While our hardworking agents are attending BEA in New York this week, several authors are filling in with guest posts. Enjoy!

Keri Wyatt Kent writes and speaks on slowing down to listen to God, and occasionally tries to follow her own advice. She and her husband Scot have two teenage children and live in Chicago. This piece originally ran on Tim Fall’s blog.

In an oft-quoted lecture on women and fiction, Virginia Woolf remarked that a woman needs a room of her own if she is to write.

Woolf had been asked to lecture on women and fiction. Here’s a bit more of the context:  “a woman must have money and a room of her own if she is to write fiction; and that, as you will see, leaves the great problem of the true nature of woman and the true nature of fiction unsolved.”

What is meant by “a room of her own” has been discussed countless times since Woolf said those words in 1928. It’s obvious she meant much more than a physical space with four walls to contain it. But certainly she was talking about some space, and boundaries to protect it (whether physical or metaphorical).

In the same lecture, Woolf noted that because of her gender, she was barred from walking on the lawn or even entering the library at the university she was visiting, unless accompanied by a man.  Certainly independence and autonomy were part of what Woolf longed for and recommended.

I am a writer by profession, and if you take these requirements literally, I do indeed have both financial resources and a “room of my own.”  The spare bedroom in our house is my office. And I earn my living—modest as it is—by writing.

Women have far greater access to resources than they did in Woolf’s day. And yet, sometimes we think we’re still not allowed in the library. We don’t take what is ours for the taking. We’re also bereft of a resource that is the currency of our day: time.

For today, a woman (and a man, for that matter) needs time and a room of her own to write—and not just physical space, but mental space. She must be brave enough to step away from those who need her in order to do whatever it is she really needs to do. The discipline of solitude has a cost—but also a benefit.

A few years ago, one of my dear writer friends went away from her three kids and husband to a friend’s cottage in Vermont, where she worked non-stop to meet a book deadline.

At the time, I said, “Good for you!” and sincerely wished her a productive week. But at the back of my heart, a little voice asked, “Why does she get to do that? Why can’t I do that?” I was also finishing a book project at the same time—we had the same deadline, I think. I was also balancing the book deadline with a part-time job and parenting my teens, and getting supper on the table every night. Oh, and also, attending my own little pity party each day.

The story I told myself (to feed my martyr complex) was that I couldn’t get my husband to drive the carpool, let alone send me off to Walden to write in solitude.

Do you ever find yourself asking that question: “Why does she get to ________?” Maybe it’s not about writing but about self-care, or pursuing dreams, or taking a day off, or –you tell me.

But sometimes, when we listen closely enough to the voice of our discontent, the truth crashes in on us. The reason my friend “got to” go away is that she decided she would. She asked for her husband’s (and others’) support and got it. She chose to do whatever it took to go away to write. And the reason I didn’t “get to” is because I didn’t even bother to ask if I could, or simply say that I would.

So last month, I was invited to speak at a church in California. For one day. I boldly chose to extend my trip there. I longed to escape Chicago’s endless winter, which was slogging on into April. I had a book deadline looming. I needed to finish the book, but also, I realized, I needed to stake out, in so many ways, a room of my own.

“What are you doing out there for a week?” my husband asked. “Writing.” I replied calmly, ignoring his pained expression.

And write I did. After my speaking gig in Aptos, CA, near San Jose, I drove south along U.S. 1, and camped out at a quaint (read: affordable) motel with a tiny room in Pacific Grove, a sleepy beach town on the Monterey Pennisula. I spent four days doing little else besides writing. I would get up, drive to one of the many indie coffee shops (there is no Starbucks here) in this tourist town, plunk down my laptop and a cup of coffee, and write.

By noon, I’d take a break and walk the beach. I’d pray, I’d marvel at the beauty of iceplant in bloom, I’d delight in spying a harbor seal or sea otter in the waves. I basked, after six months of winter, in the spring sunshine. In the afternoon, I’d wander to a different coffee shop, bakery or restaurant, or back to my motel room, and write some more. In the evening, I’d go for a run along the beach, then shower and go to dinner. Yes, by myself.

I had no traveling companion and was glad of that. I relish solitude, even when I’m on the road. Answering to no one but myself, I could work—which I did for hours on end. I ate if I was hungry. I had no one’s schedule to coordinate but my own.

If I wanted to go out to dinner, I did so. If I wanted to eat carrots and hummus in my motel room instead, I did that. It was the perfect blend of freedom and discipline. I never watched television and I walked the beach every day.

I finished the book I needed to finish. Thousands of words found their way to the page.

But something else happened on this trip. Peace found its way into my soul. The tightness in my chest—that I hadn’t even been conscious of—unclenched.

I gave myself permission to be kind to myself. I shattered the myth that I can’t afford to do things like this: psychologically, I can’t afford not to. And practically, I earned enough on the trip by working to more than cover its financial cost. And realized: not taking this trip would have been much more costly to my emotional well-being.

I realized that the only way to “get to” do things like take your own writing retreat is to do them. I affirmed what I’ve always known—I love traveling alone, and I love being a stranger in a small town. Solitude reconnects me with God, with myself, with my true priorities, which get lost in taking care of everyone else.

