What made you want to be an agent? And what was your journey in becoming an agent?

At the age of 22, while working for Sesame, my boss took me to her country house and I met her now-wife, the super-agent Charlotte Sheedy. I thought Charlotte led the most interesting life—meeting artists and writers; working on interesting projects; telling great stories. In my mid-40s I was looking for a career change and Charlotte took me under her wing and taught me everything I know about agenting. The life of the mind is amazing.

What was the first thing you sold, and what is the most recent thing you’ve sold?

My first sale was Armstrong & Charlie by Steven B. Frank, a middle-grade novel about racial integration of an elementary school in Los Angeles. It sold in a pre-empted auction in less than a week to Margaret Raymo then at HMH. When it published, it earned starred reviews and an Amazon editor’s pick. How easy is that?

My latest sale is Who We Are: The History of Anti-Black Racism in the U.S. by lawyer Jeffery Robinson to Peter Gethers and Morgan Hamilton at Knopf. Tom Hanks will do the preface.

It’s been in the works for a while, but last week Lynne Polvino at Clarion/HarperCollins announced Pajammin’ written by Ziggy Marley and illustrated by Leticia Moreno. It’s about a family sleepover in the living room with pillow forts, midnight snacks, games and fun. A great family night. It’s based on Bob Marley’s song “Jamming” and Ziggy will record a version of the song with the new lyrics. It comes out in June.

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What are you looking for right now from writers that you’re not getting?

I’m always on the hunt for a character-driven picture book where the emotional arc of the character maps on to the plot. Questions I always ask: What does the character want? What are they willing to do to get it? What do they learn along the way? Most books I get—whether they be memoirs or picture books—the action happens to the characters rather than the characters actively making decisions, causing things to happen.

What excites you most about publishing right now?

After a career in kids’ media, I love stepping up to the big kids’ table and being involved in smart adult nonfiction. Hidden histories, narratives, work by academics turned trade authors. I’ve been taking classes towards a masters in Biography and Memoir and have really begun to appreciate all the different ways a memoir can go. So many interesting experiments between autofiction, memoir.

What can writers do to improve their chances of a good first impression?

I love a short and snappy pitch that makes me want to drop everything and dive into a manuscript. For my own submissions to editors, I want to convey the excitement and promise of why this book, why now, in as few words as possible.

What’s the number one mistake you see in queries?

I think it’s hard to do the research into what the agent has done in the past, what they have experience with, what they’re likely to respond to. Often times, I’m just not the right guy for the query—sci-fi, fantasy, mystery, thriller, romance, YA. I’ve never worked on them, I don’t read them. I couldn’t responsibly take one on even if liked it, because I don’t know the conventions, or have the connections to editors looking for them. It’s hard to do all the homework when there are so many agents out there, and publishing feels so impersonal and intimidating. I’m understanding that I’ll get a lot of misfires. It’s part of the job.

What’s your best piece of advice for writers?

Read more. That was the advice I always gotten. I just found a quote by Samuel Johnson—something like it takes devouring a half of a library to be able to write one book. I think that’s how we prime our internal AI and train ourselves to understand the power of different grammatical structures, voices, plots, etc.

Submissions:

I’m open to submissions:

Submissions@oconnor.nyc

Short query letter with 10 pages in the body of the email. Looking for:

• Kids’ picture books (ideally as writer-illustrator)
• Middle-grade graphic novels
• Adult nonfiction in history, biography

Surprise me with something smart! But alas I can’t be of help with genre fiction.

The post Agent Advice: Kevin M. O’Connor of O’Connor Literary Agency appeared first on Writer's Digest.

What made you want to be an agent? And what was your journey in becoming an agent?

I don’t think my story is too dissimilar to most of my colleagues in the industry. I grew up reading books and always valued the power of stories. I was young when I realized that the characters and magical places I loved were the product of a single person’s mind. That was such a profound realization, and one that encouraged me to pursue a career in publishing. After my relevant university studies in the field, I built my way up the industry ladder until joining the amazing team at Pérez Literary & Entertainment.

