Agent Monday: THE Hottest Trend

Businesswoman standing on a ladder looking through binocularsHappy Agent Monday, everyone! This past Friday I was excited to sit on the industry experts panel at the YARWA (Young Adult Chapter of Romance Writers of America) event held at the RWA annual conference in NYC. The panel included a mix of literary agents and editors and we were asked in a number of ways to share what was in…what were the hottest trends in YA lit right now…what was selling…what were we looking for most of all. So, since many of you didn’t get to hear what the hottest trend in YA lit is right now, I thought I go ahead and reveal it right now in this post.

The biggest trend in YA literature right now is…

DRUM ROLL PLEASE!

PLUS CYMBAL CRASH!

…A great fresh story well told.

Wait, what? What about selkies? Or dystopians? Or vampires? Or fantasy? Or sick-lit ala Fault in our Stars? Or contemporary? Or diverse fiction? Or, or, or…

A great fresh story well told. This is what editors and agents are looking for. That’s what folks on the panel said – every one of them.

So what’s that mean for you writers? That means be authentic and write what really matters to you. Make it original and perfect your craft so that it is the absolute best writing you can possibly create.

Send us THAT and YOU will be the trend.

Now you know!

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.

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Agent Monday: The BEA 411

BEA 2015Happy Agent Monday, everyone!  Remember me? Yeah, it’s been a very busy few weeks, so Agent Monday posts have given way to Agent Monday action. Last week was all about BEA – that’s the big book expo held each year in NYC. It’s jammed with publishers and editors and librarians and book sellers and authors and, of course, agents. So today I thought I’d give you the BEA 411.

BEA is many different things to different people. If you’re a publisher, it’s the place to highlight your upcoming line of books, hype your newest authors, and to interact with book sellers and readers and rights agents and anyone else who connects with your business. For authors, it’s the place to have your own new title on display, perhaps do a signing at your publisher’s booth and build buzz. For readers, it’s where you can hear some of your favorite authors speak, where you can grab a ton of free books, and where you can nab some autographs.

But what do agents do there? Well, my day started off with a meeting in the rights department with an audio publisher. There they shared what they’re looking for, and I clued them in on some of my clients’ upcoming projects. Next? I zipped down to the conference rooms and caught a panel of editors buzzing their upcoming young adult titles. I love hearing these panels because the editors share what drew them into the books. I take notes – and when one of my clients has a book that touches on something that one of these editors specifically noted loving – well, that makes them the perfect editor to pitch to.

After the panel is done, I talk to the many other editors in the audience that I spot. Some I’ve met before, and some I’ve spoken to on the phone before.  Lots of chatting and biz card sharing ensues.

I meet up with fellow agency mate Linda Epstein, and together we “walk the floor” – not as spicy as it sounds. Actually it just means we walk through the zillions of publisher’s exhibits on the main floor. It’s so instructive to see what each publisher is highlighting. Plenty of editors are manning the booths, and this leads to many conversations with these good folk. Business cards are swapped, and info exchanged. What are they looking for now? Would they like such and such? I’m building up my editor info file, taking copious notes, and I’m also pitching various client manuscripts I’m about to go out on submission with.

Folks, this takes a lot of organization. Since I represent picture books and chapter books and middle grades and YA’s, and adult fiction and memoir, you can bet I have a wide range of projects almost ready to go. As an agent, I need to keep in mind which publishers would truly be a fit for a project, and which wouldn’t. No point in pitching a memoir to a house that doesn’t handle those, right? And I have to be ready at the right moment to pitch each book well. PLUS I have to do all of this while not being pushy – so, yeah, you have to know when to pitch, and when to just chat. I gauge an editor’s particular interest while speaking with them. If they express a particular interest, then I can pursue that saying something along the lines of, “I think I have something you’ll really like. Would you be interested in…”  They are! I make a note of it, and this week I’ll be sending out a range of submissions to a range of editors as a result.

So Linda and I walk the floor together for about an hour, and then I head off on my own to grab some food and rest my feet… Looking through my conference brochure I see that my dad’s favorite author is signing RIGHT NOW. Crap!  I gobble down the rest of my food and scramble back to the exhibit floor. Eeek!  There’s a huge line, but I’m not too late.  I nab a copy of Nelson DeMille’s latest novel, and get in line – I’m #140, and the cut off is #150. I patiently wait on line, and 40 minutes later I get his signature.  Father’s Day gift – check!