I finished writing the book, then spent a few days with my daughter and my parents. The whole journey healed my soul in a thousand ways.

This trip was more than just a writing retreat, more than just a method for meeting a deadline. It was a chance to navigate roads I’ve never driven before, to claim for myself a room of my own.

What do you need to do to stake out some space for a room of your own? What does that phrase mean to you?

Posted in Uncategorized | 5 Comments »

Stephanie Morrill writes young adult contemporary novels and is the creator of GoTeenWriters.com. Her novels include The Reinvention of Skylar Hoyt series (Revell) and the newly released The Revised Life of Ellie Sweet (Playlist). You can connect with her on Facebook, Twitter, Pinterest, and check out samples of her work on her author website.

When my debut novel hit shelves in 2009, words like marketing, platform, and tribe put me in a bad mood. I was convinced that I didn’t possess the skillset I needed for being a good marketer, and that my best bet was to just write good books and hope for the best.

But then I fell in love with blogging. During the last three years, I’ve invested a portion of my writing time into a blog for teen writers called Go Teen Writers. At first it felt like I was on a stage and talking to an audience. As months passed, the audience slowly-but-surely grew. But instead of just looking at me, listening to me, talking to me…they turned toward each other. They looked, listened, and talked.

No longer was Go Teen Writers just me typing and scheduling posts, a drain on precious writing time. Once the teens began connecting to each other, the blog became a place of conversation, community, and friendship.

And a marketing tool beyond my imagination.

Here’s an example of what can happen when your audience starts chatting with each other instead of just talking to you:

In March, my publisher was generous enough to offer my debut novel, Me, Just Different, as a free ebook for six weeks. And, of course, the campaign launched during the one trip I had planned all spring.

I told myself that I had six weeks to promote the book and didn’t need to panic, but I was excited and decided to at least mention the deal on the Go Teen Writers Facebook group, a very chatty extension of the blog that has nearly 300 teen writers in it.

After I posted the deal, I hopped in the car, had some lunch, toured Annapolis, Maryland, and braved security at BWI. In short—I was living life and not thinking about my book, free downloads, or marketing.

But the writers in the Go Teen Writers group were.

Hours later, after I settled into my gate at the airport, I peeked at my email. I discovered that while I’d been enjoying my last day of vacation, the teens had been hard at work. One of the girls had posted on the group wall, “Let’s all work together to promote Me, Just Different and see if we can get it up on Amazon’s Top 100 free list.”

Other group members had responded with enthusiasm. They were all chatting about how they were getting the word out—Tweeting, posting on Facebook, blogging about the free book, emailing their friends who had ereaders.

When I left Baltimore, my book was ranked somewhere around number 1,700 on the Amazon free list. By the time I got home that evening, Me, Just Different was number 44. And other than telling the teens the book was available for free, I hadn’t lifted a finger.

Or I hadn’t that day, anyway.

I’m convinced this wouldn’t have happened had I kept on blogging in a, “I’m the blogger and you are the audience,” kind of fashion. Here are 5 things I did to help Go Teen Writers evolve from being a website, to being a place where people come to hang out and chat with each other.

1. I figured out what my audience wanted and found ways to provide it for them.

After the blog had been going for a few months, I discovered the biggest thing the teen writers wanted was feedback on their work. So I started hosting 100 word contests every two weeks. The judges were all published authors with hearts for helping new writers. Everyone who entered received feedback, and those who placed earned points. The top three winners for the year would receive critiques.

It involved a crazy amount of email, but hundreds of teens entered those contests and the blog grew and grew and grew because they were being nourished. The bonus side-effect was that the writers learned each other’s names. They would congratulate each other in the comments and talk about which entries had been their favorite. They began to bond.

2. Consistency and focus.

The audience at Go Teen Writers knows what to expect.

They know what we’ll be talking about—writing.

They know who it’ll be for—teens.

They even know what days and what time our posts go live, and many have made it part of their daily routine. I heard from a boy in Portugal who reads Go Teen Writers during his school lunch break because that’s when the posts always go live. One morning, when I was ten minutes late, the first commenter said she’d been sitting at her computer refreshing her browser, waiting for the new post to appear.

Because we’re consistent with the time and content, our audience knows that the other readers of the blog are like them and are interested in the same things they are. That knowledge encourages conversation between them.

3. I found a place where they could talk freely. And I protect it.

Because I (try to) respond to almost all the comments on the blog, my readers figured out that they could come back throughout the day and we could have a conversation. And they started interacting with each other, responding to questions, and giving feedback.

I then created the Go Teen Writers Facebook group, a closed group that anyone can apply to join. I thought I would have to facilitate conversation for a while, but instead they were doing it themselves from day one—what genre does everyone write? What story are you working on? How would you pronounce this name?

I quickly figured out my job wasn’t to get conversation started, but to protect the integrity of the group. I made guidelines that encouraged writers to stay on topic and be respectful in disagreement. Most of the time they police the group themselves, and I just get to hang out with them and enjoy the conversation.

