Beyond Good Writing: Two Literary Agents Discuss What Matters Most

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Beyond Good Writing: Two Literary Agents Discuss What Matters Most

Almost anyone who has spent time in the query trenches knows how challenging it is to capture the attention of a literary agent. Most agents, even new agents eager to build their client list, pass on over 90 percent of the queries they receive. In some cases, the reason is obvious: The agent doesn’t represent the writer’s genre; the writer has written a synopsis rather than a query letter; the agent isn’t accepting queries, at all.

The writer might be doing everything right—researching agents, following submission guidelines, querying only once they have a polished manuscript—but still experience radio silence. Or, maybe they are receiving requests for pages, or feedback from the agent along with the opportunity to resubmit, but an offer of representation just isn’t coming through. If the writing is good or at least shows potential—how else would they have come this far?—shouldn’t this be enough to land an agent? Does the writer’s professionalism count for something? I asked literary agents Linda Camacho and Jennifer March Soloway.

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19 Diversity-Focused Writing Conferences & Events in 2019

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19 Diversity-Focused Writing Conferences & Events in 2019

Fortunately, there are writers’ conferences specifically geared toward marginalized writers, some of which are open exclusively to them. Here is a list of diversity-focused writers’ conferences, book fairs and festivals, summits and symposiums, retreats and intensives, expos and other events scheduled for 2019.

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Switching Literary Agents: Two Agents Offer Advice

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Switching Literary Agents: Two Agents Offer Advice

Earlier this year, the book publishing world was rocked by stories of unethical behavior by literary agents. On the one hand, this news was disheartening to hear. On the other hand, it opened up a candid discussion on social media about how different agents communicate with their clients and approach the submissions process. This led to a bigger discussion about how to distinguish between an agent who is unfit for the job—and an agent who is fit for the job but a mismatch for a particular client, and vice versa.

These stories made me think about writers who are represented by reputable, successful agents but are quietly contemplating change. If you’re a writer, how do you know if it’s worth the risk of leaving your current agent? Does past representation impede your ability to find a new agent? I asked literary agents John Cusick and Holly Root.

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The Rewards and Challenges of Self-Publishing Children’s Books: Q&A with Four Authors

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The Rewards and Challenges of Self-Publishing Children’s Books: Q&A with Four Authors

As the traditional book publishing landscape becomes increasingly complex and competitive, more writers are considering independent paths. But given their audience, children’s book authors who self-publish face very different challenges from those who write for adults, especially in terms of design, production, and promotion.

Back in 2014, I asked literary agents Kevan Lyon and Kate McKean if children’s book authors should self-publish. In light of the many changes in book publishing since then, I thought I would continue the conversation, this time by speaking directly with writers who have published both traditionally and independently. Separately, I interviewed Zetta Elliott, who has released several books under her own imprint, including picture books; Brent Hartinger, who self-published a young adult series and a new adult series; Cheryl Klein, the author of a self-published a work of nonfiction; and Stephen Mooser, who released a middle grade book on his own.

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