Dennis signing at BEA 2015

Author buddy Dennis Tafoya (far right) signing his fab crime novel THE POOR BOY’S GAME

Okay, the next 3 hours are spent with more walking the floor action, plus a few appointments with editors where we sit down and talk business. I also see authors I know, agents I’ve met over the years, and book sellers I’ve worked with as an author. It really is an amazing community out there full of some seriously cool and fun people.

Still, I’m fried. It’s 4 p.m. and I’ve been going since 5 a.m. But I’m not done yet. Now I head out of the convention center and walk uptown to do something I’ve been looking forward to all day – meeting my author Harmony Verna and her husband Jay! We meet at a pub and hoist a cold one, toasting Harmony and her upcoming debut DAUGHTER OF AUSTRALIA. If you’ve loved THE THORNBIRDS, then this novel will take your breath away. Actually, it’ll take EVERYONE’S breath away – it’s that spectacular. And we have lots to celebrate. Just the day before, Kensington Publishers sold translation rights for her book to a publisher in Germany. Huzzah!

Marie and Harmony at BEA15

Meeting up with my client, fab author Harmony Verna! (right)

NEXT, the three of us head over to the BEA cocktail party hosted by Kensington Publishers. More celebrating!  We meet her fab editor and foreign rights team and publicist and other authors. So fun.

And now? Now I’m done.  But wait!  There’s just one more thing I have to do.  As I head back to the train station to go home, I step over a gushing subway grate and zip! My skirt does a full Marilyn Monroe.

Yup. THAT’S BEA.

Resting up till next year, but first I must jot down one more note: NEXT TIME WEAR PANTS.

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.

Agent Monday: How Fast do Editors Respond?

MP900341375Happy Agent Monday, folks! Hopefully, like me, you are some place where spring is FINALLY trying to assert itself. And it feels about time. Speaking about time… (See what I did there?) This past weekend I was delighted to be a speaker at the Eastern PA Society of Children’s Book Writers and Illustrators Spring Forward event. Our panel took a bunch of questions from writers, including this one: How long does it take for an editor to respond to a submission from an agent? One day, one week, one month, three months, longer? My answer was: YES. Here’s the long answer:

The truth is that sometimes editors respond in a flash, and other times, well, not so fast. There are a ton of factors at work here, and this likely does not reflect on the clout of your agent at all (since I suspect some writers might be thinking, hey, my agent didn’t hear back from so and so for three months — maybe my agent’s not bad-ass enough).

First of all, it can depend on the submission. Picture book manuscripts can be read at once, while novels will take some time. And an editor will have a pile of novel manuscripts to read through that have been subbed by other agents as well. Some manuscripts are completely timely, and so demand immediate attention, like if something is in the news NOW. And that can prompt a fast read.

Second of all, it can depend greatly on the editor. Some editors are just so swamped, that try as they might, they find themselves putting out fires instead of staying on top of submission piles, even if there is a really tempting manuscript waiting to be read. Sometimes it takes action on that manuscript, like another editor putting in an offer, before that editor puts that read at the top of their priorities. Why is an editor so swamped? Well, they can be working somewhere with limited support staff, and a high volume of responsibilities. It can make a real difference when an editor has assistants to log in submissions, to pre-read for the editor, and to help with their many time-consuming tasks along the way.

And it can depend on how the imprint acquires things. Some tippy top editors can just walk into their publisher and say, “I want this. I want to make an offer,” and they can be quickly given the power to make a certain offer. With other editors, they may need to wait for scheduled acquisitions meetings to present their case for a title they are interested in. And at certain places, no matter how high up an editor is, they first will have other editors give it a read and an opinion before taking it to acquisitions…and each of those editors has their own work load to contend with.

So you can see that you can’t always gauge the interest of an editor or the ability of your agent by the time of response. As someone at this past weekend’s event said, publishing is a business of hurry up and wait. It can move slowly, and it can move very fast. That same, carefully considering imprint can suddenly do a turnaround and have an offer in within a day if they feel they must (like when they know another offer is already on the table and it’s do or die).

What can an agent possibly do to speed this process along?

– Well, she can target her submissions very carefully. I only send to editors who I know are looking for this very type of manuscript, and who have a special interest in the subject matter.

