Christa Heschke graduated from Binghamton University with a major in English and a minor in Anthropology. She started in publishing as an intern at both Writers House and Sterling Lord Literistic, where she fell in love with the agency side of publishing. Christa has been at McIntosh and Otis, Inc. in the Children’s Literature Department since 2009 where she is actively looking for picture books, middle grade, young adult and new adult projects and is currently building her list. She is a fan of new adult and young adult novels with a romantic angle, and strong, quirky protagonists. In young and new adult, Christa is especially interested in contemporary fiction, horror and thrillers/mysteries. She’d also like to see  any steampunk and fantasy (urban and high), that pushes the boundaries of what’s currently on the shelves, perhaps a new take on these genres that has yet to be seen.  As for middle grade, Christa enjoys humorous contemporary, adventure and magical realism for boys and girls. For picture books, she’s drawn to cute, character driven stories.

1. What is the best part of being a literary agent?

There are so many wonderful things about being a literary agent. I’d say my favorite is experiencing the feeling that comes with finding something great, that you truly connect with, in the query pile. For me, when this happens a list of editors who I think could be a good fit for the project pop into my head. It’s an amazing feeling knowing that you can help an author get their work out there to readers. Writing a book is not easy and I am always so impressed to see the dedication and drive many writers have to their craft—their work becomes a part of them and I’m glad to be able to help as much as I can.

Being an Agent is also wonderful, as we get to be involved in the entire process from query letter to finished book, building an author’s career and every step in between. McIntosh & Otis is a full service agency so every day is different and exciting in its own way. I also handle foreign rights, subrights (audio, book club, etc.) contracts and film for M&O’s children’s clients.

2. How would you summarize your personal agenting philosophy? What do you expect from an agent-author relationship?

I am very hands on with my clients and pride myself in getting back to everyone in a timely manner. Of course things come up sometimes and I can’t respond as quickly as I’d like, but it’s important to me that everyone, whether they have a new project coming out or not, feels nurtured and are getting the time and attention they deserve. Part of being an agent is really getting to know all your clients beyond their writing and understanding what is important to them. For anyone I work with, I want them to know that any advice I give or suggestions I make are because I care about them and their careers—and I just ask that they consider and trust that. An agent-client relationship is all about listening to each other and feeling comfortable enough to have open discourses. If a client has any concerns I want to know. If they have suggestions for an editor to send a project to I’d love to hear it. It’s a partnership.

3. What’s something coming out now/soon that you’ve represented and are excited about?

I am a newer agent, so much of my focus currently is on building my client list, while also managing M&O’s children clients. It is such an honor to work with so many talented writers! I am very excited about a non-fiction picture book project with Houghton Mifflin. I represent the illustrator for the title. It’s in very early stages right now, but I will certainly be sharing more as it progresses. I also have a dark contemporary YA going through a revision that I’m eager to start submitting later this Spring. Too, I recently got back from the Bologna Children’s Book Fair, where I was pitching foreign rights, so it’s certainly an exciting time here. Foreign sales are another great source of income for authors!

4. What are the primary mistakes you see writers make in the query process?

Some of the mistakes I encounter are queries that aren’t addressed to a specific (or correct) person and “too long” query letters. I can’t say enough how important it is to do your research before querying agents and the best place to find the correct information is on the agency’s website, if they have one. Often sites like querytracker and agentquery can be out of date. A query letter should be written in a professional way in business format. I, on occasion, receive queries that say, “To Whom it May Concern” or “Dear Editor/Agent.” This to me says that you sent out a large multiple submission and didn’t take the time to think about who might be a good fit for your project. Research who at a specific Agency handles the type of material you write and address it to them, not the department or the agency in general. Remember when you’re querying you’re looking for someone you’d like to work with too, not just any agent who will offer representation.

Keep your query to a page and don’t give away the entire story in your letter. You want to give just enough to grab an agent’s attention, but not to the point where you’re taking out any element of surprise in your story or taking away from the reading experience. Anything longer than a page is too long and often won’t get read. You should have three to five paragraphs, an introduction, your pitch/info about the project, any pertinent info about yourself (other books you’ve written or have already been published, any other writing experience/credits) and a closing (thank you for your time, this is not an exclusive submission etc.) Also, include what you’ve enclosed with the letter (a synopsis, first pages, SASE etc.).

5. With fiction partials, what makes you stop reading and start skimming-or stop reading altogether?

One of the most important things to me when reading any project is the voice. If the voice isn’t there for me, even if there is non-stop action going on, I may not want to read on. A reader needs to connect with your main character pretty early on—we need to care about them. Also, manuscripts that are very description heavy/expository in the opening pages may cause me to start skimming to see if it picks up. I think it’s very important to include dialogue in the first few pages and try not to over-explain. Your protagonist’s entire backstory does not need to be known right away—in fact, it’s more compelling to reveal it bit by bit.

6. Your agency website says you’re interested in high fantasy, can you elaborate more on what you consider high fantasy?

I have always been a big fan of fantasy, for as long as I can remember, and working with writers on world building is something I always look forward to for any fantasy project, but I’m pretty selective when it comes to high fantasy. It can be hard for middle grade and young adult audiences unless it’s done really well. High fantasy would be any kind of fantasy that takes pace in a world distinct from our own. Most high fantasy is set back in a more “simple” age before technology—think knights and castles, magic and mythological creatures (dragons, elves, fairies etc.). It could also be a novel where a child from our time spends most of the book in a fantasy world, like The Chronicles of Narnia. Game of Thrones is high fantasy. The Last Unicorn. The Lord of the Rings. The Golden Compass. A good fantasy novel transports you to that world—I consider them “escape novels.”

7. We’re seeing small publishers and some self published authors producing bestsellers. What is your opinion of small publishers? Would you consider working with publishers outside of the ‟Big Five” or would you ever advise a client to self publish?

I think small publishers are great and I have no problem submitting to them. If I think a publisher is right for the book and will be dedicated to it (and my client agrees), that’s what’s most important. Editors at small publishers are generally acquiring fewer titles and thus often have more time to work on any given project. This is a big plus and one I definitely let my clients know when submitting. You don’t want your project to get lost among the many others an editor may be working on or behind what they consider their “big book” at the time (which can happen at a larger publisher). I suppose a downside could be that smaller presses might not have as many resources when it comes to marketing and publicity etc., but this isn’t always the case. Like you said, just because you’re published at a small publisher and not one of “the Big 5” doesn’t mean your book won’t become a bestseller!

Sure, self-publishing is always an option. I would just say that with self-publishing you, as an Author, really need to be able to dedicate the time to promote the book yourself and get the word out there.

8. Is a writing platform important for unpublished writers? Does it weigh in on your decision to represent? Are you a fan of social media?