What was the first thing you sold, and what is the most recent thing you’ve sold?

My first deal was for Tales of a Monstrous Heart, which is a gothic romantasy trilogy being published by Gollancz in late August this year. My most recent deal was for a magical dark academia duology. The deal hasn’t been announced yet, but keep your eyes on The Bookseller and Publishers Marketplace, because it’s coming soon!

What are you looking for right now from writers that you’re not getting?

I’m really looking to sign contemporary romances projects right now. I love love, so I’m hoping to see more manuscripts that explore the complexity of relationships and the different types of relationship dynamics that exist. That sounds heavy, but I love to laugh, so I’m also keen on projects with levity alongside a layered relationship.

It’s inevitable that when a genre is doing well, we tend to see a lot of the same format. With any query, I like to see familiar tropes and concepts, but with a unique hook or twist on what’s popular. I need to see something that would make a project stand out from competitors in an editor’s inbox.

What excites you most about publishing right now?

Just how many more people are reading these days. The BookTok boom has a lot to do with that. The publishing industry needs readers, so the more the merrier!

What can writers do to improve their chances of a good first impression?

A query letter is a first impression, which is why it’s crucial to get it right. Adopt the appropriate tone for your letter, know your manuscript well enough to pitch it correctly, know the right comp titles to use, and lastly, be kind to the agent reading your letter.

What’s the number one mistake you see in queries?

When a manuscript isn’t edited properly. I know that it’s exciting to send out your query, but it’s better to take your time and make sure your pages are as strong as possible than it is to rush and submit a weak draft. You only get one shot with an agent!

What’s your best piece of advice for writers?

Find your voice, and then value it. Oh, and edit!

The post Agent Advice: Nina Leon of Pérez Literary & Entertainment appeared first on Writer's Digest.

What made you want to be an agent? And what was your journey in becoming an agent?

While I was in graduate school, I was working as a children’s librarian and editing whatever I could get my hands on—mostly textbooks! Working with university presses was a great start to my editorial career. A friend of a friend writing a book hired me as her writing partner, which was my first foray into trade publishing, and it was because of that project that I learned about what literary agents do. (Agents aren’t typically involved in scholarly publishing, so I hadn’t gotten to work with any while in academia.) I realized quickly that it was my dream job: still editing, but with a whole lot more socializing. Some mutual acquaintances introduced me to the founder of my agency and the rest is history!

What was the first thing you sold, and what is the most recent thing you’ve sold?

The first book I sold was written by psychologist Chris Moore, PhD, and reframes guilt as a good thing (Collins Canada and BenBella, 2025). My latest sale is a book called Beyond Betrayal (Putnam and Bloomsbury U.K., 2025), written by psychotherapist/“affair counselor” Lauren LaRusso, that helps couples recover from infidelity.

What are you looking for right now from writers that you’re not getting?

Organization! There are so many writers who come to me with vague ideas. I receive so many queries per day that I don’t have time to brainstorm with you—I need to see proof of concept first. I love it when writers are already actively producing content/sharing their expertise in their field in other ways, like on social media or through other publications, and who are doing their homework about what goes into a proposal. Before querying agents, make sure you can show me clearly what your book is about, how it will be structured, and why you’re the best person to write it. I represent prescriptive nonfiction, so I need to see an actionable framework that readers can follow to implement the knowledge you’re sharing.

What excites you most about publishing right now?

I love that book publishing in 2024 is an extension of social media in many cases. There are so many amazing content creators out there who are excellent at sharing their ideas short-form, and a book can offer them a new, longer format through which to share an expansion of that information with their existing (or new!) audience.

What can writers do to improve their chances of a good first impression?

Again: Organization! It is abundantly clear to me in the first 10 seconds of reading your query letter whether you have researched who I am, what I represent, and whether your idea is fully developed or not. Remember to edit your pitch before sending it, and make sure you’re only querying agents who work in your genre.