This group has teen writers from Iraq to Indiana, and gathering them in a place where they can talk has blessed us all.

4. I admitted it was too much for just me.

When the contests grew to having over a hundred entries each round, and when the audience grew big enough that I needed more than three blog posts a week, I began to feel like I was drowning. I loved the blog, and I loved the writers who hung out there, but I had spread myself too thin and the quality was suffering.

Jill Williamson and I had known of each other for a few years and had emailed a time or two, but we had a chance to become friends during a one-day writing seminar in Chicago. Her heart beat for teen writers the way mine did, her genre of expertise (sci-fi and fantasy) would bring a new skillset to the blog, and I just plain LIKED her.

There was some fear involved—will they like her more than me? Because I like her more than me!—but combined, we’re able to produce a much stronger, deeper blog than I was on my own.

5. We try new things.

Jill and I regularly talk about and implement improvements to the blog, whether it’s a new contest, giveaway, or series of posts. This encourages people to check out the site frequently because they know that we often have new events happening.

While I can’t provide hard numbers for you that say X-amount of blog posts equals X-amount of book sales, I can tell you that when my new book, The Revised Life of Ellie Sweet, released with Playlist Young Adult Fiction on May 1, the first reader response I saw came in later that day from a faithful Go Teen Writers follower who Tweeted that she’d just bought it online.

Blogs, of course, are just one of many tools that can help with marketing. Some of the other authors with Playlist Young Adult Fiction have seen success with Pinterest, Twitter, and Goodreads. What’s something that has worked for you?

Posted in Marketing and Platforms, The Business of Writing | 73 Comments »

Someone wrote to ask, “Put simply, where does depth in fiction come from?”

Depth is found when multidimensional characters who I can relate to, who I care about, face the timeless questions of life in the midst of complex circumstances, then make decisions that are open to interpretation. Their choices may not be right, but as a reader, I get to go through the experience with the characters. I see people in your story I have come to care about facing big decisions, making choices that I may or may not agree with, and I get to go through that season with them, and see the results of their choices, then measure them against my own life. THAT’S what causes me to learn, helps me to understand myself, and leaves me thinking about your book. And this can’t be faked – any bright reader will figure out when you’re faking depth or artificially trying to gin up emotion. So you can’t write with an agenda. Nothing is more boring than to read a polemic masquerading as a novel.

One novelist sent me this: “Writers of historical fiction seem to be interested in knowing what time period editors might be looking for. Is there a ‘hot’ time period you would like to see a book set in or any to avoid?”

Well, it’s changing all the time. Publishing is a tidal business– the tide comes in, the tide goes out. So Amish fiction doesn’t exist, then we’re awash in All Things Amish, then there are considerably fewer of those titles. And there’s nothing wrong with that — the culture embraces some topics or periods for a season. Some have more staying power than others (so “westerns” became their own genre, “Amish fiction” has become it’s own sub-genre in Christian fiction, and Chick Lit disappeared as a relative flash in the pan).Watching the trends can be fun, just to see what publishers are (and are not) interested in. But I rarely encourage writers to try and chase the trend — usually by the time you’ve spotted it, the market has moved on. 

That said, you’re asking a fair question. I’d say right now people have grown tired of the Civil War, but are still interested in Reconstruction, in both the North and South. There is once again interest in the Great Immigration period of 1880 to 1910, but the Downton Abbey craze seems to have gotten a lot of people interested in the empire-building period of the early 1900′s through World War 1 and into the Roaring Twenties. Of course, we’ve seen popular novels set in just about every decade of the 1900’s. Tales set in the 1960’s and 70’s have bombed in most markets so far, so I’d generally be wary of the era of long hair and love beads (and, of course, now that I’ve said that, I’m sure the next #1 NYT bestseller will be something like “Love Child: The Haight-Ashbury Series”).

Finally, I’ve had a couple people say to me, “I write fiction, and I’d like to know what you think is the one best step I could take in my novel writing career?”  

I’ve thought about this a lot, since I represent a number of novelists. I suppose part of me wants to say to beginners, “Take a class so you’re forced to write” or “find a writing partner so you’ve got someone to hold you accountable.” But, after having mulled it over, here’s my response: First, attend a great writing conference, then force yourself to attend stuff and meet people. It just seems like most of the novelists I know (not all, but most) found their careers moved forward by a writing conference. They got a chance to learn from really good writing instructors, they got to hear about the bigger industry, and they got to rub shoulders with a bunch of other writers.

That last part is part is particularly important. Writing is a solitary business, and it’s easy to go into your cave, produce something, and have no context for knowing if it’s any good (besides having a firm belief in your own abilities, and a loving partner who tells you how wonderful you are). So being able to sit and talk with other writers is a blessing — you find out they are facing some of the same obstacles you are, and you’ll be encouraged by the people who overcame those problems and moved on to the next step. You’ll discover creative people who you like, and who inspire you, and who sometimes have great solutions to suggest to you. I don’t do a bunch of conferences any more, because my schedule won’t allow it, but I try to go to RWA and ACFW every year, and get to Thrillerfest or West Coast Crime or Bouchercon or one of the suspense-writers gatherings. Every other year I aim to be at the Calvin Festival of Faith and Writing, since it’s such a fabulous gathering of great minds. And once in a while I’ll speak at a smaller conference (I did one in Nashville and one in Dallas this year), just to meet with authors and try to give back a bit. This is the start of conference season, and there will surely be a good writing conference close to you this summer — try attending one and participating fully. It will make a difference.

