Pub Rants

Category: submission

Get Vamped! Get A Street Team!

STATUS: TGIF! It’s supposed to be a lousy weekend in Denver. Rain both days. Guess who will probably get a lot of reading done?

What’s playing on the iPod right now? TOTAL ECLIPSE OF THE HEART by Bonnie Tyler

Happy Release Day Lucienne!

I imagine that most writers believe that because Lucienne is also an agent, she probably got special treatment when she went out on submission. But actually, that’s not true. If the editors knew who she was, then I’m sure they kept that in mind while reading but most of the editors were in the children’s realm—a market Lucienne doesn’t do a whole lot of repping in. So her being an agent didn’t necessarily carry extra weight.

And even with that, the work had to live up to its promise, and the editors had to love it as a novel to take it on.

In looking back on my submission notes, we had quite a few editors who wanted the angsty vampire romance—not something fun, campy, and totally different than anything out there already.

All the editors loved Lucienne’s voice. One editor felt it was similar to something she already had on her list but she went back and forth on it as she really loved that voice. Another editor thought they had too many vampire books on their list (can’t argue with that!).

Now it’s the lead title for Flux’s spring list. It’s debuting today. It’s gotten a good Kirkus review. Excellent sell in. It’s being featured as part of Barnes & Noble’s book club.

And Lucienne has a great promo tip for you. I’d like to welcome guest blogger and fellow agent, Lucienne Diver of The Knight Agency.

I can haz minions?


I don’t know, something about starting my own street team has me talking in LOLcat and wanting to laugh maniacally, like a cartoon villain. I’ve been feverishly working on my evil villain laugh, actually. Taking a page from
Dr. Horrible’s Sing-A-Long Blog.

But I’m not here today to talk to you about my minions. Or, not exactly. I’m here to talk about promotion. You know how they always say that two heads are better than one? Well, twenty is ten times better than two. And one hundred…well, you get the point. It’s a truism in the publishing field that word of mouth is the biggest seller of books. Ads and reviews are all well and good, but nothing works as well as recommendations from friends. Hence the idea of the street team… providing advance copies of your book (and maybe other freebies like t-shirts, bookmarks, mugs, whathaveyou) to a group representing your target audience with the understanding that if they like your work they’ll spread the word, go forth and kvell—blog, put up reviews on Amazon, Barnes & Noble and Borders.com, Twitter, go tell it on the mountain. I don’t know if Mari Mancusi was the first author to come up with the idea, but I do know that I first heard of it through an article she’d written. Brilliant! I thought. I let my young adult authors know about it, because it seemed especially suited to the young adult field. I filed it away in my own mind.

You see, at the time, Gina, my heroine from Vamped, was not even a twinkle in my eye. In fact, when she first started talking in my head (yes, that’s how it happens), she was a snarky fashionista who, after clawing her own way out of the grave, discovers that true horror is a lack of reflection. No way to do her hair and make-up; eternity without tanning options. She decides that her first order of business is to turn her own stylist. The story didn’t have an actual plot. It was more of a vignette, really, a slice of unlife. I thought I’d have done with her and be able to walk away. But as it turned out, Gina was more resourceful and stronger than I knew. A short story wasn’t enough for her (or my readers, who wanted more). Oh, no, she had to have a novel. Then a series. Next thing you know, she’ll be taking over the silver screen (oh please, please, please).

Anyway, that part of me that is Gina – because, let’s face it, there’s a little of us in all of our characters – is crowing “I can haz minions!” My street team is fabulous. I put out a call on my blog for teens and twenty-somethings, directed them toward the section on my website where there’s an excerpt posted to see if they thought they’d like it, and recruited. The first ten to respond would got T-shirts and a signed copy of Vamped, the next twenty-five were offered signed bookplates. I got a great response. I’m actually pretty humbled by the amazing energy, enthusiasm and creativity of my team. They’re heads and shoulders above Victor Frankenstein’s iconic Igor. They’re people that make me go “wow” and “I’m not worthy” on a regular basis. I actually want to succeed as much for them—so they can brag about how they were part of it all, that they were there before I was someone—as for myself.

