GumboWriters: How did you get your start as an agent? Why become an editor instead of say, a fighter pilot or computer engineer?
I got my start by being a little busy body quite honestly. I knew I wanted to do something within the publishing world but I wasn’t sure what so I wanted to be a editor, publisher, writer, and all the other stuff but thanks to some mentors they helped me realized that I had to decided and I decided to try it all out one step at a time. I went on to become a writer, publisher, and a public relations guru not in any particular order to later become a literary agent. I became an agent instead of the neonatologist or pediatrician that I wanted to be because I was giving back to our children.
What are some of the exciting books you've represented that you're most proud of?
I would have to say that my most exciting book to date is my first sell Lil Sister because it only took me 6 weeks to make the sell. I was very proud and excited because I knew I was going places.
When you receive a submission what about it really grabs you and excites you to the point that you'd like to acquire it?
The characters my big thing is the characters and how they act.
What makes you decide to read a submission overnight compared to it rotting on the bottom of your slush pile?
If a book gets me to guessing then more than likely I will stay up to finish it.
What's the best way for a writer to contact you? Query letter?
Email me a query letter ( submissions@mlbrownassociatesllc.com )
Are you open to receiving submissions from self-published authors?
I will consider self-pub authors.
What are you personally doing in order to adapt to the changes in the marketplace?(Changes meaning: lower print runs, shrinking book review outlets, oversaturated market and chains stores being more selective about what books they put on their shelves)
I am paying attention to what editors are buying and being concise of the market itself.
How much of a books acquisition decision do you think has to do with the talent and how many books similar to it have sold great numbers?
I think a book acquisition has to do with the books similar unless the author already has a name. Many editors look at the trends.
Is it becoming necessary for fiction writers to have their own platform (built in fanbase) too? If so, if not, why?
Yes, a fiction writer needs to build their platform quickly.
Article provided by www.GumboWriters.com
Showing posts with label gumbowriters. Show all posts
Showing posts with label gumbowriters. Show all posts
Tuesday, July 28, 2009
Tuesday, July 14, 2009
Guest Post: GumboWriters interviews literary agent Kae Tienstra
Hey, this is Cheryl again, bringing you another great interview--this time with literary agent Kae Tienstra. Kae shares some 'inside secrets' on how to hook this agent's attention. This interview is brought to you by my friends at GumboWriters.com. Enjoy the interview. ~ Cheryl Kaye Tardif
GumboWriters: How long have you been agent and how did you get your start, Kae?
Kae: This is a two-part answer. I began my publishing career at Rodale where I served as publicity director for the book division for over 10 years. I left Rodale in 1993 to launch my own book publicity firm, KT Public Relations. My husband Jon had retired from corporate life and acquired a Masters in library science. He joined me in the PR business. A few years ago I accompanied one of my authors to a popular home and garden show where she was taping several segments to publicize her book. In the greenroom I met a delightful woman who had self-published a book on homemade beauty products. I asked her if she'd thought of shopping it to publishers. She had not, but welcomed my interest. I came back home and talked to a literary agent friend, asking her if she'd be interested in the project. She was, and together we sold the book to Putnam. The same agent and I sold another self-published book to Marlowe and Company. My friend retired from agenting and encouraged Jon and me to launch our own literary agency. She felt that our marketing and publicity background would be most helpful in this "platform driven" business. We decided to keep our publicity business and create the literary agency as a separate entity. We call our new combined business KT/PR & Literary Services.
What makes your agency different than any others?
We are not your standard literary agency. Because publicity is our bread and butter, we are acutely aware of a book's marketing potential. Our decisions are based, in large part, on the publicity potential of the project. We are also intimately connected with our authors. It's just the two of us here--reading the queries and partials and asking for manuscripts. When you sign on with us, you sign on with us, not a junior member of the agency.
What are you looking for specifically that you wish you would see more of?
I love fiction of all kinds, but am interested in finding brilliant nonfiction as well. We don't get much of that and I'd like to receive health books (from pros), and other kinds of nonfiction. The problem with the nonfiction genre is "platform." Most nonfiction publishers today insist that their authors are well-known or that they write a newspaper column, are sought out by television and radio interviewers or have a fabulous blog with a huge readership. Because we have to sell to these publishers, we insist on author platform for nonfiction as well. Jon likes science fiction and is looking for fine writing in that genre. He also is looking for mystery/crime, thrillers and military.