The second thing I’d suggest is that you read great books. Don’t just read in your genre, though that’s a good place to start. Pick up GREAT literature and read it. There’s a reason a classic is called that, or why an influential book has staying power — it speaks to people about the art. Recently I’ve read a half-dozen titles that I think are wonderful novels — Chad Harbach’s The Art of Fielding, Jack Finney’s Time and Again, Sara Gruen’s Water for Elephants, Yann Martel’s Life of Pi. I also just read Lisa Samson’s latest, The Sky Beneath my Feet, Ann Tatlock’s Promises to Keep, Vince Zandri’s The Remains, and I just re-read Susan Meissner’s Girl in the Glass and Mark Bertrand’s Pattern of Wounds. All were well-written and interesting. I also read a debut novel, Holly Lorincz’s Smart Mouth (which, if you haven’t read, you should check out on Amazon — the first chapter will have you laughing out loud). And if you want a difficult, edgy bit of reading that will astound you, pick up Les Edgerton’s The Rapist. Tough title, but a fabulously well-written book. If you want to be a great writer, hang out with other great writers. My advice. (And yes, I got to represent several of these titles. I’m biased, but these are all great writers.)

I’m off to BEA. We’ll have some guests blogging this week — thanks to good writers for being here while I’m on the road. Some great advice from thoughtful writer Keri Kent, a beautiful bit of writing from novelist Tina Bustamante, and a couple thoughtful posts from some award-winning friends. Enjoy. See you in New York.

Posted in Deep Thoughts, Favorite Books, Questions from Beginners, The Writing Craft, Trends | 14 Comments »

So, if you haven’t heard the news, I’ve been asked to be the keynote speaker at the 2013 Christy Awards. Yes — me. Chip MacGregor, literary agent. I’m fairly certain this was a clerical error, but it’s exactly this sort of thing that causes people to shake their heads at the decline of Solid American Values in publishing. Next thing you know, they’ll be having an agent serve as the Master of Ceremonies…

Oh, wait. It turns out they also asked my good buddy Steve Laube to serve as the emcee. He is also a longtime literary agent. Um… Well this just goes to show that anyone can make a mistake. I mean, first they forgot to give Jerry Jenkins a Christy Award, now they hire a couple of agents to man the microphone. I’m telling you, we need a blue-ribbon panel to check into this. (Heads will roll.)

If you’re not familiar, the Christy Awards are really the premier award for those who write inspirational fiction. They’ve been around about 15 years, and are named after Catherine Marshall’s seminal novel, Christy. Originally created by a dozen CBA publishers, the awards intended to honor Ms Marshall’s contribution to the field of faith-infused fiction, as well as providing opportunities to recognize the best novels and novelists in the genre. I’ve long been a fan of the Christy Awards, and have represented dozens of finalists and several Christy winners (including last year’s winners Mindy Starns Clark, Leslie Gould, and Ann Tatlock). We have several finalists again this year in the different categories — which you can find by going to www.christyawards.com .

So I’m completely surprised and flattered that they’d invite me to speak, even if the person on the other end of the line MEANT to call Chip Kelly, the head coach of the Philadelphia Eagles and, like me, a former Oregon Duck. (Don’t worry — I get that a lot.) But it’s too late now. They asked, I said yes, and they’re stuck with me. The event takes place Monday, June 24, at the Renaissance Grand Hotel in St Louis. It’s always a fun time. And yes, I’ll be wearing my kilt.

Posted in Awards, Conferences, Current Affairs | 36 Comments »

Someone asked, “How do you feel about writers following up on a query or proposal submission? What is an acceptable time period to wait before following up?”

Let me set some ground rules. First, if I didn’t ask for your proposal, I don’t owe the author a response. (I’m sorry if that sounds rude, but look at this from my perspective: If I had to respond to every proposal that comes in cold, I’d have a full-time job just responding to proposals… and I’d never make a dime.) So if I read it and give a response, even if it’s a “no thanks,” I’m doing the author a favor. Second, I’m going to try and get to it quickly, but there’s no guarantee it will be immediate. I’m the type of person who hates having a bunch of stuff sitting around the desk, so I’m bound to get to the proposals as soon as I can. But I can get busy with travel or meetings or simply working on projects for the authors I already represent — so sometimes things can slow down considerably. Third, I understand this is a business on the writing side, so if an author needs info, I want to be fair about it; if she decides she needs to go elsewhere, I’ll probably be understanding. 