In short, having a street team can be incredibly rewarding, hopefully for all parties. It’s certainly the most fun I’ve had promoting my book. It makes me feel like I’m not in this alone and gives me the comfort that there are folks other than me enthusiastic about my new release. Writing is too often a lonely endeavor.

Wrapping Up The London Book Fair

STATUS: I can’t say I’m completely recovered from jet lag but it’s definitely getting better.

What’s playing on the iPod right now? TROUBLE SLEEPING by Corinne Bailey Rae

So here’s the wrap up from London. First off, I had dinner with a good agent friend Jennifer Jackson while I was there and she had some huge news to share with me and since it’s so big, I have to blog about it.

I mean, it’s not every day that one of your clients hits the New York Times Bestseller list. And you know what? It’s not every day that the client nabs the #1 spot. This deserves a special shout out.

So CONGRATS Jennifer!!! (And maybe I should say congrats to Jim as well. After all, the author probably had something to do with it… Grin)

#1 NYT Bestseller TURN COAT

But back to talking about LBF. In browsing through Waterstone’s and Borders, it was very clear to me that the UK publishers definitely have a focus on literary fiction. There large book stalls that featured the classics. (I mean when is the last time you saw Thomas Hardy prominently featured in a book store?) Also, a good majority of the floor space was dedicated to contemporary literary fiction. Titles such as Aravind Adiga’s THE WHITE TIGER and Steig Larsson’s GIRL WITH A DRAGON TATTOO were prominently displayed.

Although quite popular here in the states, I really didn’t see any Edgar Sawtelles out and about on floor displays.

I talked with editors from the UK, Finland, Netherlands, Germany, France, Italy, Brazil, China and Japan. Every single one of them asked about literary fiction that could have broad appeal. In fact, in several of the foreign territories, literary fiction sales were up. In talking with the editors, it was clear that it has a strong market abroad—in a lot of ways, much stronger than here in the States were lit fic can do well but lit fic with a commercial bent can be blockbuster. Some commercial literary titles like MEMORY KEEPER’S DAUGHTER did well across the seas but WATER FOR ELEPHANTS was stronger here at home.

Just interesting.

In Asian territories, literary/commercial historical fiction doesn’t work at all. The editors won’t even look at it. However, UK and European editors say bring it on–they’d love to look.

I may add more to this blog tomorrow as my notes are at the office (where Julie is typing them up!). I headed home early because the weather was bad and Chut is fundamentally opposed to walking in the rain. I’ll glance through them and see if I can come up with a few more “this is what they are buying” lists because I know how much my readers like it.

What UK Children’s Editors Want

STATUS: Spent the day being a lovely tourist instead of working. And sorry for the tiny covers of yesterday. My computer or Blogger was not cooperating and despite efforts, I couldn’t get the pics to upload bigger and I didn’t have time to fiddle.

What’s playing on the iPod right now? ACCIDENTALLY IN LOVE by Counting Crows

To kick off the blog entry, here is a lovely shot of Blenheim Palace from the gardens.


Alas, Colin Firth did not emerge dripping wet from any neighboring lakes or ponds—much to Sarah Rees Brennan and my great disappointment.

Now that I’m back at the flat, I’m flipping through my little notebook of scribbled writings. From what I can decipher (as my handwriting is not always the best), here are some things UK children’s editors are looking for. In no particular order and a nice sum up of what several editors spotlighted:

–More boy adventure books (although one publisher specifically said their list is full in this arena so not as high on their list)
–YA historical
–would love a prize-winning new teen voice along the lines of HOW I LIVE NOW
–Funny with beautiful writing (so a blend of literary with a really fun story line)
–a modern Anne of Green Gables
–middle grade fantasy that is a girl-driven narrative
–humorous girl stuff that is more than just boys and relationships but is warm, and character driven. Not necessarily issue driven
–high concept middle grade with a really original voice so it can stand out.
–anything that can crossover solidly to the adult market (ie. THE CURIOUS INCIDENT OF A DOG IN THE NIGHTTIME)
–fantasy
–a contemporary author with a literary, classic voice. (hum.. that seems to tie in with the modern Anne of Green Gables example above)

Different houses did have different feelings on the market. One house thought that Meg Cabot and her popularity was in the past and another thought she was still burning strong.