I think it definitely is important. I wouldn’t say it’s the end of the world if you don’t have much of an online presence, but if you don’t, your Agent or Editor will likely suggest you start one. We’re living in a digital world, and it’s very important to how we communicate. I will always Google someone whom I’m interested in representing— so it’s important that you make sure what online presence you do have is professional. A website, Twitter or facebook is a quick way to get to know someone and what they might be like to work with. Also, it’s a good way to start getting followers and fans before you even get your first book published. Because, then once you do, you already have a fanbase who will want to buy your book and will tell their friends about it. Even with a powerhouse publicity/marketing team behind your book, self-promotion is still important and can make a difference in sales. Don’t underestimate the power of social media! When you start building your online presence, just make sure you take the time to do it right. A lackluster or bad online presence, I’d say, is worse than not having one at all.

9. Will you be at any upcoming writers conferences where people can meet/pitch you?

I recently participated in the Writer’s Digest Pitch Slam on April 6th in New York City and the online WriteonCon Pitch Fest in March. Coming up, I will be one of the judges for the Pitch+250 contest on May 19th for pitches and first pages hosted by YA Adventures in Publishing. Follow me on Twitter @ChristaHeschke for up to date info on future conferences I’ll be attending.

10. Best piece(s) of advice we haven’t discussed?

Read in your genre and for the age-range you’re writing for. This market can be tough, so it’s important to know what other books are on the shelves. This can be helpful in two ways. 1) You can use other novels out there in your pitch. “My novel X is Y meets Z.” This is a quick and easy way to give those reading your query a sense of what to expect. But, be careful here. Don’t call your novel the next Hunger Games or Twilight (or any other big blockbuster title). Let the writing speak for itself. 2) It’s important to know what’s on the shelves to make sure your novel isn’t seen as too similar. For instance, if you wrote a story about the zombie apocalypse and there are 10 other books out there, it may be hard to get an editor’s attention unless there’s a big twist that makes it stand out. Don’t write for trends. By the time anything is trending it might be too late to be submitting a title in that genre. It generally takes a book 1-2 years to publish after it’s sold, so if there are already 10 zombie books, there may be another 10 before your book would even publish. Don’t be afraid to write outside trends, even if it’s tough. Write what you love and have to put on the page. Write for you! Your agent will take it from there.

Victoria Marini is the newest member of the Gelfman Schneider Literary Agency. Victoria can be found on twitter and her website which includes her blog, client list, query updates and more. She began taking on clients in 2010, and she has begun to build her own client list which includes literary fiction, commercial fiction, pop-culture non-fiction, and young adult. She is very interested in acquiring engaging Literary fiction and mysteries / suspense, commercial women’s fiction (romantic suspense, sci-fi, fantasy), and Young Adult (contemporary, sci-fi/fantasy, thriller and horror ). Above all, she is looking for anything with an engaging voice, compelling narrative and authentic characters.

1. What is the best part of being a literary agent?

Getting and delivering good news.

2. How would you summarize your personal agenting philosophy? What do you expect from an agent-author relationship?

I have an “open-door” policy. I’m transparent, honest, and cordial and I generally expect the same from my authors. Communicating with my clients is a priority.

3. What’s something coming out now/soon that you’ve represented and are excited about?

Oh man, so Steven Parlato’s THE NAMESAKE just came out and it’s heartbreaking and stunning and brilliant. Absolutely brilliant. Lucas Mann’s CLASS A comes out in May and I couldn’t be more thrilled. He’s going to be a literary powerhouse, truly. He was compared to Joan Didion and Gay Talese! He’s an absolute master of creative non-fiction. And Corey Haydu’s OCD LOVE STORY comes out this July and I. Can. Not. Wait. Corey is one of the most talented, original, stunning YA authors in a decade. She’s incredible.

4. What are the primary mistakes you see writers make in the query process?

Not doing their homework. And talking about themselves too much and their book too little.

5. With fiction partials, what makes you stop reading and start skimming-or stop reading altogether?

Any number of reasons. The plot gets too crazy. The plot gets too boring/slow. Multiple sub-plots aren’t connecting. I can’t understand why the characters are doing what they’re doing. There’s no mystery left, no sense of “what happens next!”

6. Your agency website says that you’re interested in young adult, can you elaborate more on YA subgenres that you might consider?

All of them, honestly. I love big, splashy, commercial or intimate and literary. I love sci-fi, fantasy, contemporary, horror, historical, and suspense. Some examples: I loved HEIST SOCIETY, CODE NAME VERITY, WHAT SHE LEFT BEHIND, CREWEL, BEFORE I FALL, THEN YOU WERE GONE, THE PECULIAR, LIAR, LOOKING FOR ALASKA, and I’m especially looking forward to 17 & GONE.

7. When accepting fantasy and sci-fi, what subgenres do you lean toward?

It’s hard to nail down, but think “Firefly” rather than “The Hobbit,” or as my friend and fellow agent Sarah LaPolla coined: “’Star Wars’” rather than ‘Star Trek.’”

8. Will you be at any upcoming writers conferences where people can meet/pitch you?

I’ll be at the Midwest Writer’s Conference in Muncie Indiana this summer, and I’m doing writeOn con, too.

9. Is a writing platform important for unpublished writers? Does it weigh in on your decision to represent? Are you a fan of social media?

It depends on what you’re publishing. Non-Fiction Lifestyle / How-to/ Arts etc… yes it’s absolutely important. Fiction, I don’t generally care about platform, but I do think it’s essential to maintain an online presence to connect with your readers, peers, booksellers, industry professionals, etc…

10. Best piece(s) of advice we haven’t discussed?

Alright. Tough truth time: If you’re wondering whether or not something matters enough or is impressive enough to put in your query, it probably doesn’t and it probably isn’t.

Aspiring authors are terrified to just write “My name is Victoria Marini. SCENTED CANDLE is my first novel. I hope you enjoy it.” And I get it. You’ve been told that you need to stand out. But, I respond better to “I am an as yet unpublished writer,” than “ My book was published by [insert vanity press].” Or “and I have 5,000 twitter followers.” Or “I self-published and received several four star reviews.”

Caryn has been an agent with the Andrea Brown Literary Agency since early 2003, and has sold more than 175 books. She handles children’s books only: young adult and middle-grade fiction and non-fiction, chapter books, and picture books (fiction and non-fiction). She represents NYT bestselling authors, award-winning authors, debut authors, and authors at every stage in between. No matter the genre, Caryn is looking for books with emotional depth and a strong voice; excellent writing in a tightly-plotted, commercial story; and characters that stick with her long after she has closed the book. In YA, she gravitates toward books that make her think and toward books that make her cry; in middle-grade and chapter books, laughter tends to be the common thread. She loves books that are intellectually challenging and take risks, but in a very logical way. She wants to be surprised by interesting plot twists, but she never wants to question the motivations of characters.