– She can pique the editor’s interest when she pitches, so that the editor will really want to read the submission as quickly as possible. When I pitch to an editor, I really try to put in their mind what makes this particular project exciting and unique. And when I then send the requested manuscript to the editor, I add in a note detailing sales hooks that the editor can use to convince their publisher that this one is really worth an offer.

– The agent can keep on top of things. I always make sure that the editor did, in fact, receive the submission. I check back every few weeks in a pleasant, professional way, to see if they’ve gotten to it yet.

– And the agent can learn from submissions which editors are most responsive and which never reply at all, because, sadly, there are a few outliers to watch out for. If an editor, for whatever reason, never responds to any of my calls or emails, then chances are pretty good I won’t be pitching to them again any time soon. Sometimes I learn that something was going on in that editor’s life at that time which would explain this lack of response as a mere blip — then I’ll make contact with that editor again and give them another chance. But in some cases, I learn this is just par for the course, and I’ll spend my time (and my client’s time) differently in the future.

So there you have it. The long and short of submissions!  I’ve had quick acceptances and quick rejections. And I’ve had submissions take a long time with an editor, and wind up with a robust offer. It can be all over the place. As an agent, I try to be as efficient as possible on my end, and as a writer, you can do the same.

Waiting can feel like FOREVER, I know. The best antidote? Work on your next book and make the time really pay off.

 

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.

Agent Monday: How Agents Sell Books

Chihuahua Wearing EyeglassesHappy Agent Monday, world! A few weeks back I asked folks to chime in with questions they’d like to see me answer from the agent’s point of view. I got a lot of great suggestions, and a bunch of those questions were answered here. Today, I’m answering questions sent in by Stacy, who wrote: “Though posts about craft and the market are always helpful, I am very curious about how an agent sells books.”

Stacy went on to list 5 specific questions related to this. I’m sure different agents do things differently. But here’s how I do things…

1. How do you package pieces to sell to an editor?

The first step is to always make sure the manuscript is as perfect as the writer can make it. I work with my author, reading through the pages, sending along notes and edits, until we are satisfied it is tight.

I do the same with the synopsis. I prefer to have a short synopsis, so we usually keep it to two pages, max. And we finalize the author’s bio. These steps can sometimes take close to no time at all (the manuscript comes in clean, and little work is needed), and sometimes it can take months (the author needs time to do a more extensive rewrite before we are ready to submit).

Next I create the pitch. This is one or two lines that capture the heart of the manuscript and hopefully the interest of the editor.

As soon as I first see a manuscript, I’m already starting to think of who would love to see this, which publishing houses would make the best home for it. Now it’s time for me to make a more final list. Over the years, I’ve collecting info on an extensive amount of publishers and editors, and I’ve kept track of who has moved where, and how their tastes have changed. Still, every manuscript is just a little different from one I’ve done before, and so I always research editors with fresh eyes.

How? I go through my own collected data to form an initial list of editors who seem a fit. Then I dig further into recent deals made and new developments, trends, imprints to see who else I should consider. Now I have a solid list of editors in hand.

I pick up the phone and start calling editors. My pitch is in front of me, but I don’t read it. By now I’ve internalized what I want to say. I have this wonderful novel… It’s about… It’s unique because… The author is amazing because… I think it’s right for you because…

The editor says, great! Send it! So I do, along with the bio and synopsis, and in the email that I send to the editor with these attachments, I further detail my pitch, plus outline some markets it would be great for — stuff than I want the editor to keep in mind as she reads, and that can help her to “sell” it to her publisher.

2. How do you analyze an editor’s preferences (how know what ms. will interest which editor)?

This is an ongoing process, ever-changing because editors’ wishes change, editors move to different houses, and imprints are ever-shifting. I call editors and ask them what they are looking for now. I meet with them for coffee and over lunches and at their offices to get to know them and their preferences. I talk with them at conferences. And I keep up with what’s reported online – new deals posted, new interviews with editors, etc. Even when I call an editor to pitch a manuscript, after that pitch is complete, I’ll ask them: have your editorial interests changed lately? What else are you looking for right now? The team of agents at The Jennifer De Chiara Literary Agency is doing all of this constantly, and sharing this info with everyone else in our firm, so there’s a constant flow of information.

