Pub Rants

A Very Nice Literary Agent Indulges in Polite Rants About Queries, Writers, and the Publishing Industry

Category: Agents/Agenting

Every Writer is Equal When Facing the Blank Page

(Just a note, this article was a feature in our newsletter from a few months ago. If you would like to receive our articles first, you can subscribe to our newsletter here.)

Tis the season for eggnog chai and holiday shopping. As I considered what to write about for my last article of 2019, I felt compelled to end on a positive, optimistic note for writers in the trenches. I’m going to guess that authors trying to get that first foot in the door have heard a lot of rejection language over the last twelve months. These aspiring writers might be looking at established authors wistfully, perhaps assuming that writing must be effortless for them. Words of gold just automatically drop off the pen onto the page. Every word is a treasure. 

And rainbows and unicorns always follow too.

I love my clients. They are an incredible and talented bunch. But “every word is a treasure” is not a reality of the writing life. Over the years, I’ve seen a lot of clunky writing from my clients. Rejoice, writers. Clunkers happen to everyone. There are no exceptions. 

When my clients are at their writing clunkiest, here are the four things that seem to hold true:

  • They haven’t quite nailed the story that actually needs to be told.
  • The story’s POV (point-of-view) needs to shift to a different character, or from first person to third person or vice versa.
  • They are writing to the novel pitch/summary rather than actually focusing on writing the scene that needs to happen for the novel as a whole.
  • The character doesn’t have a strong enough backstory, so their development is lacking on the page.

Beginning writers and established authors are all equal when they’re facing that blank page and starting something new. If I took a poll at a writing conference, I’m positive 90% of new writers there wouldn’t think that to be true. They would believe that once an author’s first book is published, their writing becomes smooth sailing. That’s definitely a misconception. Here’s another piece of maybe-good news. When starting a brand-new novel, every author, even those who are established, is in the same boat. Every single story to be told is unique. Even if you have written one novel, starting a new one is basically learning all over again how to write a novel because the tools used to craft the debut might not work for book two. 

But every novel written is one more step on the path toward mastery of the arts of dialogue, scene tension, world-building, and so on. Which is why I always tell writers, never stop creating new stories. And if an agent or editor says no to one novel, jump right in there and get another novel going. 

Just today I spotted a Deal Lunch announcement for an author who sold a debut novel. I saw a different project from that author back in 2016. So huge kudos to that writer. If your first submit doesn’t sell, so what? You have other stories to tell. If that writer had quit, they wouldn’t be popping champagne to celebrate the sale that just happened in 2019.

Have a wonderful holiday season!

Creative Commons Photo Credit: Rennett Stowe


Financial Literacy for Authors

Money, so they say, is a taboo subject, so don’t expect fellow writers to spill financial details.

Until now. Hats off to Heather Demetrios for pulling back the curtain and being brave enough to share her mistakes in the article “How to Lose a Third of a Million Dollars Without Really Trying.” It’s considered gauche to talk about money in this industry, yet it’s probably one of the most important topics authors should be discussing.

Agents are often in a weird position when it comes to talking to our clients about money management. On one hand, we are the author’s business partner; on the other hand, we aren’t their parent. We don’t want to make assumptions about an author’s financial responsibility (or irresponsibility).

Over the years, when I have a debut author who has landed a big advance, I have asked for permission to put on my mom hat and give counsel. If the author says yes, I offer these four pieces of advice:

  1. When the advance comes in, don’t wait. Cut a check for 25% of the total that has come in and mail that check to the IRS right then and there. I’ve heard too many horror stories of authors finding themselves in real trouble when April 15 rolled around and the money was already spent.
  2. Ever heard of the adage “pay yourself first”? Most people don’t know exactly what that means. Well, in investing terms, it means immediately placing the maximum percentage allowed by the IRS for that particular tax year into a retirement account (i.e., a Roth IRA, IRA, Vanguard S&P 500 fund, or similar).
  3. If you have a mortgage your advance can pay down (or, better yet, pay off), that is worth considering. Owning your home outright can create a lot of financial freedom. If you have student loans or other debts, consider eliminating them.
  4. Connect with a financial advisor who only charges by the hour rather than taking a percentage of your investments. This is a way to gain expert advice on reasonable terms—especially for authors who feel lost in the weeds about this whole investing and saving-for-retirement thing. Garrett Planning Network is a good resource that can hook you up with a fee-only certified financial planner.