Caryn is very drawn to speculative middle grade or YA fiction—whether contemporary with a very smart science fiction or light fantasy element, or a unique twist on paranormal or dystopian themes. Zombies, horror, and high fantasy will, most likely, not appeal. She would be thrilled to see more contemporary multicultural middle grade or YA—books that deeply explore another culture, as well as books in which the ethnicity of the character is not the issue. She adores a swoon-worthy romance with an intelligent heroine who isn’t simply swept off her feet by a hunky hero. She adores a sweet, funny or poignant middle-grade novel, with a great hook that makes it stand out from the crowd. She is always open to terrific children’s work that doesn’t fit these categories, however, as long as it makes her laugh, makes her cry, and keeps her awake at night, either reading the manuscript or thinking about it. A literary bent to a well-crafted commercial story in which ordinary characters find themselves in extraordinary situations would capture her attention. She loves lyrical, non-institutional picture book biographies, and children’s or teen nonfiction that reads like fiction; that has a great “story behind the story.” She does not represent adult projects. Please do not query her regarding adult work.

1. What is the best part of being a literary agent?

Fulfilling dreams! Telling an author that I’ve received an offer (or multiple offers) on their manuscript makes me giddy, and sometimes makes me cry (I’m a sap). Being part of the trajectory of a project from manuscript to actual physical book is amazing. After almost 10 years of agenting, I still get chills when I walk into a bookstore and see my clients’ books on the shelves. I also love to brainstorm with my clients, particularly when there are tough story issues to resolve.

2. How would you summarize your personal agenting philosophy? What do you expect from an agent-author relationship?

My personal agenting philosophy is to be honest and transparent with authors and with editors. I expect my authors to be honest in return. I only take on projects that I am passionate about. If I’m not passionate about your work, I’m not going to be able to sell it, even if it’s something commercial. I also hope that my authors will not be defensive, but will take time to think about editorial comments before responding negatively. This is a partnership, and it’s built on trust and mutual respect.

3. What’s something coming out now/soon that you’ve represented and are excited about?

THE GATHERING DARK by Christine Johnson is coming out on February 12th. It’s a YA novel that Booklist calls a “lusty romance made more so by its self-imposed repressed desire, a nod to astrophysics and the theory of dark matter, and a suspenseful adventure into another world, all grounded in references to classical piano repertoire.” Also, New York Times bestselling author Tom Angleberger’s Art2-D2′s Guide to Folding and Doodling: An ORIGAMI YODA Activity Book, will be out at the end of March. Kids are going to love it!

4. What are the primary mistakes you see writers make in the query process?

The biggest mistake that writers make is not following our submission guidelines. They are clearly spelled out on our website, and they are there for a reason. If you want me (or any of my colleagues) to take a look at your work, please follow the guidelines. Also, writers should personalize their e-queries. I only ask for exclusives for something that I’ve requested, so submitting to me exclusively is not going to increase your chances, and may delay your finding the right agent for you. Getting a query addressed to “Agent” or, even worse, addressed to the wrong agent, or more than one agent, is a big mistake. Submitting to more than one agent at our agency at the same time will usually lead to us all deleting it. We don’t want to waste our time. Finally, it is a big turn-off when writers don’t polish their query letters and/or pages. Have someone proofread your material. Watch grammatical and punctuation mistakes, and don’t write in text-speak. It makes you look unprofessional, and that puts you at a disadvantage. You only have one shot, so make it your best.

5. With fiction partials, what makes you stop reading and start skimming-or stop reading altogether?

I’ll stop reading at any point in a partial or full manuscript. It could be the first sentence; it could be the 200th page. A great voice can pull me in, but I’ll stop reading as soon as the story starts falling apart (and I’ll be sad and disappointed). A great story with page-turning pacing will keep me going, until I get to the point when I say “oh, come on!” and stop reading. A story that’s just plain boring, even if the voice is great, will turn me off when I get to the point that I realize nothing is going to happen.

6. Your agency website says that you’re interested in young adult, can you elaborate more on YA subgenres that you might consider?

Any and all except horror. Given today’s market, if you’ve got something paranormal or speculative, it needs to be unique and it needs to stand out from the crowd that’s already out there. I hate to say no to something that could be an amazing twist on themes that have been explored before, but dystopian is a pretty tough sell right now, so if you’ve got something dystopian, it’s unlikely that I’ll take it on, unless it has an amazingly fresh and unique spin. Same with paranormal. I’m not usually drawn to high fantasy, particularly if it requires maps, but if it’s something fresh and amazing, I’m open. Right now, I’d love to see a great contemporary YA – either completely realistic, or with a very smart science fiction or light fantasy element. No zombies, horror, or high fantasy. I adore a swoon-worthy romance with an intelligent heroine who isn’t simply swept off her feet by a hunky hero. Voice is paramount, but the writing and story need to be amazing, too. Specifically, I’d love to see a YA thriller with the pacing and twists of HOMELAND a YA Downton Abbey, a Southern gothic romance, and a YA Glee or Pitch Perfect or Big Bang Theory. I’d also be happy with a non-dystopian science fiction or light fantasy, in which the world-building just carries me off.

For middle-grade, I’d love to see something hysterically funny that isn’t a one-trick pony, or a voice-driven, poignant story like WONDER, or a sweeping, epic adventure. I also love literary middle-grade like WHEN YOU REACH ME, as long as it has a great hook or twist.

7. When accepting fantasy and sci-fi, what subgenres do you lean toward?

I tend to like light sci-fi and light fantasy, grounded in reality, or contemporary fiction with a sci-fi or fantasy twist. I don’t tend to like fantasy that requires maps or involves elves and great quests. On the other hand, if you have built an amazing world that I’ve never seen before, I’d be open to taking a look.

8. Will you be at any upcoming writers conferences where people can meet/pitch you?

Big Sur, VA Festival of the Book, SCBWI Northern California

9. Is a writing platform important for unpublished writers? Does it weigh in on your decision to represent? Are you a fan of social media?

A writing platform is not important for unpublished fiction writers. For nonfiction, a platform can be important if you’re an expert in a certain area, but not as important as in adult non-fiction. That being said, an author who is already out there on social media is a big plus. Authors have to promote themselves, so someone who is social media savvy and well-connected will catch my eye if their manuscript is amazing. But, if you’re writing YA fiction, don’t worry that you have to get out there and establish some sort of platform before submitting your work.

10. Best piece(s) of advice we haven’t discussed?

Never stop reading, particularly in the category that you’re interested in. Just because you’re a fabulous YA author, it doesn’t mean that you know how to write middle-grade or picture books. Don’t try to write to trends; you can’t catch them. Write the best book that you want to write. Develop a thick skin, and keep it on. Always remember that this is a subjective business, and, just because one agent or editor doesn’t like something, doesn’t mean that another won’t fall in love with it. It only takes one. On the other hand, if a number of professionals are giving you similar suggestions about your work, it might be worth listening. Check your hubris at the door, but bring your passion with you everywhere that you go.