3. How do you analyze a publisher’s preferences?

Working frequently with a broad range of publishers, we know what their houses seek. One imprint skews literary, another skews highly commercial, still another is heavy on fantasy, while another is focusing on edgy contemporary. Again, I talk with the editors and do my research.

4. How do you handle rejection as an agent (you loved a manuscript, but the editors didn’t)?

Every rejection is a learning opportunity, in my view. Why did the editor pass? As an agent, I typically get details beyond the “no thanks.” This helps me to refine what to send that editor next time, and it helps my author and I in future rounds of submissions. If a number of editors pass for the same reason, perhaps the manuscript can be edited to correct this issue before it goes out again? Also, I’m reminded again and again that this is at times a highly subjective area. One editor rejects a book because she loves the plot but not the voice, while the very next day an editor rejects that book because she loves the voice but not the plot. And that very same book goes on to be sold at auction in a two book deal! So I never let rejection get me down.

5. What are the houses you work with often, and why?

This varies. Every manuscript is just a little bit different, and I represent a wide range of projects from children’s picture books, middle grade and YA through to adult fiction and memoir. (You can find my submission guidelines here.) I’m always looking for the right fit at a press that creates beautiful books. Often this is at one of the top commercial presses, but sometimes a smaller press that does award-winning titles is just right.

That’s a wrap! Have a great week, everyone, and special thanks to Stacy for all the great questions. If you have any burning questions you’d like to see answered in future posts, leave those in a comment below.

 

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.

Agent Monday: Got Media? (Social Media, That is…)

Young Girl at School Holding a Computer MouseHappy sunny Agent Monday to you all!  Get a bunch of writers together and the talk quickly turns to…social media? Yup, that’s right. I find this is on plenty of writers’ minds these days. At conferences, Q&A’s quickly turn to this subject.  At the Writer’s Coffeehouse I ran yesterday at the Willow Grove Barnes & Noble, it dominated our talk. And rightly so. So today I’m going to chat a bit about the big question editors and agents will be asking if they are interested in your writing: Got Media? (Social media, that is…)

You may think why bother with that? The novel’s the thing, right? Social media takes time. It’s not your thing. You are a writer not a promoter after all. Etc. etc. etc. BUT here’s a sobering thought… The other weekend at the Lucky 13 Conference hosted by the MD-DE-WV branch of the Society of Children’s Book Writers and Illustrators, fab Bloomsbury Children’s Books editor Laura Whitaker told everyone an important truth: If you as an author don’t have any online presence at all, that hurts your book’s chances when she takes it to an acquisitions meeting.

Wow, right? An editor can love your manuscript enough to take it to an acquisitions meeting, and the fact that the author has no social media presence at all can make your book harder to sell to the publisher.  If that doesn’t make you serious about getting yourself out there online, I don’t know what will.

But this shouldn’t come as a shock to you by now. Authors must now take on some responsibility for their own book’s promotion. When I find a manuscript that I’m interested in, before I make “the call” to offer them representation I google that person to see if they have any online presence and if it is a positive one (cuz a negative presence where you are bashing writers, editors or agents on line is not going to help you appear professional…).  And when I do make “the call,” one of the very first things I then ask the writer is if they understand that they must be willing to help market their work and that this includes online stuff.  It’s a critical piece of the puzzle that makes up a successful author and book.

Trust me, Bloomsbury is not an anomaly – all publishers are looking for this from their potential authors.

So what does this mean?  It means that first of all you should google yourself and see what pops up. Do you exist “out there”?  Is what you find positive? At the minimum, you should have a website under your author name (not your book title, cuz titles can change and you’ll have more than one book in you in the future, true?), a facebook page that keeps things professional, and a twitter page.  Think of these as your online business cards and present yourself accordingly.

Don’t be intimidated by all this if it’s all new to you. Hey, got a teen in your life?  They’ll set you up in a matter of seconds on facebook and twitter. And websites aren’t the expensive scary things they used to be. The one you are looking at right now? I set it up free on wordpress, and I purchased my marielamba.com domain, setting it up so that when folks key it in, they are redirected here. Easy peasy.

So help yourself be seen, help you as an author be viewed as someone plugged in and ready to market your work. Take it one step at a time. We’ll all be glad you did.