In the end, the best way to think about your advance is to take that amount and divide it by, say, three years. What would the author’s annual salary then be? For example, if an author is lucky enough to get a $150,000 as an advance (sounds fab, right?), that’s $150,000 minus 25% in taxes, which equals only $37,500 a year for three years. If that’s your sole income for those three years, that might be a bit sobering.

My client Courtney Milan once told me that a blog article I wrote a lifetime ago on authors and retirement really made a difference in how she managed her money. I wish I could find that original blog post, but chances are good the info would be outdated anyway. For more up-to-date info, here are my recommendations for retirement planning:

So thank you, Heather, for getting the ball rolling for authors to talk about money. Mentorship tends to be a key factor for success in publishing. So let’s not be shy about discussing this topic.

 

Creative Commons Credit: Ben Taylor


A new Denver Conference Shines the Light on Diverse Voices

It’s rare to have a guest interview here at Pub Rants. I am delighted to welcome Viniyanka Prasad to the blog. I’ve known her for years. She has something awesome cookin’ here in the Mile-Hi city, so I’m shining the spotlight on her and The Word, a nonprofit Denver-based writing sanctuary for diverse voices. This terrific organization launched in 2016 and their first programs became available in 2017, and now Viniyanka is launching a new conference called [margins.] this summer. This is a welcome addition to the Denver scene, so welcome, Viniyanka!

You are the founder and executive director of The Word. Tell us when the organization launched and what is your missiYou are the founder and executive director of The Word. Tell us about your mission.

Hello and thank you so much having me to share more about The Word! In a whirlwind few years, we’ve had the privilege to offer dozens of workshops, mentorships, submissions opportunities, and reader events.

We fight for equity and celebrate storytelling from marginalized communities. In the ideal literary world, there is equal access to resources that amplify stories and equal freedom to share with the creator’s own vision. 

You are launching a new conference called [margins.] in 2020. Tell us about this conference. What should readers know about how they can participate in various capacities?

The [margins.] conference (August 1-2) is a space for community and craft building that places writers from the margins at the center. We’ll be talking writing craft, publishing know-how, and literary activism. 

The strength of a space like [margins.] is in its ability to build lasting connection, even in our new 2020 virtual setting. So, it’s not just an array of pre-recorded sessions for consumption. 

We’re creating small group gatherings, one-on-one feedback opportunities, and community roundtables so that attendees will walk away with writing/publishing tools as well as a new family to look to for support. 

Our celebration is for everyone in a number of ways! We’ll be hosting a public virtual bookfair with readings and titles everyone will want to explore. We’re already hosting a series of discussions that are free and open to the public, so please join in throughout the next month!

We also invite potential presenters and publishers who would like to submit titles or presenters to reach out. Finally, everyone can be a part of supporting this vision during our Kickstarter which has just a short time left to meet our goal—that’s also a place to build community, for example with our virtual book club offering! More information can be found here, and our continually updated list of programs and speakers is here.

Why is it important to provide safe spaces for marginalized voices to be heard both by each other and by the world?

Writing from the margins often means explaining the need for your story to be told, the need for greater representation. It is an exhausting way to exist in literary spaces. When a wide range of writers from across marginalized backgrounds gather, everyone can show up as themselves—no majority within which you do not fit. And when we remove the need to explain why we are here, we get to actually do the things that brought us: find our strongest voices, brainstorm the best ways to represent our communities while sharing our truths, and learn how to navigate healthy writing careers.

Creating this space shows our communities, and everyone, what a literary world that embraces a variety of perspectives can be. The incomparable poet and activist Suzi Q. Smith, also [margins.] co-organizer, reminds us often that we have to imagine ourselves in the future we want before we can build the future that we need. With [margins.] we get to do one better: we get to make that future a micro-reality right now.

What would you like to tell agents who are looking for #ownvoices clients? What do agents need to learn most?

A very welcome question, and an agent who is asking this is asking the best one. To answer this thoroughly would probably require an entire conference itself, and certainly a range of voices other than mine (another project for us one of these days)! With hopes of being helpful here, I’ll focus on an important and core consideration: the agent’s questions about their own identity.

