way not to get published.  Ever.

 

So one last piece of advice:  Save the stalking surveillance to the professionals...

 

(A scene from the original series:  The Man from U.N.C.L.E.)

 

The Art of Finding the Right Agent

(Image from:  Mr. & Mrs. Smith)

Meeting a literary agent that you hope will endorse your work, can be an awkward affair, like in the opening scene of Mr. & Mrs. Smith.  Or it can make you feel wrecked, as in this later scene...

How can you avoid such emotionally catastrophic events, while trying to publish your novel? 

In the workshop, The Art of Finding the Right Agent, Sarah Callender explained that finding Mr. or Mrs. Rightagent, was like a romance story:

Writer meets agent.

Writer ditches, or (most often) gets ditched by agent.

Writer finds another agent.

Or as Sarah put it:

Getting hitched.

Getting ditched.

Learning to love again.

So, how do you avoid, or at least mitigate the effects of this road-to-publication roller coaster?

You research and prepare.

Before you being your quest for Mr./Ms. Rightagent, you need the following:

1. A polished manuscript (for fiction), or proposal (for non-fiction).

2. A supportive community of writing pals.

3. A list of available and APPROPRIATE agents.

One of the "recurring themes" agents complain about, are on receiving manuscripts from genres they have no interest in representing--even when its clearly posted on their website.

Once you are prepared, it is time to submit a query letter.  The key parts of this introduction to you and your work should include:

1. Pertinent details about your manuscript.

2. Pertinent details about you.

3. Why the agent seems to be a good fit for you.

4. Sample pages, but only if they are requested.

Have a plan when you undergo the querying process.  Sometimes you'll receive form-letter rejections, while other times, you may not hear anything back at all.  Give yourself and the agent(s) you queried a reasonable amount of time, before launching another salvo of query letters to other literary agencies.

Then be prepared for more rejections.

And more rejections.

And...well...you get the idea.

Every author I've encountered, talked about how discouraging this serial rejection can be.  Despite such an onslaught against your emotional health and well-being, it's important to maintain your professionalism during such adversity. 

You don't want to burn any bridges...

2011 PNWA Conference: Agents Forum

Agents preparing to enter the forum.

(Image from:  Get Smart)

This was Friday's Big Event, Part II.  Twenty-two agents formed this year's panel to lift "the cone of silence" off some of the publishing industry's deepest secrets.  Bob Dugoni, continued his hosting duties and established the same ROE (Rules of Engagement) as he did during the previous workshop.  (See the Editors Forum post, 4 Sep 11). 

The agents panel (with links included), consisted of:

Lauren E. Abramo, Loretta Barrett, Amy Boggs, Minju Chang, Ginger Clark, April Eberhardt, Lindsay Edgecombe, Kate Folkers, Sally Harding, Elizabeth Kracht, Michael Larsen, Kate McKean, Vickie Motter, Rubin Pfeffer, Elizabeth Pomada, Rita Rosenkranz, Rayhane Sanders, Ken Sherman, Christina Ward, Gordon Warnock and Cherry Weiner.

Agents deciding whether my work is best suited to line the litter box, or the bird cage.

(Image from:  Get Smart, the movie)

Since nearly every writer attending the conference had a WIP (Work In Progress), the first question posed to the panel was:

If submitted a partial, but have since revised it, should you submit the revised copy?

"No, don't change it"--Kate McKean

"Edit and workshop your book before you submit it"--Gordon Warnock.

Other questions soon followed...

If you pitched, then delayed, can you submit your work several months later?

"Yes."

"State where & when you met me"--Laretta Barett.

"Don't query agents until your material is ready to go"--Kate Folkers.

Michael Larson received a submission from someone he met at a conference 30 years ago.  While Cherry Weiner keeps a file on everyone she meets. 

Does motion-picture potential affect an agent's decision?

"Yes, although period pieces are expensive to shoot"--Ken Sherman.

"It's up to the agent"--Elizabeth Pomanda.

Can writers pitch to agents, who're already published under a small press?

"Yes, if you've retained the rights to your book"--April Eberhardt.

"It's the main way I scout new talent"--Rayhane Sanders.

"Don't make your decision [to go with a small press] in haste.  The 'any-contract-is-a-good-contract' is a false assumption"--Kate McKean.

"I would rather publish the next book than the one that's already published"--Lauren Abramo.

Should writers send out multiple or single queries?

"Multiple"--just about everyone on the panel.

Is there a way to speed up the publication process--especially if the author is elderly?