 

*Marie is an Associate Agent at the Jennifer De Chiara Literary Agency in New York City.  To keep up with all her posts, subscribe to her site by clicking on the “Subscribe to Marie’s site here” link located on her page on the upper left margin.

 

Agent Monday: First Impressions

MP900438811Hey gang!  Happy Agent Monday, once again.  This upcoming weekend I’ll be taking pitches at The Liberty States Fiction Writers Conference. Taking pitches allows the writer to set up the purpose of their book, and for me to ask questions to fill in holes that remain in just what the book is about and why it stands out. This past weekend, however, I was doing something entirely different: critiquing first pages.  It was at a special Writer’s Tea hosted by the Bucks County Romance Writers group at my fab local indie bookstore Doylestown Bookshop. In many ways it was the exact opposite of a pitch: I didn’t know the writer, or the genre, or the overall arc of the story. There were just words on the page. And they pointed out one thing loud and clear: the importance of first impressions!

By looking at the first page alone, the words really had to do the job. Is your first page working for your manuscript? Reading a book is an investment in time, so that first page needed to answer this question: Why do I want to take this long journey with you?

Often, when the writer came to hear the critique (which was delivered one on one), they said to me, “It really gets going on page two,” or “the book takes off in chapter three.” Hm. Now I don’t need to have the full action or plot poured out into the very first page, but what I do want to see is something that makes me think: “Turn the page. I have to see where this is going!” Now that can be a wide range of things from an interesting point of view, or an intriguing voice, or a question I care about that I’d like to see answered.  All sorts of things can draw me in, so don’t feel you need to squeeze in that life changing moment into the first two paragraphs!

Sometimes writers use their first few pages, or even chapters, as a sort of throat-clearing warming up getting into things exercise. I say that’s fine for your draft, but then ask yourself: When do things really begin? And start the final polished draft there!

Here’s why a great start matters: If an agent is not drawn in by your opening pages, they will probably stop reading. If the agent sends a manuscript like this to an editor, the editor may stop reading. Why does this all happen? It’s up to the writer at the get-go to nail the structure and pacing of their novel. Agents and editors see a ton of books by writers who DO get this right, so they must ask themselves: Do I really want to spend time fixing all of this for the writer, or do I move on? Remember, in books that are tightly paced and structurally sound, there is often still plenty of editing that will be needed. It’s WORK and TIME and we folks must ask ourselves where to invest our limited time and resources. It is a business, right?  In the end, we all think about the consumer, the reader of the published novel. Think about it. How do YOU buy books? Don’t you often read the first page or few pages to see if it’s worth purchasing?

But wait wait wait, Marie! (some of you may be thinking right about now)… Don’t agents and editors KNOW that writers sometimes take a while to get started and skip ahead to see if the story picks up? As a writer, I remember hearing that bit of wisdom once upon a time. And maybe it was true once upon a time when an agent or editor actually had a paper manuscript land on their desk. Today? We get things via email. Electronic files we load onto our computers or ereaders. We read from page one on. If I find myself skimming ahead because I’m bored, that’s a serious red flag to me, and zooming ahead 25 or 50 pages? Honestly, I just don’t.  I won’t stick with your book unless YOU make me want to stick around. That’s all about the power of your words.

So back to those first page crits I just did… Some of the things that I saw that didn’t make me anxious to see page two included:

1. A ton of dialogue or first person thoughts that didn’t have a voice to them or point of view. Is this a woman? A kid? Who is talking or thinking and why do I care? Some hint would certainly help!

2. A ton of info. Blocks of prose that gave all sorts of info about the backstory. Do I need backstory when I still don’t know what the story is? Again, what draws me in?

3. Repetition. Saying the same thing in several different ways right on page one hints to me that this is a work that needs tightening, plus it doesn’t move the story along.

What worked in those first pages?

1. Voice! When I had an immediate grasp of the writer’s/character’s voice, and I liked it for some reason, I was willing to continue on the journey (and even forgive some rough spots).

2. Originality! Okay, so maybe that first page wasn’t perfect, but what an interesting situation! Yeah, I’ll turn that page.

3. Elegance! Show me some sign that you are a skilled writer, whether beauty in the prose or sharp wit or something that makes me nod and think, yup, I get that, or wow, the writer’s right about that and I never saw it that way… And I’ll turn that page.