I got a sense that all the editors would be open to anything romantic. No surprise there.

And even though I know my blog readers love my lists, it basically comes down to this. Editors want an original story well told.

In that sense, the US and the UK are the same.

Editor Letter For The Pain Merchants

STATUS: Just survived my first crushing London rush hour Tube commute on the Piccadilly line. Talk about being up close and personal with my UK compatriots…

What’s playing on the iPod right now? WAKE UP CALL by Maroon 5

I’m having lunch all week with different UK editors—some in the children’s world and some in the adult world. I’ll start blogging about any interesting tidbits I discover tomorrow. I didn’t want there to be too much distance between when I discussed Janice’s original query and the letter I submitted to Donna. We had actually talked about this project a month or two before I submitted it. If memory serves, I was sitting at Donna’s table at Book Expo when I first pitched her this project.

As you can see from my letter below, I always like to pull out what is the most interesting facet to me. How I think this work is different from the multitude of fantasy titles already in existence. For this novel, it’s grappling with the question of whether the ends justifies the means that really stands out for me. So often, middle grade doesn’t focus on that gray area much and I think it’s handled beautifully here.

Also notice that I pulled in some pieces from Janice’s original pitch blurb—especially sentences that I thought captured the tone/voice of the story.

Hello Donna,

As promised, I’m finally submitting to you THE PAIN MERCHANTS by Janice Hardy. What I love most is the ethical question at the core of this novel. At the most basic level, this novel is about whether the ends justify the means and the main character Nya is more than willing to sacrifice a principle or two in order to save her sister.

But then where does one draw the line? Nya is already pushing the boundaries of what could be considered the “gray” area between right and wrong. Is it possible to slide across that line and down a path that will have too many consequences to allow a return to goodness?

That’s at the heart of this children’s fantasy. Here’s a peek at the storyline:

Fifteen-year-old Nya is one of Geveg’s many orphans; she survives on odd jobs and optimism—finding both in short supply in a city crippled by a failed war for independence. Then a bungled egg theft, a stupid act of compassion, and two eyewitnesses unable to keep their mouths shut expose her secret to the two most powerful groups in city: the pain merchants and the Healer’s League. They discover Nya is a Taker, a healer who can pull pain and injury from others. Trouble is, unlike her sister Tali and the other normal Takers who become league apprentices, she can’t dump that pain into pynvium, the enchanted metal used to store it. All she can do is shift it from person-to-person, a useless skill that’s kept her out of the league and has never once paid for her breakfast.

When a brutal ferry accident floods the city with injured and the already overwhelmed Takers start disappearing from the Healer’s League, Nya’s talent is suddenly in demand. But what she’s asked to do with her healing ability is beyond wrong and she refuses until her sister Tali goes missing. Finding her sister means taking on the League and to do something that stupid, she’ll need what only her “useless skill” can get her. As her papa used to say, principles are a bargain at any price, but how many will Nya have to sell to get Tali back alive?

The author Janice Hardy is a member of the Georgia Writer’s Association and is active in several workshops and critique groups. Her fiction has appeared in Dimensions (A local lifestyle magazine), Predictions (a local genre magazine) and Air Currents (The In-flight magazine for Continental Connection). She’s also an instructor with Writer’s Online Workshops—teaching Essentials of Science Fiction and Fantasy Writing and Fundamentals of Fiction. Besides being a writer, she also has seventeen years of experience as an editor. Currently, she’s the editor of The Bahama Out Islands Destination Guide, and works closely with editors and authors on a variety of travel and lifestyle publications.

Enjoy!

