Agent Monday: The “Your book’s too quiet” Rejection

Childhood GirlsHappy hot and steamy Agent Monday, everyone! Ever received the following rejection and wonder what it might mean?: “I have to pass because I found your book too quiet.” Too quiet? What’s that mean? And how do you get it to make some noise? Let’s take a look… (Thanks again to client Caroline Noonan and her writer’s group for this great post idea!)

To me, too quiet means that while the book may be written in a lovely manner and the manuscript clean and the plot interesting, overall the book lacks characteristics that would make it stand out in the commercial marketplace.

Remember, an agent’s job is to sell your book to commercial publishers, and an editor’s job is to purchase books that will become stand outs on the shelf and sell.

So what can you do if your book is consistently rejected as “too quiet?” Well, first of all look hard at the type of book you are writing – what distinguishes that sort of book? Have you elevated those elements in your manuscript?

For example, if you are writing a literary novel, is your language and imagery more than adequate? Does it stand out? Are the observations and revelations unique and transforming?

If you are writing for the YA market, is your book different from what’s already out there? Can you come up with a one-liner about the book that’ll get everyone’s attention because your story has a unique approach? Is there a hook that’ll make it stand out – and if so, have you put that unique part of your story front and center in your plotting?

If you are writing for the thriller audience, is your story truly gripping, your plotting original and does your character command the page?

And if you are writing romance, does your hero truly break your heart and does the passion sizzle?

In the historical realm, are the characters riveting and are we fully caught up not only in the lovely and accurate details of the time but also the true drama and personalities and stakes you present?

What are your strengths as a writer? Characterization? Scenery? Plotting? Imagery?  Have you heightened these so they are truly stand out?

Another thing to look at is how you are labeling and targeting your manuscript submissions. If you are calling your book a thriller but it’s really a cerebral mystery, you’ll be missing the mark. If you are directing your submissions to a commercial press, when your book is really a lovely lyrical literary novel, then your piece won’t be judged within the context that you want it to.

So next time you get a “too quiet” comment in a rejection, give your manuscript a hard look. Make sure you’ve really made its most important elements unique and stand out fab, and that you are labeling it correctly.  Then send it back out there and go make some noise!

*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: Time for Something New!

Red TulipsHappy Agent Monday, everyone! Spring is finally here in the Northeast, bringing with it a quickening of step, buds on trees, new beginnings, and people emerging from their dark burrows blinking their eyes at the bright sun. Now’s a time for new beginnings. As a literary agent, I’m seeing in my submission inbox far too many tired subjects that have been done to death. What I want is for writers to dig deeper and explore things in NEW fresh ways. Here are some things I’m seeing far too much of:

1. Bullying – Bullying may seem to be the “new hot topic,” but it has been around since people have existed. If this is a topic that you are writing about, are you plotting to teach a lesson to readers? Please don’t. Not in fiction. That’s icky. And, are you bringing anything new to the table at all? Or seeing things in a fresh or witty way? Too many submissions are just trying to capitalize on what a writer sees as something somebody might want.

2. Diverse Just Cuz it’s Hot – There’s a great thing about everyone being represented in literature – I’m ALL for that. Hey, I’ve been “fashionably” multicultural even before there were hashtags for it! But that’s not why I wrote about biracial teens in my own novels. These were my characters because my own kids are biracial – and it was close to my heart. I wanted my kids to see people like them reflected back in stories that weren’t about “OMG I’m biracial!” I wanted them to see heroes they could relate to out there in fiction. Now, what I’m seeing far too much of is a novel suddenly featuring a character as a particular race or with a particular disability because, look!, my book is diverse and that is HOT and will SELL. Folks, if this doesn’t occur naturally in your writing, please please please don’t just insert it into your story so it’ll sell. That’s gross.

3. Strange Picture Books – And I’m not talking about zany or wacky or out of the box. I’m just talking bizarre — not in a good way. Odd plots that just make you scratch your head and say huh? Supposed issues that no kid I’ve ever known can relate to. Situations that are just trippy instead of fun and fascinating. Creativity is great, but these writers have forgotten that a reader needs to relate to a story somehow.