In any space where equity and inclusion are challenges, each of us brings our own vulnerabilities, which, yes, come with defenses. To be truly open to other perspectives, we need to clear out our own junk by acknowledging our own internal tapestries of challenges and privileges. It helps us trust in another person’s “unimaginable” experience without feeling that it erases what we each have lived. It helps us balance our gut connection with a humble openness to artforms that we haven’t been primed to understand.

To any agent whose first reaction is skepticism to that suggestion, I ask you a question: is it possible that your skepticism is a defense?

What are the greatest challenges facing writers from marginalized communities today?

I think it’s important to make room in our minds for the universe of interrelated complexities that contribute. From not seeing enough of ourselves in literature so that we internalize the idea that we do not belong, to not having the soft inroads that exist because of insularity that has been perpetuated over time, to the repeated experience of manuscripts reaching publishers who do not know what to do with them. I could go on, and that is why The Word has to engage readers, writers and the publishing industry with its work.

I think at the moment there is a real danger in the idea that publishing is progressing due to “diversity” trending. We’ve been here before; this is not the first time in publishing history with a push for diversity-focused acquisitions or hiring initiatives. We are repeating ourselves because victory was declared based on limited, short-term gains. 

I also believe that we are in a place of unique momentum. To harness that for lasting change, the literary world needs to shift from initiatives to a vision for sustained practice. We also need to continually be aware of the risks for tokenization along this path.

What is your greatest hope for the future of diversity and representation in storytelling and publishing?

Complete equity is the utopian goal we should always stubbornly demand, but I’ll also offer up an interim goal.

Right now, with so little representation, each book from a marginalized writer carries something close to all the hopes and pain for all the people who have ever felt unheard. One book should be that—one story thoughtfully and lovingly created. This weight stacked upon writers from the margins, to heal every hurt within their communities, is of course an impossible one. It will absolutely continue to limit which stories are shared. 

So, my hope is that we do more than just invite new storytellers to the table. My hope is that the literary community acknowledges the unhealed wounds caused by underrepresentation, a first step toward an effective balm. I hope we then see the old table as just that, and trust that there is something better to be built together. 


Things to Remember about the World of Agenting

1. Agents get rejected, too. We understand the pain. We often offer on projects that we are deeply passionate about, feel we’ve made a strong connection with the author, and end up being passed over for another agent. It is heartbreaking for us. There is day drinking! Like exes who just can’t let go, we follow these authors’ careers, hoping one day they might come back to us. We grieve. But we dust ourselves off and try again. This is one of the most difficult but necessary parts of working in this industry: the ability to keep moving forward in the face of often relentless rejection.

2. Day-to-day and week-to-week, not linear. I typically set goals for what I want to get done in a day or week, like catching up on my queries or reading a few submissions. Those goals are often derailed. Maybe an author just received an offer of representation from another agent. Now that author’s manuscript has to be read within a week or two so I can determine if I, too, want to offer rep; I have to prepare to chat with them to see if we are a good fit, and then, if we are, I have to sell myself to them. Now my week has gone to a potential new client and their manuscript. Or maybe a client who is out on submission might get an offer from an editor. Now, I’m spending my time reaching out to all the others editors who are considering the manuscript to let them know there’s an offer on the table. If I can’t reach them by phone, I email them. I then have to prepare a deal memo so I have a solid idea of how the negotiation is going to proceed based on the publisher’s offer and what would be ideal for my client.

3. Our Clients Come First. This is good. It is our intention to build and maintain our client lists that primarily makes an agent great—without clients we have nothing to sell, and we make no money! So when our clients send in their manuscripts for edits or when they have a crisis, they become our focus. This means reading and full manuscripts that we’ve requested gets put on the back burner.

4. If We Live In NYC, then part of our time is spent networking. We have coffee, lunch, and drink dates with editors so we can learn what they are looking for and how their imprints work, and so we can make new contacts. We go to mixers or maybe even stop by a publisher’s office to meet all the editors at a specific imprint.