What’s the number one mistake you see in queries?

Sometimes writers get so excited to share details about their book that they forget to include their elevator pitch! It’s very easy to ramble in a query, so try your best to be short and sweet in telling me what your book is about, why you’re the best person to write it, a couple comp titles, and any notable features you might incorporate. Agents have very limited time to read queries, so the faster you can get to the point, the better.

What’s your best piece of advice for writers?

The best writers are the ones who are doing things besides writing. They’re creating content and sharing their expertise elsewhere, they’re teaching, they’re reading, and, most importantly, they’re listening to what others are asking of them. Let your book be the natural next step in whatever it is you’re already doing—don’t force it.

The post Agent Advice: Kelly Bergh of Lucinda Literary appeared first on Writer's Digest.

Dear FYSA,

I received a request for my manuscript from a top agent, and after two days, received a phone call about representing my debut novel and was presented a contract for the term of one year.

A few days after signing, I received a list of around 50 editors and publishers my agent had queried. Then, nothing. I emailed him several times to check on progress but received terse responses, if any, then there was no communication at all. If I called, there was no answer. At the end of the contract year, I received no message so sent one to him stating that the contract was over. I received a form note: “Good luck in selling your novel.”

I’m feeling so puzzled and belittled, and I have actually stopped writing altogether. Do all agents operate in such a fashion? Should I even try to query my previous manuscript again since more than 50 editors may have read my work?

Sincerely,

Pressing Pause

Dear Pressing,

Oh goodness, this gave me the same feeling as when I went on the tilt-a-whirl with an inner ear infection—disorienting … and vomit-inducing. I am sorry this has been your experience. Hold this balloon and I’ll get us some ice cream.

So, all agents and agencies operate with subtle differences, but I feel comfortable saying we operate with a unified intent: to sell your manuscript to a supportive editor at a reputable imprint with a publishing house that offers quality distribution. So, in that list of 50 editors that the agent queried, I have to assume that criteria was met. But here is where the carnival fun house music swells for me: Does that mean 50 editors were given an initial pitch for the novel? Or does that mean that these editors had the manuscript and were going to read and respond? And if so—why not tell you the responses? I … I just don’t know. I’m baffled.

So, I guess there’s the answer to your first question on whether all agents operate like this, because I don’t. Our goal is to sell the novel, right? As your colleague, why would I not communicate responses—especially rejections? Having thoughts from multiple editors about what isn’t working with the novel is incredibly helpful in this whack-a-mole game of next steps. (Speaking of, hold my ice cream, I want to try to win the giant stuffed moose.) And yes, OK, I have sometimes faltered on communication, and the pandemic definitely made time move sideways, but being outright frozen out of communication must have felt yucky, and I am sorry for that.

Look, we can try to understand what happened with this agent, but that is not beneficial for how to move forward for you. My biggest concern here is the line “I have stopped writing.” Let’s unpack that (and let’s sit down, this moose is a bit unwieldy). This was a confusing and bumpy ride, and I can understand the exhaustion. But, hey, your manuscript got the attention of a top agent once, what have you got to lose by trying another round of agents? If one of them calls to sign you, explain the history, forward the previous agent’s submission list, and let the new offering agent walk you through their thoughts. (I mean, gosh, they could probably even call a few of those editors and ask if they saw it.) But that offering agent? They are going to ask you what you are writing now. And we want to be able to tell them, not only because it is a factor in that agent’s convos with editors about what an offer could look like, but also because a writer writes. This career is always a rollercoaster of a ride—and sometimes it feels like the wheels come right off—but as a writer, your muse should always be leaning over and whispering: “Let’s go again.”

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Dear FYSA,

Lately, I’ve been feeling like who I am as a person and where I want my career to go are no longer aligned with my agent (whom I’ve always had a wonderful relationship with, if a little awkward). My question is … how do I break up with my agent nicely?