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I’ll be teaching another course through Savvy Authors called, “Building an Audience: Finding Readers for Your Blog and/or Your Writing” starting on February 25th. As a special bonus, five of the course participants will win a copy of Scrivener! If I get over 100 participants, I’ll be giving away a new Kindle! The course is $20 for Savvy members and $30 for everyone else. Please see below for a detailed description. I hope I see you there!

Building an Audience: Finding Readers for Your Blog and/or Your Writing

Learn how to build your brand from an experienced book publicist. This course is designed for bloggers looking to increase their website visibility, writers seeking literary agents and/or publishers, and published authors who want to expand their audiences without spending a ton of money on advertising.

What can this course offer an unpublished writer seeking an agent or publisher?

In this dismal economy, publishers are looking for more of the “sure-thing” and taking less chances on unknown authors. One way to make yourself stand out in the slush pile is to build your audience even before your book is sold. Social media and a personal blog can do exactly that for you. All you need are some basic tools and 15-30 minutes a day.

How can a published author benefit from this course?

Do you want to grow your audience, but unsure how without spending a ton of money on advertising? I can show you how to drive readers to your blog and give you techniques to target readers in your genre. In this course, I’ll discuss all my favorite outlets and go over in detail how I used them to build an audience for my clients.

Will this course help bloggers increase the traffic on your site?

Yes, the same lessons I teach writers will also work for bloggers. In this course, I’ll discuss ways you can improve your blog and what techniques you can use to drive traffic to your site. You can do it for free and it will only require 15-30 minutes a day. Within each of the four lessons, there will be specific portions dedicated to blogging.

You can register HERE!

Stacey O’Neale is a freelance writer, book blogger, and a senior publicist with Entangled Publishing. She has participated in panels at Book Expo America and the Virginia Festival of the Book. In addition, she teaches social media and publicity courses through Savvy Authors.

Looks like the publishing industry is set to take another hit from Amazon. This one will be what kills e-book sales. Yesterday, Publishers Weekly announced, ‟the mega-retailer has its sights on digital resale, including used e-books and audio downloads. According to the abstract, Amazon will be able to create a secondary market for used digital objects purchased from an original vendor by a user and stored in a user’s personalized data store.”

I’m going to attempt to explain what this means: If person A buys an e-book from Amazon Kindle, they can resell the e-book to person B at a lower price because the e-book is now deemed used. The license moves from person A to B, and supposedly once person A has sold it, they can no longer view the e-book in their device. Just to be clear, both the author and publisher of the e-book receive no compensation from the sale to person B. Also, person B can choose to sell the e-book to person C, and it works just the same as above.

Maybe you’re asking, ‟Why does this matter? Amazon already sells used print books and authors are still making money?”

Here’s a great example. In October 2012, I ran the promotions for the second e-book in J. Lynn’s Gamble Brothers series, Tempting the Player. That month, the promotions of the second e-book boosted sales of the first e-book (Tempting the Best Man) causing it to land on the USA TODAY bestsellers list for the first time. The e-book, Tempting the Best Man, was released in May, 2012.

Let’s pretend Amazon’s secondary e-book market was already in place when Tempting the Best Man was released. Since the e-book was available for six months, there’s a good chance used copies would’ve been available. Meaning, the first e-book would’ve never hit the bestsellers list because secondary sales are not counted toward the lists, and as I already stated, the author receives no compensation for secondary sales. There’s no way for me to prove it wouldn’t have been a bestseller, but I’m confident readers would’ve purchased the cheaper digital if given the option.

Overall, it’s a major hit to an already dwindling market. You can thank Amazon personally for the loss of Borders and most of the other bookstore closings over the last few years. They simply can’t compete with used print book sales. And, this new development will make it even worse for booksellers, publishers, and authors. I expect e-book only authors to take the greatest hit. I mean, why would someone buy a new e-book from the publisher/author when they can buy used (but not really used because it’s digital) at a lower cost? Not to mention, the e-books can be sold over and over and over again (see outline above) without the burden of having to mail anything yourself.

In my opinion, Amazon has become the Walmart of the publishing industry, and I wonder how long the publishers/authors/booksellers can take these ginormous hits before the whole system as we know it crumbles at their feet.

Stacey O’Neale is a freelance writer, book blogger, and a senior publicist with Entangled Publishing. She has participated in panels at Book Expo America and the Virginia Festival of the Book. In addition, she teaches social media and publicity courses through Savvy Authors.

Special thanks to CNN Money for this pic.

Susan Hawk represents authors who write for children of all ages, babies to teenage.

I come to The Bent Agency from Children’s Book Marketing, where I worked for over 15 years, most recently as the Marketing Director at Henry Holt Books for Young Readers, and previous to that as the Library Marketing Director at Penguin Young Readers Group. While at Penguin, I also worked for a time in Dutton Editorial, acquiring projects for that list. My favorite part of that time was being able to read new submissions — finding something wonderful and imagining where it can go was thrilling to me then and remains so now.

I handle books for children exclusively: picture books, chapter books, middle grade and YA, fiction and non-fiction. In middle-grade and YA, I’m looking for something that makes me laugh out loud, I’m a sucker for bittersweet, and I can’t resist a character that comes to understand how perfectly imperfect the world is. I want a book to stay with me long after I finish reading, and I’m looking for powerful, original writing. I’m open to mystery, sci-fi, humor, boy books, historical, contemporary (really any genre). My favorite projects live at the intersection of literary and commercial. In non-fiction I’m looking for books that relate to kid’s daily lives and their concerns with the world. In picture books, I’m looking particularly for author-illustrators, succinct but expressive texts, and characters as indelible as my childhood favorites Ferdinand, Madeline, George and Martha.

1. What is the best part of being a literary agent?

Calling a client to let her know that we have an offer! A close second is reading something and knowing within just a couple pages, that I love this project.

2. How would you summarize your personal agenting philosophy? What do you expect from an agent-author relationship?

Though I love falling in love with a book, I don’t represent books, I represent writers. I want to form a long-term partnership with my clients, helping to build and develop their career over time. A key part of that is open and honest communication, from both sides, and a mutual understanding that we’ll both work hard to reach the goals we set.

3. What’s something coming out now/soon that you’ve represented and are excited about?

I’m very excited about The Ninja Librarians of Passaic, coming from Sourcebooks in Spring 2014, a fabulous fantasy novel about a girl who falls into a magical and mysterious library, whose wings stretch through time. It’s an amazing world, a great adventure, and the main character is a particular favorite.

Another project I’m thrilled about is 17 First Kisses, a YA novel also coming in the Spring of ’14 from Harper. It’s the story of best friends competing for the new boy in town – who may or may not be worth it – told in chapters that alternate between senior year and the past, revealing family loss and the history of this knotty best-friendship.