"You can't think like that!  I represent authors in their 70s & 80s"--Cherry Weiner.

"Mulitple submissions help"--(I can't remember who said this one).

Is there a best time during the year to submit?

"January--New Year Resolutionists"--April Eberhardt.

"Your timetable is ours"--Christina Ward.

"Check tye agent's site and activity calendar"--Gordon Warnock.

"A bad time to submit is when you're ready to go on vacation"--(can't remember who said this either).

If you establish a relationship with an agent on a book in one genre, then write a book in another genre, would you submit to another agent?

"Check with your current agent, because they're trying to build your career"--Rubin Pfeffer.

How has the collapse of Borders affected publishing?

"Penguin cut back 1/3 of it's first-print runs"--Kate McKean.

"I lost 600 outlets for my books"--Bob Dugoni.  (Hey!  He's not an agent!  But his point was well taken).

What's hot?

"Historical fiction, steam punk, cozy mystery, contemporary romance and paranormal"--just about everyone on the panel.

Is it a good idea to pitch an unfinished book?

"Don't do it!  But it's okay [here] at a conference, because it's a learning process"--Amy Boggs.

"Give your work to trusted writer friends to critique"--Rayhane Sanders.

And finally...

What is the impact of digitilization of books?

"We're all learning"--just about everyone.

"This may be a 'Plan-B' for writers, which may become 'Plan-A' in the intdeterminant future"--April Eberhardt.

Agents bidding a fond farewell to this year's PNWA Conference.

(Image from:  Get Smart, the movie)

The key point to remember is:  Once you sign-on with an agent, they'll work on your behalf to open all the doors necessary to get your work published. 

Just like Maxwell Smart.

PNWA 2010 Conference: Agents and Editors Forum

 

Literary agents aren't involved in international intrigue.  (Although, wouldn't that be cool if they were?).  Instead, theyr'e embedded in the publishing industry.  They form a partnership with authors; much like John Steed and Emma Peel (played by Patrick Macnee and Diana Rigg), of the Avengers, pictured above.  They provide the left-brain business savy to the author's right-brain creativity.

This year, PNWA did away with the agent and editor workshop and dove right into the forum.  Both forums, conducted back-to-back, were hosted by PNWA's perennial MC, Robert Dugoni, who has a talent for keeing this lively and on track. After each agent/editor introduced themselves and discussed what genres they dealt with, Rob would open things up to extensive Q&A sessions.

As in years past, I still don't have a book in the making.  However, I always enjoy attending these forums in order to see the friends I made the previous year and meet new people.  (I avoid using the term "networking" as much as possible).   Sitting in on these forums also keeps me informed of the latest trends in the publishing industry.

Agents present this year were:

John Baker, Barbara Braun, April Eberhardt, Amberly Finarelli, Sally Harding, Esmond Harmsworth, Christina Hogrebe, Andrea Hurst, Laurie McLean, Joe Monti, Laura Rennert, Jennifer Rofe, Rita Rosenkranz, Melissa Sarver, Erika Storella, Carolyn Swayze, Elizabeth Wales, Christina Ward and Cherry Weiner.

While the following editors were also present:

Paul Dinas, E. Kieth Howick, Monica Howick, Peter Lynch, Paula Munier, Lynn Price, Michelle Richter, Shane Thomson, Michelle Vega and Adam Wilson.

And for a closing note, here's the Avengers theme song:

http://www.youtube.com/watch?v=tvmgrnsaE1U&feature=related 

The Spies Who Came to the Conference

(Sketch by James Ratcliffe: http://ratcliffecomics.com/ )

 

I just started reading the September issue of Writer's Digest (WD) while on the cardio-torture machines at the gym.

 

The staff at WD decided to conduct a "full disclosure" and provide writers with an "insum" (Intelligence Summary) on what literary agencies are looking for and how to query them.

 

Some of the feature articles include:

 

Secret Agents 2009 by Chuck Sambuchino

Agency Contracts: Declassified by Howard Zaharoff

Stake Out Your Publishing Contract by Paul S. Levine, and

 

The Future Role of Agents by Jane Friedman

 

Several agents featured in this WD insum were spotted by PNWA Surveillance Teams (attendees seeking appointments). These were:

 

Emmanuelle Aspaugh, Michelle Brower, Laure McLean, Paul S. Levine and Ted Weinstein.

 

Once you enter into a partnership with these fine folks or other literary agents, you just might get the--"Mrs. Peel, we're needed"--phone call to meet with the editor...