All Best
Kristin

Janice Hardy’s Query Pitch Blurb

STATUS: I spent most of today on the phone. Some days are just like that. Now that it’s after 4, I’m going to now tackle my TO DO list.

What’s playing on the iPod right now? TAINTED LOVE by Soft Cell

This morning I realized it’s been a while since I spotlighted a client’s query. I always find it interesting to talk about what caught my interest and hopefully it’s a good learning tool for blog readers as you revise your own query letters.

Today’s story is a little different as Janice didn’t query me by email per se. I actually met Janice at the Surrey International Writers Conference that is held in Vancouver, British Columbia. And no, Janice is not Canadian; she actually hails from Georgia. She just happened to be at the conference.

She had signed up for a 10-minute pitch session with me so she “queried” me via a verbal one-on-one pitch.

I have to say, that the first thing that caught my interest was the title: THE PAIN MERCHANTS. What’s even more interesting is that the publisher ended up not going with this title. See the cover I’ve included below. Go figure. I found the title immediately interesting and I knew that I wanted to read the sample pages she was going to submit after the conference. In fact, I emailed Sara to be on the lookout for them.

For some reason, I don’t have the original letter she sent with the sample pages but I did save her pitch paragraph from that letter. Since that’s the crucial part, I’m including it here. Tomorrow I’ll share the letter I sent to editors when I submitted this work.

From Janice’s cover letter:
Seventeen-year-old Nya couldn’t find good luck in an empty pail. As one of the city’s many orphans, she survives on odd jobs and optimism — finding both in short supply in a city crippled by a failed war for independence. Then a bungled egg theft, a stupid act of compassion and boys unable to keep their mouths shut, expose her secret to the two most powerful groups in Geveg: the pain merchants and the Healer’s League. They discover Nya is a Taker, a healer who can pull pain and injury from others. Trouble is, unlike normal Takers she can’t dump that pain into pynvium, the enchanted metal used to store it. All she can do is shift it from person to person, a so far useless skill that’s never once paid for her breakfast.

When an accident floods the city with injured and Takers start disappearing from the Healer’s League, Nya’s talent is suddenly in demand. But what she’s asked to do with her healing ability feels as wrong as fish with feet. That is, until her sister Tali goes missing — then walking fish don’t sound so bad after all. Because finding Tali means taking on the League, and to do something that stupid she’ll need what only her “useless skill” can get her. As her papa used to say, principles are a bargain at any price, but how many will Nya have to sell to get Tali back alive?

Janice’s pitch blurb annotated:
Seventeen-year-old Nya couldn’t find good luck in an empty pail. As one of the city’s many orphans, she survives on odd jobs and optimism — finding both in short supply in a city crippled by a failed war for independence. KN: I’m caught by Janice’s voice in the opening lines. “Couldn’t find good luck in an empty pail” and “surviving on optimism.” I’m looking forward to reading on. Then a bungled egg theft, a stupid act of compassion and boys unable to keep their mouths shut, expose her secret to the two most powerful groups in Geveg: the pain merchants and the Healer’s League. KN: I knew I was right to ask for sample pages. There is the contrast between the theft and the act of compassion that makes me interested in this character. Not to mention had the “uh-oh” moment that a secret revealed to powerful people can only be trouble. They discover Nya is a Taker, a healer who can pull pain and injury from others. Trouble is, unlike normal Takers she can’t dump that pain into pynvium, the enchanted metal used to store it. All she can do is shift it from person to person, a so far useless skill that’s never once paid for her breakfast. KN: Here I have to understand the world and Nya’s power so Janice explains. But then she hints at the issue. This is a “useless skill” that I’m now assuming is not going to be considered useless by these powerful people. Intriguing.