4. What are the primary mistakes you see writers make in the query process?

Sometimes I see proposals that feel as though the author has spent more time thinking about how the project should be marketed than writing the very best book they can. I think writers can get caught up in how competitive the book market is. And it is very competitive, so I can understand that. Still, dreaming up marketing plans may come at the expense of your project and in the end, what makes me excited isn’t your marketing expertise, it’s your writing. Don’t ever shortchange that.

5. With fiction partials, what makes you stop reading and start skimming-or stop reading altogether?

I want a book that grabs me from the first line and gives me an immediate, strong connection to the main character. I want to fall in love! Anything that gets in the way of that could stop me – too much exposition, a setting or character description that feels familiar or weak, writing that doesn’t read smoothly, or feels workmanlike.

6. Your agency website says that you’re interested in young adult, can you elaborate more on YA subgenres (i.e. fantasy, sci-fi, etc.) that you might consider? When considering middle grade manuscripts, what subgenres do you lean toward (i.e. fantasy, sci-fi, etc.)?

I’m open to most any genre in both young adult and middle grade, as long as the characters are vital and complex, and I’m captured by the voice. My taste skews literary, though I do want strong plotting and for something to happen to the characters.

I hate to rule genres out because as soon as I do, I read something unexpected and wonderful that based on genre alone, I might not have picked up. That said, I’m not usually drawn to books about horses, animal adventures, wilderness survival stories, or straight-up romance. But if you’re planning on querying me with a project like that, don’t worry – you might have the horse book that will change my mind about horse books, so send it along!

There are some genres I love: mystery, science fiction, and witty, sly humor. I like thrillers, ghost stories and horror, but shy away from anything too bloody or gross – give me tons of creepy atmosphere and I’m happy. I’m interested in books with unreliable narrators, and unique or experimental writing styles. I’ve always loved historical fiction, am especially drawn to English history, and want stories about times and places that haven’t been covered before. I’ve been a fantasy reader forever, though I’m not looking for high fantasy, or anything Tolkienesque. I’m also interested in graphic novels and author-illustrators for picture books.

7. Will you be at any upcoming writers conferences where people can meet/pitch you?

I’ll be at the 2013 SCBWI Agent’s Day in Newport Beach, California in March, the Niagara Falls Writers/Illustrators Retreat and Conference in May, and SCBWI Carolinas 2013 Annual Conference in September. I hope to do a few more conferences as well, so check our Agency blog for updates: http://jennybent.blogspot.com/.

8. Is a writing platform important for unpublished writers? Does it weigh in on your decision to represent? Are you a fan of social media?

I don’t make the decision to take on a debut author on the basis of their platform, but I do think it’s helpful for an author to have established some online presence. But before doing that, it’s a good idea to think about the time you have to maintain such a thing. Writing daily, or even weekly, blog entries can be very consuming. Creating a twitter account and following agents, editors and more established authors can take much less time. The writer knows what will work best in their life. I do think that there are so many sources of information for writers out there, and it’s a good idea to tap into that!

9. Best piece(s) of advice we haven’t discussed?

Never stop reading. Join or create a writer’s group, if you haven’t already. Take a break and go do something that has nothing to do with writing or your book – none of us are any good if all we do is work, and you never know how something unexpected will inform your project. And have fun!

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Sarah LaPolla is an associate agent at Curtis Brown, Ltd. She studied creative writing at Ithaca College and has an MFA in creative nonfiction from The New School. She started working in the foreign rights department at Curtis Brown, Ltd. in 2008 and became an associate agent in 2010. Sarah represents both adult and YA fiction. For adult books, she is looking for literary fiction, urban fantasy, magical realism, dark/psychological mystery, and literary horror. On the YA side, she welcomes all genres and is drawn to unique voices and strong, complex characters.

1. What is the best part of being a literary agent?

Working with my clients. They’re my favorite people. They’re talented and fun and professional, and a pleasure to work with. Making sure they, and their books, are given respect and attention is something I’m honored to do for them.

2. How would you summarize your personal agenting philosophy? What do you expect from an agent-author relationship?

I expect an author to understand my function as their agent and understand that I’m on their side. Authors sometimes get territorial about their work, with good reason, but sometimes this makes them paranoid that agents are secretly out to get them or don’t know what they’re talking about. I can’t work with someone who doesn’t trust that I have their best interests in mind. I also expect an author to be honest and professional with me the same way they should expect me to be toward them.

3. What’s something coming out now/soon that you’ve represented and are excited about?

Coming up later this year (November), FAULT LINE by Christa Desir is being published by Simon Pulse. It’s a debut contemporary YA about a girl who is sexually assaulted at a party and spirals downward. What’s unique about this one is it’s told from her boyfriend’s perspective, who wants to “save” her and watches as she disintegrates. It’s such a powerful story and Christa is a phenomenal writer. Also, half of the proceeds of the book are going to the Voices and Faces Survivor Testimonial Workshop, which is an organization dedicated to giving a voice to survivors of sexual abuse.

4. What are the primary mistakes you see writers make in the query process?

Querying before they’re ready. This can mean either the book itself wasn’t ready to query or the authors hadn’t yet put in enough research to query the right people.

5. With fiction partials, what makes you stop reading and start skimming-or stop reading altogether?

Beautiful writing will keep me reading, but even that will only take a writer so far. I need the catalyst for the plot to make itself known by at least Chapter 3, if it doesn’t happen in Chapter 1. This varies based on genre and style, of course, but usually that’s around the time I get antsy and wonder where the writer is taking me. If the story isn’t going anywhere, or the character has stopped keeping my interest, I don’t read further.

6. On the YA side, can you elaborate more on YA subgenres you find most appealing?

I like the same genres in YA as I do in adult. YA is an age group to be marketed to; not a genre. My taste is more literary and contemporary, so I tend to gravitate toward character-focused stories even if I’m reading a mystery, sci-fi, fantasy, or horror (my sub-genres of choice).

“Subgenres” of YA are fun because they don’t really exist. They all get shelved in the YA section of a bookstore. With the exception of Paranormal Romance, no other genre has gotten its own heading. Fans of genre fiction might not like this, but for teens I think it’s great. There’s no segregation involved the way there is with adult fiction. Don’t like sci-fi? Don’t go to the sci-fi section. But with YA, you can’t help but see everything it has to offer, so you don’t miss out on anything.

7. On your agency ‟about” page, you listed magical realism as an interest. This term is confusing to many aspiring writers. How do you define it?

The ultimate question! It’s hard to define. It’s more like “I know it when I see it.” But, I shall do my best: Magical Realism is a subgenre of literary fiction that infuses fantastical elements into a story without them being essential to the plot. It’s *not* fantasy, paranormal, or urban fantasy. The “realism” part of magical realism should be the main setting of the story. Magic is just a weird little addition that enhances it.

8. Will you be at any upcoming writers conferences where people can meet/pitch you?

I’ll be at the Writer’s Digest “Pitch Slam” in New York in April, the Backspace Writer’s Conference, also in New York, in May, and will be attending the Jackson Hole Writer’s Conference in Wyoming in June.