Kae, what are you tired of receiving?
I still get lots of standard sword / wizard / dragon fantasy and I can't sell it. Please, no more!!
How can a new writer get your attention in a good way?
Write a beautiful, "perfect" query. Do your research--online, in books and writer's magazines. Information abounds that will help you hone the ideal query to get my attention and the attention of other agents. Don't send me a long synopsis or chapters until I ask you for them.
How can a signed writer stay in your radar without driving you insane?
Email. It works every time.
What do you wish more writers understood about you as an agent Kae that they don't seem to?
There's no way for authors to understand how much material we process on a daily basis. We talk about that on our blog and it does impact our work to a great extent. But, as Jon is fond of saying, "Good writing trumps all." Our goal is to sift through everything we get to find the jewels, the good writing that can find a home with a publisher. That means we are reading each and every day and that we may not get back to your query or to your requested partial or manuscript in good time. We try, but we tend to fall behind.
What's the best way for a writer to reach you?
Again, email. Or, read our blog http://www.newliteraryagents.blogspot.com/ and post comments. We try to answer all of those.
Article provided by http://www.gumbowriters.com/
GumboWriters: How long have you been agent and how did you get your start, Kae?
Kae: This is a two-part answer. I began my publishing career at Rodale where I served as publicity director for the book division for over 10 years. I left Rodale in 1993 to launch my own book publicity firm, KT Public Relations. My husband Jon had retired from corporate life and acquired a Masters in library science. He joined me in the PR business. A few years ago I accompanied one of my authors to a popular home and garden show where she was taping several segments to publicize her book. In the greenroom I met a delightful woman who had self-published a book on homemade beauty products. I asked her if she'd thought of shopping it to publishers. She had not, but welcomed my interest. I came back home and talked to a literary agent friend, asking her if she'd be interested in the project. She was, and together we sold the book to Putnam. The same agent and I sold another self-published book to Marlowe and Company. My friend retired from agenting and encouraged Jon and me to launch our own literary agency. She felt that our marketing and publicity background would be most helpful in this "platform driven" business. We decided to keep our publicity business and create the literary agency as a separate entity. We call our new combined business KT/PR & Literary Services.
What makes your agency different than any others?
We are not your standard literary agency. Because publicity is our bread and butter, we are acutely aware of a book's marketing potential. Our decisions are based, in large part, on the publicity potential of the project. We are also intimately connected with our authors. It's just the two of us here--reading the queries and partials and asking for manuscripts. When you sign on with us, you sign on with us, not a junior member of the agency.
What are you looking for specifically that you wish you would see more of?
I love fiction of all kinds, but am interested in finding brilliant nonfiction as well. We don't get much of that and I'd like to receive health books (from pros), and other kinds of nonfiction. The problem with the nonfiction genre is "platform." Most nonfiction publishers today insist that their authors are well-known or that they write a newspaper column, are sought out by television and radio interviewers or have a fabulous blog with a huge readership. Because we have to sell to these publishers, we insist on author platform for nonfiction as well. Jon likes science fiction and is looking for fine writing in that genre. He also is looking for mystery/crime, thrillers and military.
Kae, what are you tired of receiving?
I still get lots of standard sword / wizard / dragon fantasy and I can't sell it. Please, no more!!
How can a new writer get your attention in a good way?
Write a beautiful, "perfect" query. Do your research--online, in books and writer's magazines. Information abounds that will help you hone the ideal query to get my attention and the attention of other agents. Don't send me a long synopsis or chapters until I ask you for them.
How can a signed writer stay in your radar without driving you insane?
Email. It works every time.
What do you wish more writers understood about you as an agent Kae that they don't seem to?
There's no way for authors to understand how much material we process on a daily basis. We talk about that on our blog and it does impact our work to a great extent. But, as Jon is fond of saying, "Good writing trumps all." Our goal is to sift through everything we get to find the jewels, the good writing that can find a home with a publisher. That means we are reading each and every day and that we may not get back to your query or to your requested partial or manuscript in good time. We try, but we tend to fall behind.
What's the best way for a writer to reach you?