Thanks,

Time for a Change

Dear Time for a Change,

OK, I legit lol’d at the phrase “wonderful … if a little awkward.” What a perfect encapsulation of the agent/author relationship.

My first question to you would be, have you had the chance to discuss with your agent your concerns? I might suggest that first. But if you are really and truly looking to move on, set up a call with her, thank her for the work that she has done for you, and tell her that looking forward you need to make a change and that you are dissolving your agency agreement. There should be some language in your agency agreement regarding a grace period that she has to wrap up any current submissions or contracts (generally 30–60 days) and while she is wrapping up, you can begin your new agent hunt. In the end, I would just ask that you lean into a phrase I say to my kiddos all the time when we are trying to get out the door after a play date: Let’s leave like we arrived, with grace and gratitude. 

The post Funny You Should Ask: Agent + Author Breakups appeared first on Writer's Digest.

(20 Literary Agents Actively Seeking Writers and Their Writing.)

A lover of all things science fiction and fantasy, Matt accepts his nerd status readily.

*****

How did you become an agent?

Patience! I applied to different literary agencies for over a year before I got my foot in the door as an office manager. From there, I became an assistant and worked at it every day until I started signing my own clients. 

There are so many disparate parts to being a literary agent that it really is a job you have to learn by doing. Thankfully, I was able to work under some amazing agents and get to know the ins and outs.

What’s the most recent thing you’ve sold?

Agh, such a hard question! There’s a movie deal I can’t talk about, a historical graphic novel I can’t talk about…

In things I can be open about, I recently sold a novella from Jordan Kurella, titled I Never Liked You Anyways, which is a queer retelling of the myth of Eurydice and Orpheus, taking a modernized approach in recounting how the two lovers met and met their ends.

What are you looking for right now from writers that you’re not getting?

Approachable sword and sorcery fantasy. I’ve been getting quite a lot of sci-if and lots of dark or urban fantasy, but I haven’t gotten much in the way of manuscripts with magic systems and approachable characters and themes. It seems like writers are trying to out-write themselves and sometimes things can just be parsed back a bit to create a more enjoyable and immersive world.

Where do you notice writers going wrong in chapter one?

Focusing so heavily on world-building. It’s tough when you have to introduce an entire world to the reader, but please don’t give me exposition dumps in the first few pages. Ease us into the story, the hook, the characters, and spread out the information so we can digest it in pieces.

(8 Ways to Write a 5-Star Chapter One.)

What’s the number one mistake you see in queries?

Not knowing where to go after a story starts. I’ve read so many queries that use a prologue as the hook or a big action sequence right up front and then pull back for the next 50+ pages where there’s no tension whatsoever. An early hook is important, no doubt, but authors should be aware of where their story’s tension points are. 

As readers, we need to see and read that ebb and flow of tension throughout the story. And maybe that means you should cut those first 50 pages where your character is going from their bed to the garden and back again.

What’s your best piece of advice for writers?

Write the story that you’re passionate about. Don’t worry about what’s trending or up-and-coming or the next fad. Write the story that’s burning you up, the one you can’t stop thinking about. Because whether that story is about dragons or vampires or a cat stuck in a tree, the passion you have for it will transfer to the page, and it’ll be something I want to read that much more.

[Click to continue.]

The post Agent Advice With Matt Belford of Tobias Literary Agency appeared first on Writer's Digest.

(20 Literary Agents Actively Seeking Writers and Their Writing.)

She received her BA in English Literature from Mississippi State University and her MA in Children’s Literature from Hollins University. Learn more on her agent page.

*****

How did you become an agent?

I had a winding path to agenting. After years working in magazine editorial for Time Inc. and receiving my MA in Children’s Literature from Hollins, I spent five years as general manager and collection development director for Turtleback Books, a seller of prebound books to the school and library market. I eventually moved to be closer to family and returned to magazine editorial with Meredith, during which time I moonlighted as a children’s librarian because I missed the book world so much. 