9. Is a writing platform important for unpublished writers? Does it weigh in on your decision to represent? Are you a fan of social media?

I love social media and think writers are doing themselves a disservice by not following agents and editors and other writers on Twitter. But, no one should feel the need to participate in social media until they feel comfortable enough to know how to use it. There’s no shame in lurking and getting your feet wet first.

“Platform” isn’t something I usually care about because I work primarily with fiction, and I work mostly with debut authors. With fiction, the story needs to speak for itself. Not having publication credits or a huge online platform matter very little if the novel is brilliant. I work with my authors to build that “platform” after the fact. Nonfiction, however, requires more of a presence and those writers do need a platform before an agent will look at their work. If a project is good enough, an agent will work to build that platform for them, but they won’t try selling the book to publishers until there’s one already there.

10. Best piece(s) of advice we haven’t discussed?

Don’t give up. If you query 100 agents and get 100 rejections, write something new and query again. Keep trying until the right project finds you the right agent.

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SOME GOOD WRITERS’ WORKSHOPS:

~ Writing for Life Workshops, Newark, CA (South Bay region of San Francisco) - http://www.writingforlifeworkshops.com/ June 28-30 – James Scott Bell; Sept. 14-15 – Davis Bunn; Oct. 19-20 – Michael Hauge

WRITERS’ CONFERENCES, CONVENTIONS, & BOOK FESTIVALS:

JANUARY 2013:
Jan. 18-21, 2013 – Aloha Writers Conference, Kapalua, Maui, Hawaii. www.alohawritersconference.com
Jan. 18-21, 2013 – Winter Poetry & Prose Getaway, Stockton Seaview Resort, New Jersey. www.WinterGetaway.com
Jan. 24-28, 2013 – Fun in the Sun Conference – Florida Romance Writers: http://www.frwriters.org/conferences.html
Jan. 26, 2013 – Making it in Changing Times – one-day writers’ conference, Portland, Oregon.

Jan. 25-27, 2013 – San Diego State University Writers’ Conference, Doubletree Hotel, San Diego’s Mission Valley. http://www.ces.sdsu.edu/writers/
Jan. 26-27, 2013 – Cocoa Beach Writers’ Conference, Cocoa Beach, Florida. http://www.scwg.org/conference.asp

FEBRUARY 2013:
Feb. 1-2, 2013 – Cape Fear Crime Festival, Wilmington, NC. http://www.capefearcrimefestival2.com/
Feb. 1-3, 2013 – Love Is Murder Mystery Conference, Chicago, IL. http://www.loveismurder.net/.
Feb. 13-17, 2013 – San Miguel Writers Conference, San Miguel de Allende, Mexico. http://www.sanmiguelwritersconference.org/
Feb. 14-17, 2013 – Savannah Book Festival 2013, Savannah, GA. Free and open to the public. http://www.savannahbookfestival.org/
Feb. 14-17, 2013 – Writing For the Soul, Colorado Springs, Colo. www.christianwritersguild.com/conference
Feb. 14-17, 2013 – San Francisco Writers Conference, San Francisco, CA. http://www.sfwriters.org/
Feb. 15-16, 2013 – South Coast Writers Conference, Gold Beach, Oregon. www.socc.edu/scwriters
Feb. 16, 2013 – Sleuthfest on Saturday – Sarasota, Florida. http://www.mwaflorida.org/sleuthfest.htm
Feb. 15-18, 2013– The Southern California Writers Conference (SCWC) – San Diego http://www.writersconference.com/

MARCH 2013:
March 6-9, 2013 – AWP Writers’ Conference in Boston, MA, Assoc. of Writers and Writing Programs: http://awpwriter.org/conference/2013awpconf.php
March 9, 2013- Unicorn Writers’ Conference, Portland, CT. http://www.unicornwritersconference.com/
March 9-10, 2013 – The Tucson Festival of Books, University of Arizona campus, Tucson, AZ. Free and just excellent! http://tucsonfestivalofbooks.org/
March 19-23, 2013 – University of North Dakota Writers Conference, Grand Forks, ND. Free! www.undwritersconference.org.
March 20-24, 2013 – Virginia Festival of the Book, Charlottesville, Virginia, http://www.vabook.org/index.html/
March 21-24, 2013 – Left Coast Crime 2013 annual mystery convention, Colorado Springs, CO. http://www.leftcoastcrime.org

APRIL 2013:
April 4-6, 2013 – Tennessee Mountain Writers Conference, Oak Ridge, Tenn. Fiction, NF, poetry, editing & publishing. www.tmwi.org
April 5-6, 2013 – Houston Writers’ Guild Conference, “Getting There From Where You Are,” at the Marriott Hotel, Sugar Land Square, Sugar Land, Texas. www.houstonwritersguild.org
April 5-7, 2013 – Writer’s Digest Conference, New York City, http://www.writersdigestconference.com/ehome/
April 12-14, 2013 – University of Wisconsin-Madison’s Writers’ Institute, Madison, Wisconsin, www.uwwritersinstitute.org
April 18-20, 2013 – Las Vegas Writers’ Conference, Sam’s Town Hotel and Casino, Las Vegas, Nevada. http://www.lasvegaswritersconference.com/
April 19-20, 2013 – Kentucky Writers’ Conference and Southern Kentucky Bookfest. – Free! http://www.sokybookfest.org/KYWritersConf
April 20, 2013 – Alabama Book Festival, Montgomery. Free Admission, http://www.alabamabookfestival.org/
April 19-21, 2013 – Pikes Peak Writers Conference, Colorado Springs, Colorado; http://www.pikespeakwriters.com/
April 20-21, 2013 – The LA Times Festival of Books, University of Southern California campus, Los Angeles. http://events.latimes.com/festivalofbooks/
April 27, 2013 – 23nd Annual TMCC Writers’ Conference, Truckee Meadows Community College, Reno, NV. http://www.tmcc.edu/wdce/conferences/writers/
April 26-28, 2013 – Missouri Writers Guild’s Write Time! Write Place! Write Now! Writers’ Conference, Sheraton Westport Hotel, St. Louis. http://www.missouriwritersguild.org/

MAY 2013:
May 1-5, 2013 – Romantic Times Book Lovers’ Convention, Hyatt Regency O’Hare Hotel, Rosemont (Chicago) IL. http://www.rtconvention.com
May 2-4, 2013 – The Oklahoma Writers Federation Story Weavers Conference, Oklahoma City. http://www.owfi.org/conference.php
May 3-5, 2013 – Malice Domestic, annual traditional mystery fan convention, in Bethesda, MD. www.malicedomestic.org
May 4-5, 2013 – DFW Writers Conference, Dallas-Ft. Worth, TX.
http://dfwwritersconference.org/
May 10-12, 2013 - Southwest Book Fiesta, Albuquerque Convention Center. http://swbookfiesta.com/
May 17-18, 2013 – Tallahassee Book Festival and Writers Conference. http://www.twaonline.org/
May 17-19, 2013 – SC Book Festival, Columbia Metropolitan Convention Center in Columbia, South Carolina. http://www.scbookfestival.org/
May 23-25, 2013 – Backspace Writers Conference, New York City, http://www.backspacewritersconference.com/