When an accident floods the city with injured and Takers start disappearing from the Healer’s League, Nya’s talent is suddenly in demand. But what she’s asked to do with her healing ability feels as wrong as fish with feet. KN: Plot catalyst that starts the story. I don’t know what is as wrong as fish feet but I still love the voice and I’m thinking the story is going to tell me if I start reading. Also, That is, until her sister Tali goes missing — then walking fish don’t sound so bad after all. KN: Ah, this situation is going to put our character in a compromising situation. Now her sister is at stake. What is she willing to do? Good set up of conflict. Because finding Tali means taking on the League, and to do something that stupid she’ll need what only her “useless skill” can get her. KN: I have to read this now! As her papa used to say, principles are a bargain at any price, but how many will Nya have to sell to get Tali back alive?
KN: This last line just nailed it for me. I like stories where the character might have to grapple with moral ambiguity.

Dad Wisdom & Publishing

STATUS: I really need to tackle the emails piling up in my inbox.

What’s playing on the iPod right now? WOODS by George Winston

When I was in high school, my dad told me two things. Finding that special someone is all about timing and HS boys are intimidated by bright women.

Funny enough, I thought that was a lot of hooey. Sheepish apology to my lovely dad because he pretty much was right. But as a teen, you pretty much assume that a parent couldn’t possibly be right.

Hindsight really is 20/20.

So what in the world does this have to do with publishing? Well, two things actually.

The first I’m actually a little hesitant to say but I’m inspired by a recent entry from Editorial Ass on a whole different topic but tangential in nature, so I think I’ll take a risk and put this comment out there as well.

From my personal experience (and I really can only speak from that perspective), I truly believe that for literary fiction, it’s much easier to sell boy writers than gals. I know. Who can possibly make such a general statement but I have to say that I’ve encountered several worthy manuscripts that I’m rather convinced that if the writer had been male, the novel would have sold.

Just empirical proof, of course; no scientific method employed.

And second, publishing is often about timing. For example, if you are currently a writer of young adult or middle grade fiction and you have a paranormal element (read: vampire, werewolf, witch or what have you), you might be stymied by the timing of putting said project on submission right now.

The market is crowded. Editors are weary in some respects. (Agents too!) Just last week I had an editor turn down even looking at a manuscript because she felt her list was too crowded with the supernatural.

That’s a sure sign that a trend is winding down. Now that doesn’t mean nothing in that realm will sell. It just means that any project that does will have to be X times better, X times more original, than similar projects sold 2 years ago.

The Art Of The Synop?

STATUS: I’m having a very interesting cover discussion tomorrow. And I’m sharing a fairly hilarious cover discussion in my February newsletter so be on the look out for it.

What’s playing on the iPod right now? CHANGE by Tears For Fears

I actually should not be tackling this subject because for the most part, I don’t read or use synopses.

I know. Shocking. It’s the complete opposite of what you hear. I’m just the maverick in that department.

When I go out on submission with a project, I have my cover letter (many of which I’ve shared with my blog readers) and the full manuscript. That’s it.

If I’m selling something that’s a first in a series or trilogy, I’ll also include a one-page (2 tops) teaser blurb regarding the subsequent possible books.

The reason why? For the most part, from what I can tell, I’ve got many a client who can write one hell of a novel but suck at writing a synopsis. Seriously, it’s almost physically painful to wade through them. I end up asking more questions than the synopsis answered!

But sometimes you can’t escape it and we have to do it. When that happens, here are the tips that I tell my clients so they can write a half-decent synopsis.

1. As you begin, pretend that the reader of the synopsis has not read any prior books in said series so your opening paragraph or paragraphs, sums up the previous novel and explains the world (if that’s pertinent). It creates a base in which to build the rest. Often, even the editor won’t remember every character or background tidbit in a novel that they edited! Not to mention, when selling on synop, the editor may be sharing your explanation with folks who have, indeed, not read your work yet.

It helps to orient the reader in this way and if done right (and succinctly).it can go a long way to making a synopsis strong.

2. Outline your character or characters’ internal conflict.

3. Briefly outline your external conflict and plot points.

4. Once that is clear in your head (and on paper), then you have to decide how is the best way to convey both plot and theme in the synop. My suggestion? Start with plot first. Get that down in a clear, concise manner. This is what will happen in the novel. Once the plot path is clear, then go back and interweave why the heck the events unfolding are important to the story (which is theme.)