I discovered a remote internship with a boutique literary agency that sounded intriguing, and was accepted in summer of 2018. I quickly realized agenting married all of my greatest career loves: editing, buying, sales, and reading books. I started signing clients of my own two years ago, and now I can’t imagine having any other career.

What’s the most recent thing you’ve sold?

I have so many unannounced sales it’s getting difficult to keep track! But my most recent sale is a twisty and terrifying domestic thriller about an overly trusting landlord. He lets a woman move into his property without doing the customary background check, and when she starts dismantling the house from the inside out, he quickly realizes she isn’t who she said she is. It’s a gritty, gripping read.

What are you looking for right now from writers that you’re not getting?

I recently ran my stats for the year on the audience and genre breakdowns for the queries I received, and thankfully I can say that I receive so many queries that are right in line with what I’m looking for. 

I’d love to see more middle grade and YA when I reopen sometime in the new year. I receive so many more adult queries than children’s.

Where do you notice writers going wrong in chapter one?

There are a few things I notice often in the early pages of a submission. Sometimes the story doesn’t start in the right place; instead of hooking the reader by getting to the plot, a manuscript will open up with too much explanation and backstory and often not get to the real hook of the opening until multiple chapters in. 

(8 Ways to Write a 5-Star Chapter One.)

I also see an issue of manuscripts opening in ways that are overused: a kid waking up for their first day of school, a car ride to a destination on the first day of summer break, a couple moving into a new house. It’s much better to try to set your book apart as much as possible from page one: Often an agent will only read a few paragraphs of a submission, so you really have to make sure your project stands out from the rest.

What’s the number one mistake you see in queries?

If I had to pick just one, it’s probably that many queries do not adequately set up the stakes of the project in their pitch. It’s tough to do it concisely, but make sure your pitch for your book includes the internal and external stakes for your protagonist. What choices do they face in the book, and why does it matter to them? 

Often queries do a great job of setting up the backstory (who, where, when, etc.) but fall short in communicating what the choices are that the protagonist will face and what the stakes of their decision making are.

What’s your best piece of advice for writers?

Right now, the book business is stranger than ever. Due to the pandemic, understaffing issues, the shift to remote work, supply chain issues, and so many other things, wait times are long and uncertainty abounds. My advice is not to lose heart. Keep writing when you can, and rest when you need to. 

(When Is My Novel Ready to Read?)

Take your time, and query your best, most polished work. And be patient, understanding how very long things are taking, and that a long wait does not equal a lack of interest from an agent or editor. It just means people are busy and tired. Focus on what is in your control, which is your work and taking care of yourself.

[Click to continue.]

The post Agent Advice: Erin Clyburn of The Jennifer De Chiara Literary Agency appeared first on Writer's Digest.

(20 Literary Agents Actively Seeking Writers and Their Writing.)

She’s is especially open to BIPOC and LGBTQ voices in the mentioned categories. Analieze currently resides in Southern California with her five dogs. Learn more on her agent page.

*****

How did you become an agent? 

I started my career at another agency a couple years back as an intern and that’s when I really began my journey. I started to learn a lot more about the industry, what to expect, and what to look forward to. 

However, my journey there was abruptly cut short and I had to find another agency. I reached to Havey Klinger at HKLA, and he gave me the opportunity of the lifetime to chase my dreams as an advocate for authors. I am slowly learning, building my list and I’m looking forward to the many great things that will come.

What’s the most recent thing you’ve sold? 

There will be an announcement in the near future so look out for that! I am super excited about it.

What are you looking for right now from writers that you’re not getting? 

A great mystery that pulls me in from the opening sentence to the ending.

Where do you notice writers going wrong in chapter one? 

Often times, I find that the concept is very good, and I can’t wait to dive in, especially, since the pitch was executed. However, if the opening chapter starts off great, then the pacing begins to slow down for me. 

(8 Ways to Write a 5-Star Chapter One.)