5. Agenting isn’t a 9-to-5 Job. I try to have as much work/life balance as I can, but sometimes a 40-hour week isn’t enough. This can mean working seven days a week and pulling in 60-, 70-, or even 80-hour weeks. All unpaid. It is often necessary, but it’s exhausting. It does mean that as much as we want to tackle our overflowing inbox, we often need random mental health days or time to just read for fun, or take a walk, or lie in the park, or see a movie. The point is, we aren’t ignoring queries or submissions.

6. Publishing is a Small World. You never know where the agent you go on a rant about or who you unfollow on Twitter because they rejected you will end up in their career. They might move to the agency that you ultimately sign with. They could become an editor whom your future agent might query. Your agent could part ways with you or leave the industry, and now you need a new agent. Don’t burn bridges. Rejection is hard. No one likes it. But you should still remain a professional when faced with it. Keep rants to yourself or your friends. Don’t take it to your blog or social media.

7. The Most Important Fact: We do this job because we love it and are passionate about books!

Creative Commons Credit: Skyler King


The Waiting Is the Hardest Part

At some point during your publishing journey, it will seem like all you’re going is waiting. There’s a lot of hurry-up-and-wait in publishing, and it’s hard to know what to do when you feel like you have nothing to do. Here are a few suggestions for how to pass the time:

1. Write Something. Ideally, something completely different. The best way to not dwell on the project that’s out with agents or editors is to get busy with new characters. Don’t write the second book in your planned series. Don’t rewrite the manuscript you just queried. Start a new project. Try out that idea that’s been kind of taking shape in the back of your head but that you think is way too off-brand for you. Even if you turn out to be right, every project hones your skills and makes you a better storyteller. You still have a few weeks of NaNoWriMo left!

2. Socialize. These moments of in-between are great opportunities to become the best literary citizen you can be. Part of being a successful author is being connected to your local publishing scene, no matter how small. Get out and network. Hit up a conference, a reading, a lecture series, or a local publishing drinks event. Not only could you have the opportunity to vent about the waiting with other writers, but you might also make some valuable connections for the next steps in the publishing process, such as asking for endorsement quotes.

3. Get Online. Waiting is also a great opportunity to get your social-media house in order. I’m a firm believer that writing should be your first priority, but if you’ve hit “the end” and sent that manuscript out into the world, you now have some time to focus on your professional online presence. Make sure you have the infrastructure set up for your social-media accounts as well as an author website or landing page, and start creating an online community for yourself by following and interacting with other writers.

4.  Read. If you’re someone who can’t read while they write, or if you can’t read within your genre while actively working on a project, then waiting for your agent or editor to get back to you is a great time to catch up on what’s recently been published. In addition to being an entertaining distraction, reading other authors might help you find new comp titles for your work or inspire you to diversify and write in a different genre.

Creative Commons Credit: Luca Florio


2019 End-of-Year Stats

4 : Number of agents at NLA (same as in 2018)

354 : Number of full manuscripts requested and read (down from 442 in 2018) (Largely due to my closing to queries for several months of 2019)

127 : Number of manuscripts we requested that received offers of representation, either from us or from other agents/agencies (up from 110 in 2018)

14 : Number of new clients who signed with NLA (1 for Kristin, 4 for Danielle, 5 for Joanna, 4 for Quressa) (same total number as in 2018!)

26 : Number of book deals done (12 for Kristin, 6 for Danielle, 4 for Quressa, 4 for Joanna) (up from 21 in 2018)

45 : Number of career New York Times bestsellers for Kristin (up from 44 in 2018)

11 : TV and major motion picture deals (8 for Kristin, 2 for Danielle, 1 for Joanna) (up from 9 in 2018)

1 : Major motion picture released (Netflix’s BIRD BOX by my client Josh Malerman—technically in the last week of 2018 but hey, spotlighting it here)

45 : Books released in 2019 (up from 35 in 2018)

14,000+ : Queries read and responded to (estimated) (Down from an estimated 20,000+ in 2018 largely due to my being closed to unsolicited queries and open to referrals only for several months of 2019, as well as to other agents closing intermittently)

106 : Foreign-rights deals done (up from 64 in 2018)

6 : Conferences attended by Kristin, including Bologna Children’s Book Fair, Book Expo/BookCon, World Horror, Lighthouse Writers, Kachemak Bay Writers, Colorado Writing Workshop (down from 7 in 2018)

180 : Physical holiday cards sent (up from 155 in 2018)

838 : Electronic holiday cards sent (up from 835 in 2018)

Not telling it’s so embarrassing : Eggnog chai lattes consumed during November and December

Lots : Late nights reading on my living-room chaise with the very senior and snuggly 16 and half year old Grand Dame Chutney

All : Great days loving my job!