4. Already Seen it Befores – There’s a movie or a book series or a news story that has become “the thing,” so then for the next year or two I’m flooded with that same story in different incarnations over and over and over. If I’m getting these, you can bet every other agent is too. As soon as I spot a submission as a reboot, my eyes glaze over. 50 Shades…Divergent…Hunger Games…Twilight…Fault in our Stars… etc. etc. etc. I can guess, just from the premise, all the twists and turns that a book will take. I’m actually looking for fresh and original stories only you can tell. If you are still working in the realm of the obvious as you plot, or redoing the last great thing to catch a wave, then your submission isn’t for me. Dig deeper with your writing and dare to start the NEXT commercial hit.

So, think fresh and original, but don’t forget your audience. If something suddenly seems like a “hot topic” and it doesn’t come naturally to you, please don’t go chasing the market by inserting it into your story. Don’t offer up heavy-handed lessons, either. It’s about the story. It’s about your voice, and the way only you can tell that story.

Dig deeper. Let things grow naturally from you. Prune and weed and tend your story till it’s ripe and unique. That’s something that’ll take root.

Happy Spring!

*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: Quick Checklist for Submitting Writers

pencilHappy summery Agent Monday, gang!  Today, a quick checklist for submitting writers.  Are you in the process of querying agents?  Or about to be?  Then this post is definitely for you.  It’s a quickie post today (hey, it’s summer, right?)  Hope this list is helpful.  (Note: I’m talking about FICTION submissions here, since non-fiction is a little bit different.) Here goes:

1. Complete your manuscript.  You can’t query with just an idea or a few chapters when it comes to fiction.

2. Edit it to perfection!  You don’t really get second chances – so don’t just use agents as sounding boards as to whether your book is good enough.  Give us your very best!  Also, don’t expect the agent to bite on a rough manuscript just cuz the idea is pretty cool. And don’t think that it’s up to editors at publishing houses to do all the basic editing for you. Nuh-uh. You must deliver a manuscript that is as perfect as possible.  Use beta readers. Put the manuscript through your critique group. Hire an editor if needed.

3. Know the genre you are writing for and where your book fits in.  Be able to tell the agent exactly who the audience is for this book.  Mainstream? Middle grade contemporary? Young adult thriller? You need to know.  And you need to also deliver a manuscript with the right point of view for that audience, and one that runs the proper length for that genre.  Get that wrong, and you hurt your chances.

4. Write the perfect query letter.  Need tips on that? There’s plenty of info out there for you to gather on it, plus scroll through my Agent Monday posts for more specific do’s and don’ts.

5. Research agents that actually represent what you write!  Don’t waste your time on folks that aren’t interested in your type of manuscript or who aren’t currently accepting clients.  Do your research.  The Internet is your friend!

6. Follow the guidelines.  Please!  Do a search to learn more about your agent list, pull up their guidelines and follow them.  Not following them can earn an instant rejection. Trust me on that.

7. Send out queries in waves.  Don’t hit 50-100 agents at once.  Start with, say, 10. If you are getting 100% form rejections back, then perhaps you need to improve your query letter.  Then send out another wave.  Starting to get requested pages or full manuscripts?  Then you are on the right track.

8. Keep writing!  Writers write. Don’t let the query process stop you cold.  It’s something that should go on while you are also working on your next piece of fiction.

Happy querying, and good luck!


*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: A Typical Day

MP900387541People ask me how I am. I say BUSY!  That’s an important thing for writers to keep in mind when they deal with any agent.  Sure, we work through a large quantity of queries in our inbox, plus it takes time to read through lengthy manuscripts from prospective clients and from our own clients. But that is just the start of it all. I thought I would share with you my day.

Typically I’ll start around 6 a.m. or so. Yes, coffee is definitely involved.  First stop: my inbox. I go through queries in there first. Let’s be honest: for most of them I know RIGHT AWAY that it’s a no. Sorry, fellow writers (remember, I’m a writer too, so I don’t take your dreams lightly), but there is always a huge percentage of queries that are simply not ready for prime time. These are writers who haven’t read up on what I actually represent, who haven’t paid attention to how to actually write a query, who haven’t even spell checked their emails, and who commit a whole host of “don’t ever do that’s” in their emails.  If you can’t get one page right, then you’ve definitely lost me.