5. Now hand this off to a person who knows nothing about your work and see if they can follow the synopsis. If that person can’t, you know you’ve missed and you have some real work in front of you.

The real problem with writing the synopsis is that the story is so clear in the author’s head, they mistakenly assume that it’s clear on the page as well. After all, it makes perfect sense to them.

And when even that fails, just start writing. As long as we have sample chapters on hand, I can squeak by with a very short, one-pager synop that’s more teaser than it is full outline.

And it goes without saying that if you are a new or a debut writer, you must have a full manuscript. Still, even with that in hand, lots of agents request the synop so you might as well get as good as possible at it. I know that at conferences, they often host hour long sessions on how to write a decent one. Time well spent most likely.

Editor Letter for Real Life & Liars

STATUS: Getting ready for ALA Midwinter Conference which is happening here in Denver. I have a packed weekend ahead of me but it should be fun.

What’s playing on the iPod right now? I’M YOURS by Jason Mraz

Because I think my blog readers find the agent-editor interaction fascinating, here’s the submission letter for this project.

Here are two interesting things to note about this letter. Kristina’s novel had a unique POV structure. One narrative is written from first person POV and the three children are written from a third person POV. I decided that I didn’t want an editor to be surprised by what is a complicated narrative structure so I actually highlighted it in my submit letter. I also highlighted that I thought the unique narrative was strength—thus (hopefully) setting the editors perception before they began reading.

By the way, this narrative structure is almost impossible to pull off. It takes a lot of talent—which is how I pitched it in the letter.

I also spent a bit more time talking about how this novel impacted me personally. I wanted to make it clear that this wasn’t “just another cancer” story. That what we had here was an insightful novel about family relationships and how complicated they can be.

I guess I succeeded as several editors agreed with me and Lucia Macro at HarperCollins won this novel at auction.

Hello Lucia,

I hate to be the agent who says this every time I send out a project but I do think that this time, I’ve found the perfect novel for you (and if I haven’t, you have permission to snub me). First off, the writing is just top-notch. This story, REAL LIFE & LIARS seamlessly shifts between the first person POV of Mira, the sixty-something hippie mother who has just been diagnosed with breast cancer and has decided not to fight it, and the three third person POVs of her three, very different children. This would be a mess in the hands of a writer with less talent.

But here’s the other reason why I’m so passionate about this story (besides the fact that I just couldn’t put it down). Even though the Zielinski family is nothing like my own, I just felt like Kristina had tapped into the essential truth of my own family’s dynamics, despite the fact that my mother never has had cancer and my brother is the oldest and not the middle child etc. She has tapped into the core truth of how all families interrelate. How siblings treat each other as adults (our worn and familiar view of each other) as well as all the possibilities that emerge when we realize our love and loyalty. It’s also a very piercing look at the relationship parents have with adult children. And even though the novel is unflinching in its exploration, the reader is left with nothing but optimism that despite our personal failings, our families really do form our core.

So here’s the story: As a wilted flower child, Mira Zielinski has never been one to follow orders. Not from her husband, not from her boss – not even from her oncologist. Mira has her own idea about handling her newly diagnosed breast cancer, and it does not involve hopping up on the operating table. Her grown children will no doubt object — when she gets around to telling them.

As they come home for the weekend of Mira and Max’s thirty-fifth wedding anniversary party, her kids harbor some secret trials. Middle child Ivan’s lifelong desire to be a songwriter is withering on the vine after years of futility and his dating haplessness is so familiar, it’s almost a family joke. The impulsive and very young youngest child Irina will walk in the door with a surprise groom, though she’s already looking for the escape hatch in her shiny new marriage. As for the oldest, Katya, let’s just say that it would be a relief if her husband’s big secret were just the affair she suspects he’s having. As these trials unfold, certain family truths come to light but will they shake Mira’s resolve?