Creative Commons photo credit: Lainey Powell


12 Trends in the Query Inbox

In July, I attended the Colorado Writing Workshop. I knew I would be asked about what’s hot or trending. So Angie, Maria, and I put our heads together to create a handy list of what we’re seeing in the query inbox. Let me preface this though:

Writers, don’t read too much into this list.

If your current WIP fits into one of these trends, it doesn’t mean all hope is lost. It just means that you are not alone in playing with these concepts/tropes. It also means that it’s harder to stand out in the query slush pile. That’s just a fact. So you have to work at really spotlighting what makes your novel with these elements special and unique so as to entice the query reader to find out more. Why is this one worth reading over the ten other queries that might have come in the same day with a similar premise?

A tough question, I know! But one worth answering in your query, even if none of the below describes your WIP.

1. The main character is dead or can see dead people. We’re seeing this concept in submissions for both the adult and young adult markets.

2. The main character is trapped in a book, game, or virtual reality. We’re seeing this a lot in adult SF submissions and also some in the YA world.

3. The main character is being sent to live with a relative (aunt, uncle, grandparent), whether for the summer or on a more permanent basis. Lots and lots in middle grade, but also appearing in YA submissions.

4. WWII…still getting tons of queries for WWII stories. Almost all the submissions we’re seeing in this space are for the adult market. For the record, I love stories set in this time period. After all, E.R. Ramzipoor’s THE VENTRILOQUISTS releases in August. Still, it has to be a standout story.

5. Lots of queries for stories set in ancient Rome, or in secondary worlds based on the aesthetic of ancient Rome. Interestingly, we are seeing in both YA and adult market submissions that fit this bill.

6. Lots of villains who are thinly veiled portrayals of our current president. Feels like in every submission we are receiving…but this is cropping up most often in dystopian submissions.

7. Lots of queries featuring pirates. Aye, Mateys! Whether the pirates are fun and whimsical, serious and historical, or speculative (like air-ship pirates or space pirates), we’re seeing pirates galore in middle grade, YA, and adult fantasy.

8. Retellings seem to be slowing down compared to, say, a year ago. But we still see them on a regular basis. Fairy tales, folk tales, classic literature retellings—across all genres for adult and children’s.

9. Teens recruited, conscripted, or otherwise forced to train as assassins, soldiers, spies, etc. I think you guess for which market this is!

10. Teens who must compete in trials or games to save themselves or a loved one, to determine their place in society, or as a means of matchmaking. No extra comment needed here!

11. Main characters who are bullied or abused, or who are survivors of bullying or abuse, and there isn’t another story line to create depth/complexity or to truly drive the plot of the novel. We see most bullying in middle grade, though it shows up in YA submissions as well, while survivor narratives abound in women’s fiction.

12. Post-apocalyptic stories, many of which take place in the aftermath of a plague or virus, or some climate-related catastrophe. Seeing this in the adult and children’s market still.

Happy writing! If you are early into a WIP based on a trending concept, spend some time thinking about whether it’s worth continuing or whether you should tackle a different, more brilliant idea you’ve played with. You might decide it’s better to get cracking on that one instead.

Creative Commons Credit: Andy Wright


Why I’m So Picky About Fantasy

As someone who not only represents adult and YA/MG SF/F, but also grew-up reading it and continues to read it regularly, I’ve gotten to a place where my standards for these genres are higher than for any other. And, to be clear, science fiction and fantasy are two separate genres. (There are some exceptions.) 

In all commercial genres, writers can fall into relying too heavily on tropes. Certainly there are tropes in mystery, thriller, suspense, romance, science fiction, and fantasy and tropes aren’t bad. But relying on them as the only way to tell a certain type of story inhibits a writer’s ability to infuse their story with their own spin on a genre. I want to see stories from writers who aren’t simply bucking trends and tropes, but who are taking a nuanced approach toward them. Nuance is the key for me in so many things.