I love luscious world-building, character driven, complex story lines, even pacing, and stories that pull me away from my current world. So most authors make the mistake in not initiating their plot, introducing their characters, and keeping me glued to the pages.

What’s the number one mistake you see in queries? 

Not introducing me in the query letter, not showing/telling me what their book is about, and are most focused on their accomplishments rather than sharing why they are querying me.

What’s your best piece of advice for writers? 

My advice to writers: Don’t give up, ask questions, learn the industry, attend conferences, join support groups, have a community of beta readers, and really understand the business in the best way you can.

*****

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The 2019 Writer’s Digest Annual Conference is right around the corner so we asked some of our speakers to share their favorite writing tips. Some of their advice come from their experience as writers or agents, and for others, it might be some favorite words of wisdom they received from someone else. Either way, what you read here is the very tip of the iceberg of what you’ll learn from them at the conference.

Never stop writing at the end of a scene or chapter. Stop midway through even though you know you know what comes next and could finish. It makes it that much easier to start again tomorrow and get into the flow of writing again. – Christine Conradt

Tosca Lee once told me to write the first draft like nobody will read it. That really takes the pressure off. Some of my favorite fighting advice also applies to writing. As my Brazilian coach said in his hard accent, “Nobody care you a tired! You keep a da fighting!” And, that’s true. Nobody cares how hard the writing process is. Nobody cares that your family has eaten Cheerios for dinner three nights in a row and that your house looks like it threw up because you are locked in a room writing for who knows how many hours a day. No. Body. Do it. Get it done. Don’t make excuses. Don’t wait for inspiration. “Keep a da fighting!” – Carla Hoch

Persist. Talent is no guarantee of success; persistence is. You can learn to be a better writer. You can write more drafts, take more classes, query more agents. If you persist at what you need to do to become a published author, you will succeed. – Jordan Rosenfeld

Never fall in love with your first draft. Too many people with great ideas end up settling on an early draft when they really need to keep revising their story. I remember revising the first chapter to one of my books more than 50 times. It was brutal, but essential. That opening chapter remains one of the most powerful I’ve ever written. – Steven James

Make time for your art because no one will. Even if you have to steal ten minutes a day, make sure you help grow your gift. – Lilliam Rivera

Elmore Leonard’s brilliant “Try to leave out the part that readers tend to skip.” I always rework that into “Skip the boring parts.” It’s so easy to implement, too: If you find yourself struggling, if writing a scene feels like lifting a heavy object over your head, ask yourself if you’re bored, if you’re writing it just because you think you have to. If the answer is yes, skip it. – Jeff Somers

It depends on what day you ask me! But in the thick of a draft or a revision, I think my favorite advice comes from Patricia Cornwell: To treat your writing like a relationship, not a job. – Jessica Strawser

Here are the three that guide my writing process: 1. Keep the reader reading. 2. Don’t get it right, get it written. 3. Writing is rewriting. – Paula Munier

“Anyone who keeps writing is not a failure.” Ray Bradbury said that. And I usually have that on a wall somewhere. I’m lucky in that I’ve always just kept at it, and over time, it all keeps adding up. The longer I work, the harder I work, the more luck I seem to have. – Tobias Buckell

The best writing advice I ever read came from Ann Patchett. In her essay “The Getaway Car,” she talks about how what you envision your story being in your head will always be different once it touches the page. Being able to make peace with that simple truth has been crucial to my ability to sit down and write without judgment. – Ran Walker

Read as much as you write. – Barbara Poelle

It comes from the writer George Singleton: “Keep a small can of WD-40 on your desk—away from any open flames—to remind yourself that if you don’t write daily, you will get rusty.” – Zac Petit

For first person essays or memoirs, my favorite rules are: Mine your obsessions. Lead the least secretive life you can. The first piece you write that your family hates means that you’ve found your voice. The first assignment I give my students is: write 3 pages on your most humiliating secrets. That has led to many clips, books, and even a few movies. – Susan Shapiro

Write better. Get published. Build your network.