When an author sends me a proposal I’ve asked for, I try to get back to people within four to six weeks. The fact is, I’m often much faster. But I’ll admit something: I hate having people send me short notes in order to remind me that I’ve failed them (“I sent you my proposal a month ago!”). I think perhaps they’ve forgotten that I don’t owe them a reading. If I agree to read their proposal, it’s because I choose to. (Okay, sorry if I sound cranky, but I got one of these today, from a woman I’ve never heard of. My first reaction is to say something snarky like, “Okay, if you’re forcing me to decide, my answer is no. Now leave me alone.” But no, I’ve never done that.) So while I realize it’s your baby, and I know there are websites that will encourage you to check in regularly, my preference is that you give me adequate time to get to your project. 

Looked at that way, I guess following up after a few weeks in a short, polite note (maybe thanking the editor or agent for looking at it) is fine. I prefer just a quick email that reminds me I’ve got your proposal, and asking me if I need anything else. No whining, no blame, no shaming me for having to do all that crazy stuff like take care of the authors I already represent so I can pay my bills. Of course, I have heard from several authors recently about some editors who have kept things for a YEAR without a reply. I find that unconscionable. You wonder how these folks keep their jobs. Look, if the person hasn’t responded in a couple months, move on. Move on emotionally at least. If they haven’t responded in a year, I’ve got news for you: they don’t want it. Really. So stop holding out hope on that one and move on.

What else do you want to know about the query process? 

Posted in Proposals, Questions from Beginners | 5 Comments »

Amanda Luedeke is a literary agent with MacGregor Amanda Luedeke is a literary agent with MacGregor Literary. Every Thursday, she posts about growing your author platform. You can follow her on Twitter @amandaluedeke or join her Facebook group to stay current with her wheelings and dealings as an agent. Her author marketing book, The Extroverted Writer, is available from Amazon andBarnes & Noble.

There’s one thing I’ve noticed about expectant moms these days (and no, this isn’t a post about pregnancy or motherhood)…Moms will spend weeks visiting various hospitals in their area, looking for the perfect match for their needs and expectations. They consider everything from doctor availability to space to freebies to distance from home to overall comfort level. They weigh each item against the other until a clear winner emerges.

It makes sense when you think about how important having a baby is.

But what if I told you that they do the same thing when purchasing a stroller or crib or carseat? What if I told you that moms these days tend to turn every babygear decision into an extensive list of pros and cons?

We always talk marketing here on Thursdays with Amanda, and we’ve frequently mentioned the need for a professional webpage, website, or blog. But one of the most common mistakes authors (and people in general) make when venturing into a relationship with a web designer is that they don’t view their career as their baby. They fail to ask questions. They fail to vet those that they hire and truly understand what they’re signing up (and paying!) for.

So, before enlisting some Joe Schmoe designer to do your website, present him with these five questions:

1. 1.     Can you show me examples of your previous work? Just like every author writes with a unique voice, every artist creates with a unique point of view. So before you ever consider hiring anyone to do design work for you, you must connect with their artwork. Ask to see samples (because what you see is oftentimes what you’ll get). If you like what you see, then you may have a match! If you’re not crazy about it, keep looking.
2. 2.     Can you put me in touch with some of your former clients? After you determine that you like their art and designs, ask to speak to some of their clients. This is a way for you to get an unbiased opinion on how the designer operates, what to expect (Will they stay in close contact? Will they disappear for weeks on end? Do they keep you involved in the revisions process? Do they listen to direction?), and any strengths or weaknesses.
3. 3.     How does the payment process work? What do you expect up front? How much do you anticipate this will cost? Most big jobs will require some kind of nonrefundable deposit. Designers also have policies on when they expect payment and what the protocol is should you end up unhappy with their work. Get all of this information before you sign anything. If you don’t like the designer’s payment policies or estimate, look for someone else.
4. 4.     What timeframe are we looking at? First, you must understand that a full website will take a few months to put together. This isn’t a quick process. But on top of that, each designer works at a different pace. Have the designer give you an estimate when he/she will have something ready for you to review. Then, have them give you an estimate as to, should everything go as planned (and should you not send them a million tweak suggestions), when the site will be finalized. If possible, work deadlines into your agreement. As long as they show that they are continuously working on your project, you shouldn’t have a problem…even if they exceed the deadline. But if you feel that they have put your project aside for weeks or months, then you have that contractual deadline to point to.
5. 5.     What vision do you have for my site? Get a feel for how much freedom the designer will take with your site. If you’re comfortable with their abilities, then you may be excited to let them loose. But if you’re the type who likes strict control of the design, then this is your chance to gauge whether you’ll be frustrated by any artistic license.

There are many more questions you could ask, but this is a start. The bottom line is that taking the time up front to get to know who you’re hiring will save you a lot of headache in the long run.

What experiences have YOU had with designers? Or what questions do you have?

Posted in Marketing and Platforms | 6 Comments »

Someone wrote and wanted to know, “What advice do you have for authors regarding querying? What is the best method (e-mail, snail mail)? Is there a particular format the query should follow?”

The BEST method is to get face-to-face, of course, so by all means consider attending a conference where you can meet the agents and editors with whom you want to work. Research them ahead of time, find out who they are, what they represent, and who might be a fit. Then try to get in front of them. That’s best… But in today’s publishing world, that’s harder than it used to be. Many agents are staying away from conferences because they’re dominated by beginning writers. In publishing today, most people have become email people, and thus I expect most of the queries you’re going to write are going to be without a face to face introduction (even though that would be best).  