Relying on some of the more common tropes can make your work feel dated. Below, I look at some of these common tropes and explain what I look for in SFF—namely, innovative, clever, and forward-thinking approaches.

The Chosen One

We are all familiar with this trope. The hero is destined by prophesy, blood, or something else pre-ordained to save us all. It’s very Highlander—there can be only one. The problem is that this often takes agency away from the hero. No matter what they want, they either have to do the right thing and save the world or do nothing and let the world go to shit. That’s a lot of weight to put on someone’s shoulders, and the narrative often rests on the internal and external journeys our hero takes.

But what if there isn’t only one? What if there are multiple possibilities, and a story explores the type of person who would decide to act versus the type who would decide not to? What if the prophecy is BS? Or the Chosen One discovers that they aren’t really the chosen one and that things were interpreted wrong? I’m eager to see someone play around with this trope and really go all in subverting it.

Half-Breeds

This idea and term are so deeply rooted in white supremacy and racism that every time I read it I cringe. It’s a derogatory term that has long been used to diminish BIPOC, and I am not alone in being tired of seeing it in SFF. Part of the issue is real-world historical context. I can speak as a black woman on this although I know other IPOC have their own history with this term. In US history alone, black people were property and seen as not human. The amount of corruption of someone’s blood with blackness was measured in terms. To see this same concept being used in a fantasy story is disturbing, often because it’s used with such laziness—it’s an instant way to throw obstacles in front of a character and establish personal stakes. But they are imposed and not organic to the story. 

Not to mention that real-life mixed-race/mixed-heritage people exist, and the idea of “half breeds” so overly simplifies what their individual issues might be.

This is where nuance is key. If you are going to create a character who is part of two races, don’t make that their central struggle. Plenty of people of mixed race/heritage live happy lives with supportive, loving parents and extended family. Don’t make your story about the “good” races—elves, humans, angels—getting mixed with te “bad races—orcs, trolls, demons. Don’t make the world so simplistic and narrow minded. If you want to explore othering, start by thinking through the many different ways the people around you, in this world, are ostracized and how that affects them.

Blood Magic

This one is a bit personal. I love the idea of blood magic as a type of magic. But it’s often seen as evil. Why does it have to be bad? Why does any magic system have to be inherently bad? There tends to be a lot of black-and-white, good-and-evil in fantasy. Let’s see what shades of gray look like. Let’s see what blood magic can look like when it’s used for good, evil, and in-between.

Medieval/European/Western Setting

Seriously, we live on a whole giant planet with multiple continents of which only two seem to get featured, geographically and culturally speaking, in most SFF. But on all continents, there are many, many cultural POVs. For instance, telling me you’ve written a story with an African setting doesn’t evoke much; a story set in a fantastical version of Morocco will not present the same geography or culture as a story set in a fantastical version of Nigeria. And there is more than Ancient Egypt to take influence from. It is easy to do a pseudo-European setting. Try harder.

In this area I’m particularly looking for #ownvoices. This is a term mostly used on the children’s side, but I think adult publishing is starting to understand what it means as well. Simply put, it means a marginalized author writing about their own marginalization.

This is why I was so excited to see THE POPPY WAR. I read this book on submission as an editor, so I’m not sure how much has changed, but I remember being wowed by the setting, the characters, and the world building.

I will say, I’m eager to find marginalized SFF authors regardless of whether you write about your marginalization or not. This is, again, where nuance matters. A medieval/European/Western setting from a BIPOC author will likely have a POV different from what we’ve already seen so much of in SFF—namely, BIPOC existing in those settings.

POC in the Future

On that note, one SF and post-apocalyptic trope that really bothers me is the lack of POC in the future. There are so many nuanced ideas waiting to be explored just by placing POC in an enhanced future. Give me more nuanced stories that don’t erase POC from history or the future.