The author, Kristina Riggle, is a freelance journalist and published short story writer. Her credits include Cimarron Review, Net Author’s E2K and Espresso Fiction. She is also the co-editor for fiction at the e-zine Literary Mama, named one of Forbes’ “Best of the Web.” Kristina was also a judge for the 2007 Carrie McCray Literary Awards in the short fiction category. Since she is connected to the writing community, she has already lined up blurbs from published authors such as Kristy Kiernan (CATCHING GENIUS) and Carrie Kabak (COVER THE BUTTER, A Book Sense pick June 2005).

May I send this novel your way?
All Best,
Kristin

Kristina Riggle’s Query

STATUS: Tech troubles yesterday. Sorry for the blog silence. I left the office thinking I’d do it from home. Internet was down.

What’s playing on the iPod right now? DO YOU REALLY WANT TO HURT ME? By Culture Club
(okay, I can never hear this song without thinking about the Adam Sandler movie The Wedding Singer)

Don’t worry! I hadn’t lost sight of lending a hand with queries. As promised, here is yet another original query letter from one of my clients. Kristina was a current client referral so certainly had a leg up in terms of my attention. However, she also sent a darn good query letter, and so there isn’t any controversy, she did not have Sherry Thomas’s help in the writing of [at least not that I’m aware of].

Here’s the letter without comments for your reading pleasure:

Dear Ms. Nelson,

I’m a friend of the hilarious and fun Becky Motew, and she suggested I contact you about my novel, REAL LIFE AND LIARS. Here’s a brief description.

As a wilted flower child, Mira Zielinski has never been one to follow orders. Not from her husband, not from her boss – not even from her oncologist. Mira has her own idea about handling her newly diagnosed breast cancer, and it does not involve hopping up on the operating table. Her grown children will no doubt object — when she gets around to telling them.

As they come home for the big anniversary party, her kids harbor some secret trials. Ivan’s lifelong desire to be a songwriter is withering on the vine after years of futility, and youngest child Irina will walk in the door with a surprise groom, though she’s already looking for the escape hatch in her shiny new marriage. As for Katya — let’s just say that it would be a relief if her husband’s big secret were just the affair she suspects. As these secrets come to light, will they shake Mira’s resolve?

I’d love to send part or all of REAL LIFE AND LIARS, complete at 83,000 words. I’m a freelance journalist and published short story writer, plus I’m the co-editor for fiction at the e-zine Literary Mama, named one of Forbes’ “Best of the Web”. My short story credits include Cimarron Review, Net Author’s E2K and Espresso Fiction. I served as a judge for the 2007 Carrie McCray Literary Awards in the short fiction category.

Besides your blog and Becky’s recommendation, I’m also familiar with you as a member of Backspace, where I post (not as frequently as I’d like) as simply “Kris.” I’ll paste my opening few pages below. Thanks for your time and consideration.

Sincerely,
Kristina Riggle

The commented version:

Dear Ms. Nelson,

I’m a friend of the hilarious and fun Becky Motew, and she suggested I contact you about my novel, REAL LIFE AND LIARS. Here’s a brief description.

As a wilted flower child, Mira Zielinski has never been one to follow orders. I just love the line “wilted flower child” so just that turn of phrase has caught my interest. I’m really paying attention. Not from her husband, not from her boss – not even from her oncologist. A women who doesn’t take orders. I’ve got good insight into this character and the ‘oncologist’ at the end there is an attention grabber. Mira has her own idea about handling her newly diagnosed breast cancer, and it does not involve hopping up on the operating table. Interesting! Her grown children will no doubt object — when she gets around to telling them. This is a unique twist on the conflict. Why wouldn’t she tell them is my first thought. And then I like the phrasing again, “around to telling them.” There’s a certain relaxness that’s unexpected here given the cancer diagnosis. I’m intrigued with the character of Mira.