Writer’s Digest Annual Conference | New York City

The post Writing Tips From Writer’s Digest Conference Instructors appeared first on Writer's Digest.

What are your suggested tips for writers meeting agents at conferences?

Rosenkranz: Given the limited time an author has for both the pitch and then the agent’s response, brevity is key. Where applicable, the pitch should be tailored to the agent (“Since you are the agent of XX, I thought my project might be of interest.”), argue the merit of the work, detail what sets it apart from the competition, explain what personal and/or professional experience you bring to it, and show the need in the marketplace—making the strongest case possible for the book. Be mindful of time, leaving enough left for the response and clear follow-up steps if the agent is interested in seeing the work.

Hagan: There isn’t any need to be nervous; use your notes. I am just as interested in what you have to say as you are to share it with me. Do not suggest that your genre will change my mind and make me want to represent a project out of my field of expertise. I get that every single time. Your novel will not be the one to change my mind and start repping fiction.

How can writers make a good first impression?

Rosenkranz: While it’s understandable that some writers will be nervous when meeting agents, I’d hope that wouldn’t get in the way of the conversation. We genuinely want to hear about your project! Writers should be ready with any accompanying materials and should be focused.

Hagan: Be passionate about what you are writing. Show how much you care about sharing your work with the world. At the end of the day, I want to still be thinking about what you have shared with me.

What turns agents off?

Rosenkranz: I‘ll speak only for myself. Sometimes a writer is very set on working with me and for whatever reason I don’t think I’m right for the project. It’s not productive for a writer to be insistent and argumentative when that happens. Writers should keep in mind they are looking for the right (if not the best) match, where they have a full embrace from the prospective agent.

Hagan: Stating that you don’t care if it makes money or not. Really?

What should writers bring with them to an agent meeting/pitch?

Rosenkranz: The most effective pitch is when the writer isn’t reading from notes but describing the project while looking the agent in the eye, so it’s best to keep display items to a minimum. A writer might show artwork if that is a crucial part of the project. Again, be mindful of time and use it effectively.

Hagan: Being prepared to leave a well-written, short and detailed pitch, author bio with contact information and marketing ideas.

What questions should they ask?

Rosenkranz: I’d recommend before the conference that writers look at the agent’s website to have insight into the agent’s titles and taste. If the agent expresses interest in the work, the writer might ask what publishers the agent would have in mind for it, commercial or academic? A major publishing house or regional press? Does the agent accept simultaneous submissions (most do), and how best to follow up if there’s interest? The writer wants an agent with a shared vision. This is the first chance to establish that connection.

Hagan: Have you had success in this genre? What are the publishing houses you enjoy working with? Do you see my proposal reaching any of them?

Have you ever had a negative encounter with a writer at a conference? If yes, what were the circumstances?

Rosenkranz: Often, memoir pitches are difficult to convey because there can be such a strong emotional component to them. Over the years after receiving thousands of pitches, I hope I’ve learned how to respond honestly and with compassion. But even the most sensitive agents who are careful with language can mis-step. Despite best intentions, I am sure I have mis-stepped a few times when the writer has felt personally challenged by the rejection.

Hagan: Only once. The person pitching me was not well and I got a little concerned for my safety and had to call in help.

What have you found to be the most common mistakes writers make when meeting with agents at conferences?

Rosenkranz: Not doing their research in advance. When an author pitches me fiction, for instance, I realize they haven’t reviewed my list. Also, as much as I try to break in before this happens, sometimes writers will go on and on with extraneous details that take up all their time, limiting my available time for feedback.

Hagan: Agents represent specific genres and do not generally go far afield of their expertise. No amount of begging will change that. It is uncomfortable to have to say no to an aspiring author face to face, but if we don’t think we can sell your work, we have to say no. Please respect our decisions. There are plenty of agents to approach and using email is easy. An agent is but one opinion out of hundreds and it only takes one YES to get to the next step. Conferences inspire me to be a better agent and hopefully inspire the writer as well.