I’d love to see more adult SFF in my inbox. Tastes are subjective, but know that I’m on the lookout for nuanced approaches. Below you’ll find some books that I’m currently reading or that are on my to-be-read list:

TRAIL OF LIGHTNING by Rebecca Roanhorse. I am currently reading. This has Indigenous cultural influences and is written by a Indigenous author. I can count on one hand the number of SFF novels I can say that about. Not only do I want to support this writer so that I can get more SFF stories from her, but I also want to see doors opened for other Indigenous SFF writers. This one feels dark, just like I like it, and seems to have a very flawed but fairly kickass heroine—which is something else I’m finding I’m leaning toward. This is a classic role that you tend to see a male protagonist in, so it’s great to see writers focusing on a variety of three-dimensional female perspectives.

THE QUEENS OF INNIS LEAR by Tessa Gratton. To be read. So, three female protagonists, all in the standard roles that are typically filled by male protags. They are sisters. They are fighting for the crown. It sounds like we’ll get three very different strategic approaches to accomplishing this goal. I can’t wait!

THE TIGER’S DAUGHTER by K. Arsenault Rivera. To be read. What intrigues me is that it is an epic fantasy based on Asian mythology and has ladies falling in love.

THE TRAITOR BARU CORMORANT by Seth Dickinson. I am currently reading. It is an interesting take from the perspective of the colonized who want to take down the imperialist from within. Love how assimilation and indoctrination are handled.

THE IMMORTALS by Jordanna Max Brodsky. I’ve read the first book in this trilogy. It is a modern approach to greek mythology. Love the way it centers around a morally ambiguous and pretty brutal female protagonist.

UPROOTED and SPINNING SILVER by Naomi Novik. I’ve read UPROOTED and absolutely loved it!!! Dragons, romance, magic, and a lyrical fairytale/folktale quality. I want to see something like this in my inbox, but from a non-European or non-Western culture. And I’m equally excited to dive into SPINNING SILVER and enjoy more spellbinding storytelling from this author.

Creative Commons Photo Credit: Mustafa Kurtuldu


The Most Common Pitfalls in Middle Grade Manuscripts

 

Middle grade is a very robust area of the market and an exciting place to be as an author. Middle grade readers (usually ages 8 to 12) are enthusiastic and passionate about books and the writers they love. On the older end of the spectrum, they are on the cusp of puberty and young adulthood, and yet they still have one foot in childhood with a thirst for imagination and adventure. It is a stage in life that lends itself to a wide range of stories and and life experiences and, therefore, it is a very rich and exciting space to write in. There is a lot of room for experimentation and risk-taking in terms of plot and genre. That said, it is also a tricky category to get right.

I read a lot of queries for middle grade: it is a category I truly love and am actively looking to represent. Because of that, I’m going to share the most common pitfalls I see in the middle grade manuscripts I consider, along with some tips for sidestepping those issues in your own writing.

1. Sounding like an adult pretending to be a child instead of using an authentic middle grade voice. This is, by far, the primary issue I see in the middle grade manuscripts in my inbox. It is so important for you to see through the eyes of a middle schooler while you write rather than the eyes of an adult. An authentic voice is vital in middle grade novels and, hard though it may be, you can’t let your grownup perspective seep in. It is immediately apparent when an author isn’t quite attuned to the age group they are writing for. Most often when this happens, authors waver in and out of the character, sounding very young and overly precocious in turns, leading to an uneven tone. Here are some ways to address this problem:

  • Read recent published middle grade in your genre (contemporary, fantasy, humor, historical, etc). By reading similar novels that have successfully found their footing in the market, you can analyze how the authors of those books utilize language and how they portray the age group.
  • Know your audience. The best way to sound like a middle schooler is to spend time with the age group. Listen to the way they talk and the things they talk about. What do they care about? What books are they loving? What is the latest trend? What are they struggling with?
  • Channel the feelings you felt in middle school. The truest thing you can do as an author is capture feelings on the page. The life of a middle schooler in 2018 is very different than the life of a middle schooler was in your childhood, but the feelings are universal. Tap into those feelings as you write and it will lead to a story that is true.

2. Focusing on a moral message. Middle grade readers want to read a story that captures them and brings them on a journey. They don’t want to be preached at. Sure, your characters will learn something along the way, but if you approach your story with an agenda, a middle grade reader will immediately sniff that out and run the other way. Instead:

  • Focus on plot and character development. Make sure that the main character has problems, both external and internal, to overcome throughout the story. If there’s a theme you’d like to explore, don’t think of it from the perspective of teaching your readers a lesson, think of it as discovering a truth that allows your character to grow.
  • Show don’t tell. If you want your readers to walk away with a new understanding of the topic you’re writing about, let them discover it between the lines instead of hitting it home with moments of adult characters lecturing or having your protagonist pause in the story to reflect on a Big Moral Point.