Again, email. Or, read our blog http://www.newliteraryagents.blogspot.com/ and post comments. We try to answer all of those.
Article provided by http://www.gumbowriters.com/
Wednesday, July 01, 2009
Guest Post: GumboWriters interviews freelance editor John Paine
Hey, this is Cheryl here, bringing you a great interview full of valuable tips and information, compliments of my friends at GumboWriters.com. Today's interview is with freelance editor John Paine. I feel obligated to add that for some writers, having their work edited can be very "paine-ful" (sorry--it just had to be said), but professional editing is a necessary process that separates great works from mediocre. With that said, please check out the interview. ~ Cheryl Kaye Tardif
GumboWriters: John, you've been in the business for a long time. How did you get started and what is it exactly that you do?
John: Not surprisingly, I started as an aspiring young writer. I decided at age 30 that I really didn't have the talent to be great, and I moved to New York to get an editorial position in publishing. I rapidly rose through the ranks and created a unique position for myself as a manuscript editor, or a house doctor. That's because those years of writing gave me a good intuitive feel for what writers try to get done in their stories. For 20+ years I have been helping authors both with large-scale story structure and with line-by-line, intensive editing. Depending on the project, especially in the field of nonfiction, I have served as virtually a ghostwriter.
Tell us the difference between line editing, copy editing, development editing, and what would you say is your forte?
Actually, the ranking is developmental editing, line editing, and copy editing. Developmental editing consists of helping authors to direct their characters and their plots to become stronger. I usually write page-specific notes that amount to roughly 15-20 pages, giving suggestions for new scenes, what scenes might be cut for better pacing, where more character background might be inserted, and which scenes might be moved around for a solid, building story. Line editing is what it sounds like: using a pencil line by line to prune and add to an author's text so that every sentence is crisp, using action verbs and effective sentence stem-dependent clause structure. As a former writer, I often write in phrases, sentences, or paragraphs to make sure the scene doesn't turn in unexpected directions that lose the reader. Copy editing is much more minor, consisting of a grammar, spelling, and punctuation check. A good copy editor will also help with sentence smoothness.
Why should a non-fiction editor write a book proposal first? And is that something you can help them with?
Today 95% of nonfiction books are sold through proposals. These are selling documents that give an outline of why an editor should buy the book. They come in pieces that are fairly standard, although proposals do not follow a strict template. They should contain an opening overview roughly 3-5 pages long that should capture an editor's attention right away. An author bio section is necessary, because most nonfiction authors are also speakers or have media contacts that will help sell the book. A competition section, with five or so competing books, lets the editor know (1) there is a market for your book and (2) why your book is different from what's out there. A section that contains a summary of each chapter is a vital part, because that's where you can show what the book will actually contain. Finally, 1-3 sample chapters are provided to provide a glimpse of your style, since a vast difference exists between a popular self-help book and a serious academic work. And yes, I do write (and sell) proposals regularly, as you might have been able to guess by now.
Why should writers work with you when they have thousands of other choices? What makes you so special, John?
I think there are many good editors, at least the ones who have New York publishing experience or the equivalent. My own approach is to keep the author in the driver's seat as much as possible. That means using constructive criticism that is politic in making its points. I like being nice, and I seek a good rapport with an author. I think I give sound advice, both for large-scale plot issues and for character enhancements. I know I'm an excellent line editor, because that's how I established my reputation in the first place. Judging by now many authors come back to me for their later books, I believe I provide a service that genuinely helps them learn how to write books. Finally, a word of caution to authors: Beware of these guys hanging out on the Net; a lot of their backgrounds aren't even close to being acceptable. Everybody is a self-appointed critic in the world of writing, so look closely at their credentials.
Is there anything wrong with having an editor edit your work before you send it to an agent or an editor? Is that cheating?
Seeking help as a writer is a wise decision most of the time. Seeing the forest for the trees in a book is probably the most difficult decision-making area in the arts. There are just so many words. In my profession, what often happens is that a writer who uses me the first time experiences a marked learning curve, one that tapers off in the second and third books as he or she applies the structural/character-building methods that I have taught them. By the fifth or so book, if you've been paying attention, you don't need an editor anymore. I know for a fact that agents like authors who have shown true desire by hiring an editor before they make their submission.
Won't agents and editors be disappointed that you didn't come up with the brilliant manuscript by your own doing?