For the queries that pass basic requirements, I look closer, gauging my interest. My guidelines allow for writers to paste in the first 20 pages of the actual manuscript so I get a great feel for what’s being subbed (guess how many writers who fail to include their pages get me to take extra time to ask them for more? Yeah, slim to none…read the guidelines, people!) I ask myself is this submission fresh? Am I fascinated? Is it well-written?  Am I anxious to add this to my pile of considerable reading???  If the answers are YES, then I know something special just may be coming my way, and I request the full manuscript.  If I’m on the fence about it? It’s a no.

Okay, so my coffee’s cold and my query inbox is a little thinner.  Time for a stretch, and a second cup of coffee, and some time  attending to my other inbox stuff. Can I do an interview? Sometimes I say yes, if it’s reasonable. Can I do lunch so someone can pick my brain about the business? These days, even for people I know, the answer is always no. Hey, I love a free lunch, but I simply don’t have the luxury of time. Does a conference that I’m attending need info from me? I keep on top of these details.

Now it’s time to get serious. My clients. I open any emails I have from them (remember, it isn’t 9 a.m. yet), and acknowledge that I’ve received whatever they’ve just sent, or answer any questions they may have, or update them on stuff if needed. My clients are a prolific bunch, so I keep close track of what they’ve sent me and get to their material asap, and I always try to give them a feel of when I’ll get back to them with comments and notes (I know how agonizing waiting can be for them; I think having a realistic expectation helps).

It may surprise some of you to know that it can sometimes take up to a month to give comments on a client’s picture book. So here’s something to keep in mind: unless there’s a time-sensitive reason to do otherwise, I make every effort to get to client manuscripts in the order they’ve come in to me. So when a picture book manuscript arrives, I may be in the middle of revising a 650 page historical novel for another client, I could have just received a revised middle grade the day before, and I could be in the middle of pitching two other novels, plus making a few needed trips to NYC , and tying up loose ends on some contracts, so…. 

Obviously a LOT is going on. I keep a huge dry erase board by my desk (yeah, old school!) to keep pending things in plain sight.  Here are SOME of the client manuscripts pending right now: A revised horror short story collection. A revised picture book. A revised YA novel. A revised middle grade fantasy novel.  

Okay, so after touching base with clients, I take my last sip of coffee, set the mug aside, and get down to the day’s work. What’s up? I get my pitch and notes in order for a middle grade manuscript, and around 9:30 or 10-ish, start calling. Some editors I’ll get through to, others I’ll get their voice mail and have to call back.  I’ll keep calling throughout the day until I connect with my list of people. I use the time on the phone to of course pitch the book and convey what has excited me about the manuscript in a way that this excitement catches on. I’ll also briefly chat with the editor. Then I’ll wrap that up by emailing the manuscript to the requesting editor, along with a followup note and the author’s bio and synopsis.  I’ll record the submission in my client’s file, shoot a submission update to my client, and also update my editor files with what submission was sent when, and about anything else I may have learned about the editor that will help me target future submissions to that person. Phew.

Also, in between all of this, I’m getting ready for another new submission. I’ve just received the revised bio and synopsis of this work over the weekend from my author. I’ll comb through these and make sure they’re perfect.  I’ve already spent numerous hours last week researching editors who love this sort of book, so I have all that info ready to go. Now I just have to perfect my pitch.  I’ll start actually pitching that book to editors tomorrow, Wednesday at the latest.

ALSO today, I’m getting ready for a phone appointment tomorrow with one of my authors to talk about marketing. I already have some thoughts for her, but I want to pull together some specifics.  Her novel’s coming out in about a year, so in the meantime there’s much she can do to perk up her website and use of twitter and Goodreads, and to start making connections with likely readers and reviewers. So, notes galore shall be jotted down.