4. Well-targeted writing! If it’s a middle grade novel, I should be able to tell without it being labeled as such. Ditto for women’s fiction, or thriller, or literary. If I’m embarking on a reading journey, I want to feel I’m in capable hands and going on a charted course in the direction the book wants to take me. (I hope that makes sense.)

So you can see that you, as the writer, can actually do a lot with your first page. You can reel me in and pull me deeper into your world. Do that, and I’ll want to read page 2, and page 3 and so on.

Take a hard look at your opening pages. First impressions definitely matter.

*Marie is an Associate Agent at the Jennifer De Chiara Literary Agency in New York City.  To keep up with all her posts, subscribe to her site by clicking on the “Subscribe to Marie’s site here” link located on her page on the upper left margin.

Agent Monday: Writer’s Regression

Signpost of TimeHappy Monday! As an author of YA novels I, like many writers, felt my career rocked by the recession. And as an Associate Agent, I encounter many extremely talented authors who have had their careers derailed by the economic downturn and are still reeling to this day.  I feel your pain, and I am one sympathetic agent. So today I want to talk a bit about what I call the Writer’s Regression.

There are many writers who struggled to break into print at a time when everything in the publishing biz was dramatically contracting. Hard indeed. But in some ways it was even harder for those of us with debut novels in 2007-2009.

These writers worked sometimes for decades to finally land an agent and a book deal. This was the beginning of their true career as a published author!  What happened instead? Many of these writers lost their editors when jobs were cut, and that resulted in the loss of their biggest cheerleader at their publishing house. Booksellers, in their own panic over the economy, decided not to carry this particular author’s books at all.  The book didn’t receive any other push, and certainly no sizable advertising budget from the publisher. And even though a novel may have gotten awesome reviews, and perhaps even earned out its modest advance (though just barely), and even though this earning out was a feat in itself given the odds…well, the profit numbers to a cold and clinical eye may have seemed kinda, well, “eh” when stacked up to previous years.

So, though that writer was exceedingly talented, and the book was beautiful, and what happened is no fault of the author’s, that same author couldn’t interest that publisher in doing another book with them. And everyone else from agents to publishers seemed to look at that author with a jaded eye. It’s not personal, it’s just business. And the author didn’t sell big, right? So perhaps it was safer to just pass…

Okay, I’m generalizing here. Sure, there are cases where debut midlist authors did manage to land another contract with the same publisher, etc. But I must say I’ve run into many many fine writers who have found their careers stumble to a halt. For these authors, the economic recession feels like a writer’s regression.

Sure, they published a book, but since then, nothing. They feel stuck and hurt, and sad. Will they ever have that chance again to wow readers? Will big publishers ever give them another go? The writer can’t help but feel that maybe they are somehow at fault. That maybe they just aren’t good enough. If they were dropped by their agents because manuscripts just weren’t finding a home, the authors worried if any other agent would ever take them on.  As one very talented author said to me just last week, “What do I do? Do I give up my dream?”

Writers are a tenacious bunch, but even the most tenacious author will begin to lose heart when 2, 3 even 4 years go by and there is no new book contract in the works.  Well, if an author is talented and dedicated, I for one want to see their work.

I don’t believe that an economic downturn is the end of your career, and I think you need to know that it hasn’t diminished your considerable abilities one bit. It’s good sound business to recognize talent and promote that talent to the world. In my eyes, it’s the smart thing to do.

You know, when I research editors I want to pitch my clients to, I don’t even consider the deals that editor made prior to 2009. Honestly, that was a different world. The publishing biz has changed that dramatically. And I believe that looking back on the whole mess with our feet set nearly into 2013, smart editors and publishers get that too. The clever ones will parse out what happened at that time as really not about that book or that author.  And the smartest of editors and publishers and agents will see this as a great opportunity to snap up this talent floating around in the stratosphere.

Because it’s not always about the next new thing. Or that same tried and true thing over and over again. It’s about talent and voice.

So don’t give up on your dream. Please believe in your words. Step back into your writing world and hold your head high. Move forward.

Your lucky readers are waiting. Me too.

For my submission guidelines, click here.

*Marie is an Associate Agent at the Jennifer De Chiara Literary Agency in New York City.  To keep up with all her posts, subscribe to her site by clicking on the “Subscribe to Marie’s site here” link located on her page on the upper left margin.