JUNE 2013:
June 7-9, 2013: 64th annual Philadelphia Writers’ Conference, Holiday Inn Historic District, Philadelphia, PA. www.pwcwriters.org
June 8 & 9, 2013 – Chicago’s Printers Row Lit Fest. Sponsored by the Chicago Tribune.
June 8-13, 2013 – Santa Barbara Writers Conference, Santa Barbara, CA. http://www.sbwriters.com/
June 14-18, 2013 – Kachemak Bay Writers’ Conference, Lands End Resort, Homer, Alaska. http://writersconference.homer.alaska.edu/
June 21-23, 2013 – RomCon, Colorado Springs, Colorado http://www.romcon.com
June 21-23, 2013 – Summer in Words Writers’ Conference, Cannon Beach, Portland. Run by Jessica Page Morrell. http://summerinwords.wordpress.com/
June 22-23, 2013 – California Crime Writers Conference, Pasadena, Cal. http://www.ccwconference.org/
June 25-29, 2013 – Western Writers of America convention, Las Vegas, Nevada. http://www.westernwriters.org/
June 27-29, 2013 – Jackson Hole Writers Conference, Jackson Hole, Wyoming. http://www.jacksonholewritersconference.com/
June 27-30, 2013 – In Your Write Mind Workshop, Seton Hill University, Greensburg, PA. inyourwritemind.setonhill.edu

JULY 2013:
July 6-12, 2013 – Antioch Writers’ Workshop, Yellow Springs, Ohio. http://www.antiochwritersworkshop.com/
July 10-13, 2013 – Thrillerfest and Craftfest – International Thriller Writers annual conference, New York, NY. http://www.thrillerfest.com/
July 11-14, 2013 – Public Safety Writers Conference, Las Vegas NV. Open to those writing fiction or nonfiction about or for any public safety field. Conference speakers include a coroner, fire fighters, police officers, and others in the writing field. http://www.policewriter.com/.
July 17-20, 2013 – Romance Writers of America Annual Conference, Atlanta, Georgia. http://www.rwa.org/cs/conferences_and_events
July 25-28, 2013 – Book Passage Mystery Writers Conference, Corte Madera, CA. http://bookpassage.com/mystery-writers-conference
July 25-28, 2013 – Pacific Northwest Writers Association summer conference, Bellevue, Washington, http://pnwa.org/
July 25-28, 2013: Cascade Writers Workshop, Portland, Oregon. www.CascadeWriters.com.
July 28-Aug. 2, 2013 – Napa Valley Writers’ Conference – http://www.napawritersconf.org

AUGUST 2013:
August 7-11, 2013 – Romance Novel Convention, Las Vegas, Nevada. http://romancenovelconvention.com/
Aug. 15-18, 2013 – Sunshine Coast Festival of the Written Arts – Sechelt, BC, Canada. http://www.writersfestival.ca/
Aug 22-26, 2013, Killer Nashville, Nashville TN.  www.killernashville.com

SEPTEMBER 2013: Sept. 5-8, 2013 – Writers Police Academy, Guilford Technical Community College (GTCC), Jamestown, N.C. http://writerspoliceacademy.com
Sept. 14, 2013 – Central Ohio Fiction Writers Conference – http://www.cofw.org/conference.html
Sept. 19-22, 2013 – Bouchercon, huge crime fiction readers’ & writers’ convention. Albany, NY, at the Empire State Plaza.
Sept. 20-22, 2013 – The Southern California Writers Conference (SCWC) – Los Angeles http://www.writersconference.com/
Sept. 20-22, 2013 – The Rocky Mountain Fiction Writers Colorado Gold Conference, Denver, Colorado. http://www.rmfw.org/conference

OCTOBER 2013:   Oct. 4-6, 2013 – Write on the Sound – Edmonds, WA – http://www.writeonthesound.com/
October 11-13, 2013 – Women Writing the West Conference, Kansas City, MO, www.womenwritingthewest.org
Oct. 18-20, 2013 – Florida Writers Conference http://floridawriters.net/
Oct. 18-20, 2013 – Emerald City Writers’ Conference (Romance Writers of America), Bellevue, Washington, http://www.gsrwa.org/conference.php
Oct. 19-20, 2013 – West Virginia Book Festival, Charleston, WV, http://wvbookfestival.org/
Oct. 25-27, 2013 – Surrey International Writers Conference, Surrey, BC, Canada. http://www.siwc.ca/
Oct 25-27, 2013 – South Carolina Writers Workshop, Myrtle Beach, SC – http://www.myscww.org/conference/

NOVEMBER 2013: Oct. 31-Nov. 3, 2013 – World Fantasy Convention, Brighton, U.K., www.wfc2013.org
Nov. 1-3, 2013 – The La Jolla Writers Conference, Paradise Point Resort & Spa, San Diego, CA – http://www.lajollawritersconference.com/
Nov. 8-10, 2013 – The New England Crime Bake Conference, Dedham, Mass. http://www.crimebake.org/

DECEMBER 2013: (Not usually any conferences in December.)

Special Thanks to Jodie Renner for putting this amazing list together!

Special Thanks to Myself as Written for the picture!

Sarah Davies is based in Washington DC and heads the North American side of the Greenhouse, so if you live in the States or Canada you should submit work to her (see submission guidelines for more information). Sarah has more than 25 years’ experience of children’s publishing, moving to the USA from London in 2007. She started her career at Collins (before it was HarperCollins), followed by a spell at Transworld/Random House. In 1994 she joined Macmillan Children’s Books in London as Fiction Editor, rising through the editorial ranks to Publishing Director (and member of the Management Board), a position she held until 2007 when she left to start Greenhouse.

In her publisher incarnation, Sarah worked with and published many high-profile writers on both sides of the Atlantic. As an agent she has shepherded many debut (and several previously published) authors to success. She has considerable experience in contract negotiation, marketing and rights, as well as a strong understanding of digital developments. Excellent publishing contacts in both the USA and Britain, and homes in both countries, have given her an unusually transatlantic view of the children’s books industry, enabling her to represent authors directly to both markets. Sarah makes regular trips to New York and London, meeting publishers and keeping in touch with the book scene.

A member of AAR and SCBWI, Sarah is an experienced speaker on issues connected with children’s books and creative writing and attends international bookfairs, American writers’ conferences, and industry events throughout the year. She loves talking to writers about their work and says, ‘Everything you need to know about Greenhouse is embodied in its name.’

Married to an American, Sarah has twin sons who are more-or-less grown-up now, and who taught her much of what she knows about young people and reading.