I much prefer a query via email than a printed letter (save the trees, save the gas delivering it). A query should be short, to the point, and most of all is should give me a reason for wanting to see your proposal. It should help me to be interested in our topic or story. Remember, the goal of the query isn’t to sell your book; it’s to get an agent or editor to agree to take the next step. That’s all. Nobody decides to acquire a book based solely on the query. So the query should briefly give me a reason for wanting to see more, it should be written extremely well in order to show off your talent, and it should tell me exactly what you want me to do.

The first paragraph of your query letter  introduces your topic — just give it one or two sentences. Your second reveals the basic idea or focus of your book in two or three sentences. Your third paragraph mentions you briefly, perhaps explains why you decided to write the book or why you are the correct person to write it. Then you wrap it up by saying you have a complete proposal (or, if you’re writing a novel, by saying that the manuscript is complete), and that you’re happy to be in touch and discuss or explore the book. 

One note about the tone: I want to represent people who are fairly normal. So don’t allow your query to make you look like an insane person (“This story was personally handed to me by an angel”). Don’t pretend we’re best friends (“Yo bud! How ya doin?”). Don’t threaten (“I’ve been getting a lot of interest from other agents…”). Don’t be a used car salesman (“This is your lucky day!”). Get me into your story, show off the big idea and why it’s salable, and give me some sense of your writing ability. [And if you haven't seen it yet, make sure to check out http://slushpilehell.tumblr.com. A riot.]

Posted in Proposals, Questions from Beginners | 10 Comments »

Someone wrote to note, “My critique partner told me I need to put aside my nonfiction manuscript, since he doesn’t think I’m really healed from the incident I’m writing about. Is that good advice?”

Hmmm… Okay, let me think about how to answer this question politely, but clearly. I don’t know you. You may be a mess. You may need counseling. You may not be ready to write a book. And I suppose there’s something to be said for the fact that a nonfiction book is a tool that offers a solution to a question – so maybe if you haven’t worked all the way through it, you don’t have the solutions to offer yet. And that would mean you probably don’t have a book yet. 

Having said that, I don’t universally agree on the “wait until you understand it before you write about it” theory. The fact is, some of the best writing we have comes from people struggling IN THE MIDST OF pain. Take a look at James Agee’s Death in the Family or Brennan Mannings Ragamuffin Gospel or Lauren Winner’s Girl Meets God. One of the reasons we like those books, one of the reasons they resonate so well with readers, is because they don’t have all the answers. They are people struggling to find answers and, sometimes, coming up short. We live in a world that has questions and brokenness and pain — one that often doesn’t even believe in the notion of there being an “answer.” Letting others see the process we’re going through can prove helpful. So maybe you don’t really need to have all the answers to do a good book. 

I hesitate to make that argument, of course, because I’m afraid it will lead to me seeing more reflective poetry, angst-filled books on bad relationships, and screeds against groups who have hurt you. But while it’s always nice to see somebody who has gone through dark times and come out the other end victorious, remember that great literature can sometimes raise questions, not answers. 

Don’t you sometimes get tired of apparently Prozac-laden religious writers who want to tell you how they moved from difficulty to success, and sell you their twelve-step answers? Isn’t that one of the reasons people view Christians as out of touch? I represent a lot of faith-friendly books, and I see stuff all the time from people who have been through hard things. While I appreciate the fact that you’ve survived, the event itself doesn’t mean there’s a good book in it. The fact of difficult times does not make a book. People in Oklahoma are struggling with the aftermath of terrible tragedy, but that doesn’t mean they should all do a book. A good book generally has a great (if sometimes terrible) story to tell, and causes us to reflect on life or think about changing our lives in order to live more effectively in some way. So don’t send me your “I was healed” story unless there’s something more to it than “I was sick, now I’m well!”

Nor does the individual’s response to difficulty always make a book. (Or, to continue on the same theme, “I was sick, now I’m well. Praise God!”) Some people can’t write. Sometimes the rest of us can’t really connect to the story. My point is that even the BEST story about an active faith has to have some redemptive quality, plus some touchpoint in my life for me to care about it. To “write from the heart” means, to me, that you’ll share what’s really there — neither papering it over with Bible verses nor whining about the lousy hand you’ve been dealt, but revealing what you’re feeling, what questions you’re asking, what (if any) answers you’re getting. And doing it with great words, so that I appreciate the art as well as the story. AND, for it to be a great book, revealing something universal or transcendent about the experience.

To give this perspective, let me move the discussion into the realm of fiction. I was on a panel at  a conference one time, and somebody asked me what sort of novel I’d like to see. That’s a softball for me: “I want to read a novel that changes me.” I routinely come across fiction that entertains me. Nothing wrong with that — it’s largely why we buy fiction, and it’s the sort of thing that pays the bills for those of us who make a living in publishing. But occasionally I’ll come across a novel that makes me see the world with new eyes. A bit of writing that touches me by its power, revealing parallels between my own world and the world of the novelist. By going through that story, vicariously experiencing their struggle, I gain a new perspective. I learn a new way of thinking about my own life. Yeah, sure, sometimes the author shares an “answer.” But other times, the writer simply helps me to grapple with the questions. And THAT’S why I read. Does that help?