 

http://www.youtube.com/watch?v=tvmgrnsaE1U&feature=related

For more information check out the Writer's Digest Website:

 

http://www.writersdigest.com/GeneralMenu/

Agent Dos and Don'ts Forum

(Photo of Patrick McGoohan as John Drake in Secret Agent)

No I'm not referring to swallowing the coded message before you memorized it.

I'm talking about acquiring a literary agent to help you publish your book or screenplay.

This PNWA Summer Conference workshop, along with the Agents Forum was hosted by Robert Dugoni and attended by about a dozen literary agents. This gave a chance for all the attendees to see the agents en-masse and hear what each one was specifically looking for. Individual meetings between authors and agents were then conducted throughout the conference.

Below are some of the highlights of this seminar--

Literary agents are the business partners for authors and it's important to find an agent as enthusiastic as you are.

Initially you only have a few moments to pitch your book during a personal meeting with an agent, so they want to know the following:

1. Who is the protagonist?

2. What does he/she want?

3. What obstacles are in the way?

4. What is the resolution?


It's best to approach an agent with a plan. That is, to have long-term publishing goals--don't just have one book in mind.

Writing is, more often than not, a profession of rejection criticism and critique. So an author must be able to go back and re-evaluate, edit and revise his work.

The panel also advised on building a platform (see the 7 Aug 09 post).

The agents panel cited the following mistakes made when authors submit query letters:

1. Not explaining enough about the story
2. Writing too much about themselves

3. For non-fiction--lack of experience, or access to an expert on the subject they're writing about


If a writer does attract an agent's attention then he or she should avoid these blunders in their work:

1. Vague opening

2. Too much description or scene-setting

3. Too much back story

4. Not enough tension


The workshop ended with an extensive Q&A period. I didn't have any novel-length material to pitch, so I didn't pay any attention to the questions and agent responses. Instead I thought back to last year's conference where I pitched an article idea to Maria Schneider, who was the editor of Writer's Digest, and to Ronald Kovach the Senior Editor of The Writer.

My proposal was to highlight the advantages and disadvantages of writing within a niche market, which in my case was the wargaming hobby. Fate lent a helping hand prior to my scheduled meeting when Maria sat at our table during that evening's dinner event. Once I recognized her, I introduced myself and promptly launched into my spiel. (I'm fairly certain I let her sit down first).

The next morning I had my official meeting with Maria and in addition to repeating my pitch, I brought along some supporting articles I found on the internet. I had an equally pleasant meeting with Ronald that afternoon. At the end of each session I asked both of them for feedback on my actual pitch presentation and received two "thumbs up."

Even with my "stellar performance" neither magazine accepted my article idea. Maria is now her own boss at Editor Unleashed and Ronald sent me a very nice "thanks-but-no-thanks" letter. Despite the outcome, I really enjoyed the experience and I now have the confidence to even do "elevator pitches." That is, being able to describe your story within the confines of an elevator before your prospective agent can escape--or push the fire alarm.

Some writers find pitching to be a nerve-wracking experience. To remedy such anxiety and in keeping with the Secret Agent theme of this post; my suggestion would be to think of the upcoming meeting this way:

Your mission is to smuggle vital secrets--your novel--past State Security and into the hands of an allied agent. You have papers--your appointment slip--that will allow you to slip past the hired guns (conference volunteers) and reach the safe-house (Agent & Editor Appointment Room) for your not-so clandestine meeting. Just be sure to leave the cyanide pill at home...

And of course no spy story would be complete without a theme song:

http://www.youtube.com/watch?v=6iaR3WO71j4


Agents present this year were:

Emmanuelle Alspaugh, Michelle Brower, Minju Chang, Ginger Clark, Verna Dreisbach, April Eberhardt, Sorche Elizabeth Fairbank, Paul Fedorko, Sally Harding, Paul S. Levine, Matthew Mahoney, Jim McCarthy, Laurie McLean, Rebecca Oliver, Rita Rosenkranz, Meg Ruley, J.L. Stermer, Elizabeth Wales, Ted Weintsein and Page Wheeler.


The following editors were also present:

Maria Gaglioano (Penguin), Katie K. Gilligan (Thomas Dunne Books), Rose Hillard (St. Martin's Press), Kate Kennedy (Harmony and Shaye Areheart Books) and Brooke Warner (Seal Press).


For anyone interested, here's a short history of the Secret Agent Series:

http://www.tv.pop-cult.com/secret-agent.html