Interview

What is the best part of being a literary agent?

There are so many parts of the job that I enjoy! I love discovering a great new voice, a great new story concept; the knowledge that I’m unearthing a new talent for readers to enjoy. But I also enjoy the business side – particularly negotiating deals and getting optimum terms for my clients. And then, of course, there’s nothing more exciting than telling a new writer that they’ve achieved their life’s ambition – and yes, they really will be published! Such an amazing phone call to make.

How would you summarize your personal agenting philosophy? What do you expect from an agent-author relationship?

My philosophy is really all in our agency name – Greenhouse – and that’s why I chose it. I see myself as both a talent scout and a talent developer. I’m looking for exceptional promise rather than a perfect manuscript, and I have nearly three decades of editorial and management experience behind me to help a new writer grow in their craft and career.  I want to provide the ‘good soil’ and the ‘sunshine’ of support and knowledge – but also to challenge writers to dig deep.

In the best author/agent relationships there will be trust and mutual respect; the shared understanding that both sides will always do their best and work their hardest. An agent doesn’t have a crystal ball to predict the future. The way I see it is that my clients and I are holding hands on the journey of shared effort, shared risk, shared goals. We want to build long-term careers if at all possible.  You might say that we are professional friends and business partners to our clients.

What’s something coming out now/soon that you’ve represented and are excited about?

So many great books to choose from! New York Times Bestseller Brenna Yovanoff’s new YA novel, PAPER VALENTINE (Razorbill), publishes in January – a wonderful, scary story that  will delight her fans. But we also love our debut authors, and I can hardly wait for Caroline Carlson’s funny and thrilling middle-grade series, THE VERY NEARLY HONORABLE LEAGUE OF PIRATES (HarperCollins), which launches in Fall ‘13.  We’ve just finalized auctions on that in the UK, Spain, Germany, and France – which is a very unusual coup.

What are the primary mistakes you see writers make in the query process?

Being in too much of a hurry. Not doing enough research on agents. Trying to send out too many query letters at a time (and making bad mistakes, like addressing the agent by the wrong name!). Not reading agency guidelines. On the other hand, some writers try almost too hard, giving huge amounts of information or giving the synopsis twice. For Greenhouse your query email should be no longer than the equivalent of one page.

Oh, also, we don’t like people who brag in an over-the-top way about themselves, or who liken their work to Harry Potter, C.S. Lewis or Stephanie Meyer.  And we certainly don’t like rudeness!

With fiction partials, what makes you stop reading and start skimming-or stop reading altogether?

An opening I’ve seen lots of times before. Flat or stiff writing that feels plodding. Dumps of information that are full of ‘tell’ rather than ‘show’.

Generally, bear in mind I’m looking for a storyline that feels new and different to what I generally see, and a voice that really pops for me personally. So I’m primarily thinking, ‘Do I really love this? Is this a story, a voice, I simply MUST represent?’ Because that’s the kind of conviction I need to feel to take on a new client.

Your agency website says that you’re interested in young adult, can you elaborate more on YA subgenres (i.e. fantasy, sci-fi, etc.) that you might consider?

I don’t really think in terms of genre. Categories don’t terribly interest me. I’m open to anything that leaps out at me personally. I would have said I wasn’t a huge fan of verse novels – and then I spotted one that completely changed my opinion. I am ready and waiting to be blown away!

That said, I’m arguably not the best agent for either very high fantasy or sports stories (being a Brit I lack a background in American football and baseball!).

When considering middle grade manuscripts, what subgenres do you lean toward (i.e. fantasy, sci-fi, etc.)?

As above, I don’t particularly lean anywhere; I am very open. Though I do like twisty and adventurous stories/mysteries – and great, classic fiction for girls that is full of heart.

Will you be at any upcoming writers conferences where people can meet/pitch you?

Very unusually, I’m not doing a conference in the first half of 2013, though I’ll be at ALA Midwinter in Seattle in January, and also at the opening of the SCBWI National Conference in New York. However, I’m speaking at the conferences of SCBWI Carolinas in September,  SCBWI Mid-Atlantic in October, and SCBWI Illinois in November. A very busy Fall!

Is a writing platform important for unpublished writers? Does it weigh in on your decision to represent? Are you a fan of social media?

For agencies, I see Facebook and Twitter as basic tools of communication and networking. We probably have as much traffic through our Greenhouse Facebook Fan Page as through our website! We also tweet writing/industry tips through #GHLtips.

For new writers I feel social networking is a useful way to learn about the business – agents, publishers, craft, good articles etc. Getting on there and just following industry people is a great way to learn and make friends/contacts. However, for me none of this is really mandatory at the outset – it wouldn’t be a determining factor in deciding whether or not to represent someone. It’s always ALL about the writing. The only important thing is an openness to participating fully in all forms of promotion down the line. There’s no point getting a deal and then refusing to help publicise your book.

Best piece(s) of advice we haven’t discussed?

There’s always a lot of anxiety around topics like genre, agents’ tastes, social networking, the future of digital publishing etc etc. It’s easy to get caught up in the noise of  all these questions. However, for me the focus is always on two things:  1) a great story that I’ve not seen before and 2) a voice and mastery of writing craft that make that story shine. If you have those two ingredients, you WILL be discovered.

So the keys to all this are both beautifully simple, and beautifully hard! But at least the goals are clear. Concentrate on learning how to write really well, and on finding a great story to tell. Everything else can wait.

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Social media can be an aspiring authors best friend. If you know how to use it – it can be helpful in attracting literary agents, publishers, and readers to your work. But, with all the available outlets out there, it’s hard to know where to concentrate. In this course, we’re going to get down and dirty with what’s working, how much time to invest, what to do, and especially, what not to do. This course is designed for aspiring authors as well as published authors looking to connect with a larger audience.

Here’s a short breakdown of what you can expect to learn during our 4 sessions:

Twitter
• How to build your following
• What to tweet and how often
• What to avoid
• What to write in your profile
• Tools/Tricks

Facebook
• Author Fan Page versus Personal Page
• What to write
• What to avoid
• The “Like” button
• Ways to attract traffic

Goodreads
• How to build a following
• Creating a winning profile
• Free/Available Tools for Authors
• Contests & Groups
• Paid Advertizing – Does it work?

Personal Blogs/Websites
• What to blog
• What NOT to blog
• Links, Buttons, & more
• “About” section
• How to attract traffic

$20 for Premium Members/$30 for Basic Members
Cancellation policy: Registrations are non-refundable except when the workshop is cancelled by Savvy Authors.

Click Here to Register (Members will not receive member rate unless logged in.)

Stacey O’Neale is a senior publicist with Entangled Publishing, freelance writer, and book blogger. She has participated in social media, publicity, and e-publishing panels for Book Expo America and the Virginia Festival of the Book. Beyond her websites and speaking engagements, you can find her on Goodreads, Twitter, and Facebook.