ALSO ALSO, I’m going to start a close read of a manuscript from one of my clients. We’ve already done a pass between us where I’ve given extensive notes, so I’ll be looking to see if we are ready to go out on submission or if more tweaks are needed first. Things have to be PERFECT before I’ll send ’em out in the world. Here’s where having a background as a writer and editor really helps me out.

In the meantime, more things ping into my inbox. Emails from my agency that demand attention. Bits and pieces of info from my clients that I like to acknowledge immediately. Queries (I confess that when I take breaks I like to quickly scan through these to see if any of them are so hot that I simply must look at them right away…but most can wait).

If I’m lucky, I remember to stand and stretch now and then, and to eat.  And if my family’s lucky, I remember to stop working by around 6 and actually have something to make for dinner.  And at night? I’ll sit in my jammies and look over a requested full in my inbox.

Of course, it’ll have to be all sorts of amazing. If I’m going to take it on, ya know there will be a wee bit of work involved…

Okay, time’s wasting.  Get to work, people!


*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: What’s Love Got to do with It?

From time to time, I’ve heard discussions among writers who have received rejections from other agents that basically said, “Sorry, but I didn’t fall in love with this.” One reaction writers then say is, “I don’t care if you love it or not. Just represent it and sell it!”  This often leads into writers saying that this whole need to “fall in love” with a project is a ridiculous notion. It’s just a form letter. It’s because they don’t know what else to say. So in today’s Agent Monday post I’d like to share my view of  “What’s love got to do with it?”

Now I’m speaking about FICTION here, since at the Jennifer DeChiara Literary Agency I don’t personally represent non-fiction. So bear that in mind…  But with a fiction manuscript, yeah, I’ve got to fall in love with it.  Why? Because if I don’t finish that manuscript and feel my heart completely ripped out, or my world rocked in some way, I don’t want to invest myself in that book.  I need something I truly believe in.

I want to be able to convey my passion to an editor.  And I want that editor to feel, at the end of her read, that her heart is completely ripped out or her world is rocked in some way.  That’s kinda the point.

But what about the “meh” book that I know will sell because it hits all the marketing points? It’s steampunk, which is supposedly hot. Or talks about bullying, which is a book people will “gobble up?”  Well, if I’m not in love with it, I don’t personally believe an editor be in love either…and an editor must turn around and “sell” the book to the marketing committee and they must sell it to the world, and reviewers must feel the love, too.

What I’m looking for is a book that will sell because it’s exceptional. If it hits all those marketing points, groovy.  If it doesn’t, but it’s exceptional, it’ll find its audience and that’s groovy too.

From my agenting point of view, I have to live with this manuscript and this author.  If I’m not in love with their book, but I sniff dollar signs in the air for some reason, am I respecting that author? Am I excited enough to read through the manuscript over and over again and edit it? To create a passion-filled pitch and offer it up to top editors?  And if I think of it as “meh” but an easy sale for some reason, what if it doesn’t sell easily? Will I have the drive to continue to market it with passion? Will I feel like just giving up and cutting you loose? You see where I’m going with this?

I invest a ton of time in my clients, and I choose them carefully. I go with my gut, and believe that their talent will take them far over the course of their careers. They are more than one book, one quick sale to me.  I’ve passed over books that may have sold, but that I just didn’t care about. Why would I take that writer on, when I can invest my heart and soul and countless hours in someone whose writing I do care about?  I’ll also definitely take on books that may not be the easy sell, but that feel important and strong and that I believe HAVE TO BE READ. And I’ll work my tail off making sure that happens.

It’s important that I believe in your work and in you.  You deserve that and should demand it.  If I don’t “fall in love” with your novel, then I’m not the agent for you, and you should find an agent who will.  Because that is the person who will best represent your work. Who will champion you and all your efforts with energy and drive. Who will believe in you even when the world doesn’t seem to, and continue to submit your work with conviction until the world finally sees the light.

And who will eagerly await your next book, and your next.

*Agent Monday is a weekly post. To catch all of these, subscribe to this blog by clicking on the “Subscribe to Marie’s Site Here” in the upper left column.