I’d love to see how you wrestle with this topic. Feel free to leave a comment. 

Posted in Deep Thoughts, The Writing Craft | 15 Comments »

Someone wrote to ask, “Should an author who writes historical fiction stick only to fiction? Since so much historical research has to be conducted, how do you feel about authors using their novel research to also pen nonfiction?”

I think it depends on the author’s preference, or maybe their gifting. I don’t have any problem representing authors who write both fiction and nonfiction. However, it’s really tough for a writer to succeed at both. In my view, a novel requires a different set of writing skills than a nonfiction book — novelists require the ability to show, not tell, while nonfiction is all about telling. There are very few examples of writers who have excelled at both. (Yes, there are some, but not many.) And readers simply don’t cross over – most tend to be either fiction readers or nonfiction readers. And historical fiction readers aren’t generally that interested in reading a nonfiction book from a favorite writer, so even a bestselling novelist will find her nonfiction book to be a hard sell in the marketplace. For those very practical reasons, most historical fiction writers tend to stay with the fiction genre. 

Another writer wants to know, “What particular skills do you look for in a writer of historical fiction?”

A strong voice, first of all. The one thing that makes a novel unique is not so much the setting or the characters so much as the voice of the writer. Too many historical novels feel the same — the setting has changed, but the book could have been written by anyone. So what really sets it apart, and the first thing I look for, is a strong author voice. That being said, a strong sense of history and adequate research so that the story feels genuine are essential, of course. I want a story that’s unique and interesting, so it’s best if the writer has a passion for that particular period or the events surrounding the novel. I suppose I also prefer an author with a good vocabulary, particularly appropriate to the setting and time. I like to see a clear sense of mood. Good rhythm to their words. Clear pacing. Great characters in interesting situations. Strong dialogue. Vibrant scenes. Action or events that move me from one page to the next. And, if it’s to have a longlasting quality to it, themes that are greater than boy-meets-girl (which works fine in a historical romance, but we like to see more in a true historical saga). 

And I had one writer get in touch and ask me this: “Should novelists try to keep up on publishing trends? I recently heard a bestselling novelist say she never pays attention to the market – that if she tried to write what is currently selling, chances are the trend will have changed by the time she finished the manuscript. What so you think?”

I generally agree. As an author, if you try to chase the market, you have a tendency to always be BEHIND the trend, so your work is never really fresh. But sometimes a novelist has to pay attention – if nobody is publishing westerns, it helps to have your agent say, “Don’t do a western; we can’t sell it.” Or sometimes a publisher will say, “Do you have ANYONE who can do an Amish romance? We need an Amish book.” That’s when it pays off to watch trends. Of course, a bestselling writer doesn’t need to pay attention to trends – publishers are going to stand in line to work with her, and offer her a great deal of money no matter what she writes.

The fact is, I have to pay attention to trends as an agent. And if I’m representing you, it’s nice to know that you, as a writer, are basically aware of what’s happening in the market. Still, what I care about MOST is that you write a great book – trends or not. I do think some authors worry more about the latest trend than they do about the craft. That’s something I see evidenced at writer conferences, and I’ll admit that it bugs me. A good trend won’t help you sell your story so much as writing a great book.

And a personal aside: Bestselling writer, collaborator, and writing mentor to many, Cecil Murphey, lost his wife after she suffered a stroke over the weekend. Cec is a great guy, and man who has been a friend to me, to this blog, and to many writers who frequent this blog. Our prayers are with Cec and his family today. Hang in there, my friend.  

Posted in Career, Current Affairs, Questions from Beginners, The Writing Craft, Trends | 8 Comments »

Someone sent this to me: “To get a book published, do I need an agent or do any publishers still take authors without agents? If I feel like I need an agent, don’t I need to have a publishing record to catch an agent’s attention? What I’m really asking, I guess, is when does an author NEED an agent and when does an author NOT need an agent?”

WARNING: This answer is coming from an agent. Discount all numbers by half and throw out the rest. He is totally biased and opinionated. And make sure you’ve got your pipe and slippers, ‘cause this guy goes on and on and on…

I’m a literary agent. I’ve been in the publishing business in one role or another for decades now, a full time agent for the last 15, and started my own agency about seven years ago. I made my living as an author and, later, as an editor and publisher before I fell away from the Lord and became an agent. I’m pretty successful at what I do, in a business where many people call themselves “agent” but don’t know what they’re doing (and, consequently, don’t last very long), I’m fairly well known in the industry and, by and large, have developed a pretty good reputation for the business (more evidence of the mercy of God, no doubt). Feel free to ask around and see what others say. Most people who know me will tell you that I’m not an “agent evangelist.” I’ll be the first one to tell you that not everybody needs an agent. And I’m fairly safe in talking about this stuff because I’m fairly full-up with clients. That is, I’m not looking to add a bunch of authors (however, if James Patterson is reading this, FEEL FREE TO CALL). With that said, I’m going to give this one man’s opinion…