Publishing is a business, by and large. If you are the next Norman Mailer or Alice Munro, you aren't going to hire an editor anyway. You'll be making those editorial decisions yourself. But that includes less than 1% of all writers. If you're writing for the popular market, an agent or editor is less worried about your artistry than your ability to keep readers on the edge of their seat.
Are there any famous or successful authors who work with editors before submitting their work to their agents or editors?
The more famous the author, the less editing he or she will accept. You could call it the diva equation. That's not to say they wouldn't benefit by editorial help, but they're fawned upon by their publishers, and they're making millions, so why should they bother?
Who are some of the best-known authors you've worked with?
I have worked with dozens of well-known authors. Anyone who is interested can visit my website, johnpaine.com.
How many books or book proposals would you say you've worked on that have ended up being sold? And what are some of your favorites (i.e., most well-known)?
Every year I help roughly 10 authors sell their books. I also work for publishers, so that number is doubled, in terms of published books I edit annually. I take a lot of pride in what I do, and I don't work on books that I don't think have a chance of being published. This summer, on the fiction side, I helped a debut author sell his psychological thriller, and that gave me a great deal of satisfaction, because he is so talented. On the nonfiction side, I helped turn a doctoral thesis into a history book that was bought by Harvard University Press, and that also was a challenge that gave me a great deal of pleasure.
How much do you charge for your services? Will authors have to re-mortgage their house to pay for it? Do you take payments?
It depends on the book. A ballpark figure is $10 per double-spaced manuscript page. I work in phases anyway, so a payment system is already built in. I'll charge for the read and initial editorial letter; then a retainer; the developmental edit; and the line edit. I will work out a payment schedule if needed, but obviously I'd prefer that the invoices be paid in full.
If we're interested in using your services, what is the first step and how does the process work?
The first step is to visit my website: johnpaine.com. That serves as my resume, so an author can check my credentials. The last page on the site has a contact sheet. I ask that an author send a 1-2 page synopsis plus 25 pages of the book so that I can evaluate whether he or she really should be spending money on me. I then call the author for a preliminary discussion of the book, plus my editing procedures, fees, timing, etc., at no cost. If the author decides to go ahead, the first step is my reading the entire manuscript and then a phone call to discuss which directions the editing might take, followed by a written editorial report. Along with that is an estimate for the entire edit, with fixed maximums for the different stages of editing.
Article provided by www.GumboWriters.com
GumboWriters: John, you've been in the business for a long time. How did you get started and what is it exactly that you do?
John: Not surprisingly, I started as an aspiring young writer. I decided at age 30 that I really didn't have the talent to be great, and I moved to New York to get an editorial position in publishing. I rapidly rose through the ranks and created a unique position for myself as a manuscript editor, or a house doctor. That's because those years of writing gave me a good intuitive feel for what writers try to get done in their stories. For 20+ years I have been helping authors both with large-scale story structure and with line-by-line, intensive editing. Depending on the project, especially in the field of nonfiction, I have served as virtually a ghostwriter.
Tell us the difference between line editing, copy editing, development editing, and what would you say is your forte?
Actually, the ranking is developmental editing, line editing, and copy editing. Developmental editing consists of helping authors to direct their characters and their plots to become stronger. I usually write page-specific notes that amount to roughly 15-20 pages, giving suggestions for new scenes, what scenes might be cut for better pacing, where more character background might be inserted, and which scenes might be moved around for a solid, building story. Line editing is what it sounds like: using a pencil line by line to prune and add to an author's text so that every sentence is crisp, using action verbs and effective sentence stem-dependent clause structure. As a former writer, I often write in phrases, sentences, or paragraphs to make sure the scene doesn't turn in unexpected directions that lose the reader. Copy editing is much more minor, consisting of a grammar, spelling, and punctuation check. A good copy editor will also help with sentence smoothness.
Why should a non-fiction editor write a book proposal first? And is that something you can help them with?