3. Condescending to the reader. Trust that your readers are intelligent and have their own lives, complete with their own obstacles, conflicts, and emotions. Your readers live in the real world and are capable of being challenged and trusted with nuance. (Although sometimes a good fart joke is also called for.)

  • Don’t shy away from challenging topics.
  • Don’t hesitate to use the occasional sophisticated word.
  • Make sure your plot is just as developed and layered as it would be if you were writing for adults. Kids can identify plot holes and inconsistencies just as easily as adults can!

4. Writing from the author’s childhood rather than a contemporary setting. Too often, I see queries that make it clear the author has gone back to their own childhood to tell a story rather than contemporized an emotional truth from their childhood for a modern reader. Kids are looking for stories that resonate with them today–not stories that take them back to their parents’ or grandparents’ childhoods. If you are writing realistic middle grade, put it in a contemporary setting, unless there is a very compelling reason to set the story in a different time.

5. Adults? Keep Out! Make sure your adult characters don’t take over the story. It is completely normal for there to be grownups in a middle grade novel, but those characters should be side characters, not central characters. If you find your adults imparting important life lessons or making choices that help resolve the plot, or if you find that your young characters spend a lot of time observing and thinking about what the adults are doing in the story, then take a step back and look at your arc again. It is vital in middle grade that the protagonist is the character with the central conflict and that your protagonist is also the one to resolve that conflict. If you find your adults taking over, gently put them back in their place on the sidelines. Middle grade is a preteen’s world. No grownups allowed.

Creative Commons Picture Credit: State Library of Ohio


2018 End-of-Year Stats

 

Welcome to 2019!

What am I most excited about? Our move to QueryManager! Many of you are probably already familiar with QueryManager, since lots of other agencies use it, too. Here at NLA, we’re especially excited about its ability to help us track our numbers: submissions received (and in which genres), responses sent, requests made, offers of representation, etc. QM will give us one-click access to all things query next year at this time when I’m compiling our 2019 stats!

Interested in submitting a query to us? Here’s a handy link to our brand-new submission guidelines. From there, you can learn more about what each of our agents is looking for this year as well as how to send your query. Please remember that we share queries, so choose only one agent to query. Good luck, if querying is part of your new year’s goals!

As a reminder, we do not represent screenplays, poetry, short-story collections, picture books, early-reader chapter books, or material for the Christian/inspirational market; we also don’t represent most nonfiction (only Quressa is open to reviewing NF submissions).

Now…the moment you’ve been waiting for: NLA’s 2018 end-of-year stats!

4 : Number of agents at NLA

442 : Number of full manuscripts requested and read

110 : Number of manuscripts we requested that received offers of representation, either from us or from other agents/agencies.

14 : Number of new clients who signed with NLA (2 for Kristin, 5 for Danielle, 5 for Joanna, 2 for Quressa)

21 : Number of book deals done (6 for Kristin, 5 for Danielle, 3 for Quressa, 7 for Joanna)

44 : Number of career New York Times bestsellers for Kristin (up from 41 last year). Her latest, Josh Malerman’s Bird Box, hit the list for the first time after the release of the film on Netflix.

1 : Movie released (Bird Box of course!)

9 : TV and major motion picture deals (8 for Kristin, 1 for Quressa)

35 :  Books released in 2018

20,000+ : Queries read and responded to (estimated)

64 : Foreign-rights deals done

7 : Conferences attended by Kristin, including ALA Midwinter, RWA, Lighthouse Writers, SCBWI Rocky Mountain, Dallas Fort-Worth Conference

155 :  Physical holiday cards sent

835 : Electronic holiday cards sent (up from 788 in 2017)

Not telling it’s so embarrassing : Eggnog chai lattes consumed during November and December

Lots : Late nights reading on my living-room chaise with the very senior and snuggly lady Chutney

All : Great days loving my job!

Creative commons photo credit: Jurgen Appell


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