Agents are more important than ever

There has been this mood around some people on the writing side that, with the advent of ebooks and the ability to self-post anything you create, agents are no longer needed. My response: rot. There are more book publishing opportunities than ever before, more contracts and legal issues, more choices to make, and more need for experienced advice than ever. Sure, you can post your book on Amazon, and maybe it’ll break out — I think that’s a good thing. But who is going to help an author make good choices if they have some success? Haven’t you noticed that all those authors who had their self-published books break out then found themselves turning to an experienced agent to help them manage it all? I frequently get people bringing up THE SHACK, and how the authors of that multi-million selling self-published novel did it all without an agent, and bragged about how the whole thing was done on a handshake. Yeah, that’s true… and then, when they had success, they had nobody to bring any experience to the process. So they all ended up arguing among themselves, slinging accusations, suing each other, and having the whole ugly thing wind up in court. Maybe if they’d had an agent put a bit of time in on it, they’d have saved themselves some grief. (And, oh yeah… now that it’s all resolved, they got agents.) I realize this is a selfish argument, but I’m tired of hearing people who don’t know much about the industry expound as though they were experts. Sure, there are plenty of self-pubbed authors who have sold some copies. Good for them. If they want to move on and have actual careers, most of them will get agents.

With that in mind, let me offer some tips for you, as you think through your own situation…

When NOT to get an agent:

-When you don’t have either a full manuscript (if it’s fiction) or a dynamite proposal and sample chapters (if it’s non-fiction). Without those, you’re simply not ready.

-When you’re not a proven writer. By that I mean, have you proven you can do this writing stuff? In general, publishers are looking for great ideas, expressed through great writing, and offered by a person with a great platform. Sometimes they get all three, sometimes they settle for two of three. I’ve taken on some unproven writers because I liked an idea or their writing, but understand that I work MUCH harder for an unknown author (and get less return) than I do for a proven author… and THAT’S why agents prefer to work with proven authors. If you’re not a proven writer, you may not need an agent. 

-When you won’t let others critique your work. Criticism is how we get better. Why is it the worst writers seem the least ready to listen? Maybe because in their hearts they know they aren’t that good, and admitting that would hurt their self-esteem… or maybe I’m guilty of psychologizing. 

-When you’re not ready for rejection. This is a tough business. Do you have any idea how many times I hear the word “NO” in a week? If you can’t take “no,” or if you can’t take criticism, or if you can’t take direction, go back to the dry-cleaning business. You obviously aren’t tough enough for the writing biz yet. 

-When you have too much time on your hands (right… Like THAT’S going to happen).

-When you feel like you’re “giving away” 15% of your income. I don’t think any of the authors I work with resent my percentage…they know I help them earn more than they’d get on their own.

-When you enjoy selling books and negotiating contracts. I think there are some authors who really enjoy creating proposals on their own, who have the contacts to get their manuscripts in front of editors, and who can manage the contract process themselves. But the truth is, all of those aspects of publishing require some special knowledge. So while it happens, it isn’t common. Again, I’m not an agent evangelist, trying to tell every writer they need an agent. If you can manage all of that yourself, perhaps you’re one of those who don’t need an agent. 

 When TO get an agent:

-When you have a dynamite proposal that a publisher will fall in love with (and the agent should maximize the deal).

-When you don’t know who to go to. The agent should have strong relationships in publishing… ALWAYS ask a prospective agent who he/she represents, ask to talk with some of his/her authors, and ask what deals he/she has done lately. If an agent doesn’t really represent anybody, or hasn’t really done any deals, you have to wonder if they’re really an agent or just play acting. An agent lives or dies on his/her relationships, so make sure you pick somebody who is good at those.

-When you don’t know about contracts (they are legal documents that can impact your life for years). Remember that a contract is a legal document that will govern your book for as long as it’s in print. Before you sign one, make sure you have someone with some experience do adequate review of the document. On a related note, I would argue “When you don’t know what a good deal or a bad deal is,” you probably need an agent. The fact is, the information can be hard to find by outsiders, so the majority of authors are going on hearsay. Working with an agent who knows what to look for and what the current market will bear (in terms of money, deal points, and rights) is important.

-When you don’t know how to read a royalty statement. If you can’t (and sometimes I swear publishers make them as obtuse as possible, to keep authors from understanding what’s going on with their books), you may need some help. 

-When you don’t know how to market your book. More and more of my life these days goes toward helping with marketing — a significant change, when you consider fifteen years ago that was a very small portion of my day. Again, you can get glean great information from books and seminars, but my guess is you’ll find it extremely helpful to have a good agent to talk through the publication, marketing, and sales processes. 

-When you don’t have time on your hands and don’t want to negotiate with the publisher yourself. Which is, essentially, everyone. Okay, that’s just a quick list to consider, but I hope it answers your basic question. 

Posted in Agents, Questions from Beginners | 11 Comments »