Today 95% of nonfiction books are sold through proposals. These are selling documents that give an outline of why an editor should buy the book. They come in pieces that are fairly standard, although proposals do not follow a strict template. They should contain an opening overview roughly 3-5 pages long that should capture an editor's attention right away. An author bio section is necessary, because most nonfiction authors are also speakers or have media contacts that will help sell the book. A competition section, with five or so competing books, lets the editor know (1) there is a market for your book and (2) why your book is different from what's out there. A section that contains a summary of each chapter is a vital part, because that's where you can show what the book will actually contain. Finally, 1-3 sample chapters are provided to provide a glimpse of your style, since a vast difference exists between a popular self-help book and a serious academic work. And yes, I do write (and sell) proposals regularly, as you might have been able to guess by now.
Why should writers work with you when they have thousands of other choices? What makes you so special, John?
I think there are many good editors, at least the ones who have New York publishing experience or the equivalent. My own approach is to keep the author in the driver's seat as much as possible. That means using constructive criticism that is politic in making its points. I like being nice, and I seek a good rapport with an author. I think I give sound advice, both for large-scale plot issues and for character enhancements. I know I'm an excellent line editor, because that's how I established my reputation in the first place. Judging by now many authors come back to me for their later books, I believe I provide a service that genuinely helps them learn how to write books. Finally, a word of caution to authors: Beware of these guys hanging out on the Net; a lot of their backgrounds aren't even close to being acceptable. Everybody is a self-appointed critic in the world of writing, so look closely at their credentials.
Is there anything wrong with having an editor edit your work before you send it to an agent or an editor? Is that cheating?
Seeking help as a writer is a wise decision most of the time. Seeing the forest for the trees in a book is probably the most difficult decision-making area in the arts. There are just so many words. In my profession, what often happens is that a writer who uses me the first time experiences a marked learning curve, one that tapers off in the second and third books as he or she applies the structural/character-building methods that I have taught them. By the fifth or so book, if you've been paying attention, you don't need an editor anymore. I know for a fact that agents like authors who have shown true desire by hiring an editor before they make their submission.
Won't agents and editors be disappointed that you didn't come up with the brilliant manuscript by your own doing?
Publishing is a business, by and large. If you are the next Norman Mailer or Alice Munro, you aren't going to hire an editor anyway. You'll be making those editorial decisions yourself. But that includes less than 1% of all writers. If you're writing for the popular market, an agent or editor is less worried about your artistry than your ability to keep readers on the edge of their seat.
Are there any famous or successful authors who work with editors before submitting their work to their agents or editors?
The more famous the author, the less editing he or she will accept. You could call it the diva equation. That's not to say they wouldn't benefit by editorial help, but they're fawned upon by their publishers, and they're making millions, so why should they bother?
Who are some of the best-known authors you've worked with?
I have worked with dozens of well-known authors. Anyone who is interested can visit my website, johnpaine.com.
How many books or book proposals would you say you've worked on that have ended up being sold? And what are some of your favorites (i.e., most well-known)?
Every year I help roughly 10 authors sell their books. I also work for publishers, so that number is doubled, in terms of published books I edit annually. I take a lot of pride in what I do, and I don't work on books that I don't think have a chance of being published. This summer, on the fiction side, I helped a debut author sell his psychological thriller, and that gave me a great deal of satisfaction, because he is so talented. On the nonfiction side, I helped turn a doctoral thesis into a history book that was bought by Harvard University Press, and that also was a challenge that gave me a great deal of pleasure.
How much do you charge for your services? Will authors have to re-mortgage their house to pay for it? Do you take payments?
It depends on the book. A ballpark figure is $10 per double-spaced manuscript page. I work in phases anyway, so a payment system is already built in. I'll charge for the read and initial editorial letter; then a retainer; the developmental edit; and the line edit. I will work out a payment schedule if needed, but obviously I'd prefer that the invoices be paid in full.
If we're interested in using your services, what is the first step and how does the process work?
The first step is to visit my website: johnpaine.com. That serves as my resume, so an author can check my credentials. The last page on the site has a contact sheet. I ask that an author send a 1-2 page synopsis plus 25 pages of the book so that I can evaluate whether he or she really should be spending money on me. I then call the author for a preliminary discussion of the book, plus my editing procedures, fees, timing, etc., at no cost. If the author decides to go ahead, the first step is my reading the entire manuscript and then a phone call to discuss which directions the editing might take, followed by a written editorial report. Along with that is an estimate for the entire edit, with fixed maximums for the different stages of editing.
Article provided by www.GumboWriters.com
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