Any final advice?

Rosenkranz: There are many great agents, and with luck, writers will get interest from more than one and make an informed decision moving forward. The more a writer is prepared, the more likely the results will be positive. In the end, I hope it’s a successful, enjoyable experience for all parties!

Hagan: Take what you have learned from the conference and use it to enhance your writing, content, grammar, and how to write a proper proposal. I send people to Writer’s Digest at least once a week to learn how to write the perfect proposal. Don’t take shortcuts.

Write better. Get published. Build your network.

Writer’s Digest Annual Conference | August 22-25 | New York City

The post The Dos and Don’ts When Meeting Agents at Writing Conferences appeared first on Writer's Digest.

1. PITCHING TO AGENTS AT A CONFERENCE IS MY ONE BIG BREAK.

Writers work themselves into a frenzy thinking that these in person opportunities are their best chance. But here’s the truth: Your pitch session will likely result in the exact same result you’d get from a query letter—an agent either requesting pages, or not. So relax! You will still have many future chances to query or pitch your work. If you have extra time during your face-to-face session, don’t be afraid to ask the agent questions, including whether she thinks your pitch needs improvement. The answer may help inform future submissions.

2. I SHOULD QUERY ONLY ESTABLISHED AGENTS.

Don’t limit yourself—send to long-established literary agents and new ones! Keep in mind that newer agents at an established firm still wield that firm’s reputation, and are often mentored by the senior agents there. Just be sure to check the submission guidelines to see whether an agent is a good fi t for your project. New agents can even have some advantages: They’re actively building their client lists, so odds are better that they will request to see your work. And because they represent fewer writers, they may have more time to spend on their clients.

3. AGENTS WANT BOOKS THAT ARE TRENDY.

Please don’t write a book with a trend in mind. By the time it gets published, interests will have shifted. Agents can detect authors who are writing only what they think people will want to read. The results are often clunky and disingenuous—like when an ethnic character is plunked into a story to answer the call for diversity. What agents really want to see is the story that you really want to write. An amazing story that is brilliantly told will never go out of style.

4. AGENTS SHOULD ALWAYS RESPOND TO CLIENT MANUSCRIPTS WITHIN A MONTH.

One month can be an unrealistic timeline for your agent. Is she very editorial? Then she’s likely to proceed through the text at a more careful pace. Remember that agents have only so much control over their workflow. They may have received a slew of other client manuscripts just before yours. They also spend much of their days responding to editors, pitching books, negotiating contracts and attending meetings. Ask your agent when you can anticipate a response, and manage your expectations.

5. IF MY AGENT DOESN’T GET ME A BOOK DEAL, THEN SHE ISN’T A GOOD AGENT.

Oh, if only agents could sell every book that they pitch! But that simply isn’t realistic. Publishing is a subjective business and unfortunately, not all books get picked up. The potential reasons vary widely, and many are not a reflection on the quality of the writing or the ability of the agent. For example, the publisher may already have a similar book in the pipeline, or a shift in the market could make a particular genre unsalable. A “good agent,” then, is best defined as one who will do everything she can to get your book into editors’ hands.

And here are two truths we really want you to know:

ASK YOUR AGENT!

Have a concern about your agent? While many writers ask their friends and hit the message boards for answers, the first thing you really need to do is ask your agent directly. Don’t be afraid that it will spoil your relationship—just be professional and personable. Communication is key in the author/agent relationship, and you share an important goal: building your writing career.

PUT YOUR WORK OUT THERE!

For many writers this is the hardest thing to do, but you aren’t helping yourself by not sharing or submitting. We meet so many people who say they have something written, but are afraid to show it to anyone. Even starting small—by joining a writers group or enlisting a trusted peer reader—will help build your confidence and set you on the path to submission. So declare yourself a writer and start sending out your stuff. We want to see what you can do.

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The post Agent Myth Busters: 5 Common Misconceptions About Literary Agents appeared first on Writer's Digest.