As they come home for the big anniversary party, her kids harbor some secret trials. Ah…. Mira’s issue is going to be further conflicted by what’s happening in the family. I’m a sucker for family stories. Ivan’s lifelong desire to be a songwriter is withering on the vine after years of futility, and youngest child Irina will walk in the door with a surprise groom, though she’s already looking for the escape hatch in her shiny new marriage. “escape hatch in her shiny new marriage” Dang, that’s intriguing writing so I’m going to be asking for the full—no doubt. As for Katya — let’s just say that it would be a relief if her husband’s big secret were just the affair she suspects. I’m hooked. Let me see it! What could be worse than an affair? And interesting that the announcement of an affair would be a relief to this Katya character. As these secrets come to light, will they shake Mira’s resolve? Hey, I want to know!

I’d love to send part or all of REAL LIFE AND LIARS, complete at 83,000 words. I’m a freelance journalist and published short story writer, plus I’m the co-editor for fiction at the e-zine Literary Mama, named one of Forbes’ “Best of the Web”. My short story credits include Cimarron Review, Net Author’s E2K and Espresso Fiction. I served as a judge for the 2007 Carrie McCray Literary Awards in the short fiction category. Nice tight bio. Kept to the details that would be important to her career as a writer.

Besides your blog and Becky’s recommendation, I’m also familiar with you as a member of Backspace, where I post. Thanks for your time and consideration.

Sincerely,
Kristina Riggle

Two Clients For The Year 2008

STATUS: Gotta love the Denver weather forecasts. Yesterday a weather person mentioned that there might be a slight chance of flurries during the morning commute. Yeah, it started snowing at 5 a.m. and by the time rush hour hit, there was close to a half of foot of snow on the ground. Snowstorm didn’t end until 10 this morning. Slight flurries turned into about 7 inches worth of snow in downtown Denver—probably more near the foothills. Still, I’m cheery. I like a good snow—otherwise I wouldn’t live here!

What’s playing on the iPod right now? BRIGHT SIDE OF THE ROAD by Van Morrison

When I posted my end of year stats, there were a lot of comments on that fact that I had only taken on 2 clients for all of last year. Why only 2? It’s a good question so I did a little ruminating on the subject. I’ve come up with a few thoughts to share.

1. Yes, I took on only 2 clients for the year of 2008. But take a moment to look at the end of year stats for 2007. I took on 8 clients. That was a huge spit of growth in a short period of time. I’m only one person and there’s only so much I can do in my day to service my client list. Yes, I delegate to Sara, to my contracts manager, to my subrights people, to my foreign rights representative, to my film co-agents but all of that still needs oversight. I’ve gotten a real sense of what I can manage and still be a good agent to my clients. Two makes complete sense in that context.

2. No, my client list is not “full.” I’m still reading fulls and looking at projects but I have to say that how I look at them has shifted. I’ve got a great list. I really have to love the project to take it on.

Please note here that my loving the project is not the same as the project being salable.
I can pass on a project that another agent takes on and then sells. I know for a fact that this happened several times in 2008 so obviously I passed on some worthy projects. And yet, I didn’t sigh in regret when I saw the deals posted [except for one project and I blogged about that].

I’m not the final arbitrator on a novel’s sell ability. My NO really means very little if you think about it in this context.

3. Sara and I looked at 88 manuscripts. Several were close calls for us but ultimately, when all the factors came down to it, we were only passionate about two of them to make the full commitment.

Now I know that writers often perceive agents as gatekeepers but in my situation, it’s really wasn’t a question of gate-keeping so much as time commitment. Think of it this way; it takes just as much time for me to take on, work on, and then submit a novel that sells for 5k as it does for 500k. In this light, I should only take on the novels that will sell for big money, right? Seems cost effective … and yet I, and other agents take on “small” projects all the time—projects we know aren’t necessarily going to go to auction or sell for big money but yet we love the story; we see the author’s potential. They might not get the big money out of the gate but we believe in the growth. But you gotta have the passion for the project and the author to wait for the big pay off which, by the way, may never come. Not all authors break out.

So yes, I took on only 2 authors last year but I gave those two my absolute all without (hopefully!) neglecting other clients.

And no, don’t ask me when my client list will be “full” as I don’t have an answer to that. It balances and changes on so many factors.