Ask Daphne!: February 2008 Archives

GrammarGirl writes:

I have this "friend," see. Her kind and warm agent found her after reading some of her work, saving my friend the stress of having to query many agents. At the outset of their relationship, my friend explained that she aspired to write novels for kids and teens, even though her day job was writing in other categories. The agent said, "No problem." But my friend has noticed the agent has sold nothing else like that. Nor does the agent seem to really be into YA and MG fiction, at least not in the hopeless and irredeemable way my friend is. Finally, when my friend sent a brief synopsis of the YA novel she was writing, the agent didn't respond.

My friend doesn't like to nag. Nor would she expect someone to feign love for a book category to make a sale. Would it be better for my friend to seek another agent who specializes in children's literature? Or should she just be glad she has an agent, and hope that when the novel is suitably polished, the agent will know which editor might like to buy it? The whole thing makes my friend's stomach hurt.

Dear GrammarGirl -- This is a tough call, but I think you have to go with what your agent has said. Just because an agent hasn't done much YA or MG in the past doesn't mean they won't be absolutely fantastic at selling it in the future. If she's already said your interest in other genres is great, and not a problem, then you get to run with that.

The fact that she hasn't responded to your latest synopsis may not have anything to do with the category, and may be about being busy or just behind in her reading. Has it been a week or so? Send her a short email, confirming that she's received the synopsis, and saying that you're eager to hear her reaction. In the meantime, while you wait to hear from her, keep writing!

Finally, for all your writers out there of category fiction, whether it's MG, YA, adult romance, scifi, or Cold War spy novels. Whatever. Yes, you'll find agents who love the category that you're writing in. You may also be lucky enough to find an agent you loves your book, regardless of the category. They're not always the same person, and that's ok.

Judy writes:

I'm wondering where fiction involving university students fits in. Would that be considered YA fiction? Or would that be considered adult fiction? If it is a realistic novel without any genre elements like fantasy / sci fi / mystery, it doesn't seem to fit completely in either of these categories, so where would this sort of manuscript be submitted?

I know the answer to this, but it's not one that makes me very happy. I've had multiple conversations with editors from publishing houses big and small, and they all come back to me with the same answer -- once you have a main character in college, it's no longer YA.

But wait, you argue. What's the big difference between a book about a senior in high school and one about a freshman in college?

Nothing, really, except for a bit more freedom, but nonetheless, that's the bridge from YA or teen fiction into adult. Now, there are some exceptions to this: MTV Books, for example, is carving out a great niche in the publishing marketplace in targeting these college-age kids, but for most houses, this is an underserved age group.

It goes to traditions, sort of. Traditionally, kids read up or at the same age as the protagonists, so Middle Grade books are read by those the target range and younger, as are teen books. Once you get out of the 12-16 YA range, publishers have found that readers jump to adult books. There's also something to be said for the time college age students have for leisure reading, i.e. not much. And when they do read for fun -- they're already looking ahead to adult books, not back to YA.

So, Judy, for your novel about university age kids, check out MTV Books and see if they might be for you (although I'm not aware of their policy on unsolicited submissions), otherwise, look to the adult publishers. If there's a romance involved, there's a lot of great imprints publishing chick lit, which, really, is nothing more than young women's fiction.

Good luck!

Double L writes:

I made contact with an editor a few years back at a conference and have shared manuscripts and swapped emails with her since then. She recently wrote to tell me she loved my current manuscript and was sharing it with her colleagues. I know that isn't the same as "I'm taking it to acquisitions" or "Please let me buy your book!" BUT I've also sent this story out to agents. Is this something I should share with them now or do I wait until I have an offer? How much information do agents want concerning the manuscript's status and at what point do they want it?

LL -- first of all, congrats! How the tough part starts. It's true, you don't have an offer in hand, but at such time as you might have an offer, there's a chance the editor won't want to wait too long to get your response. So there's an element of "striking while the iron is hot" to play with.

If the material is also out with several agents -- and by that I mean in either partial of full drafts, not just a query -- then I would think you could send them a note to just say, "Dear Agent -- While you're reading my submission of X, I just wanted to let you know that Editor Q at Publishing House Y recently informed me that she's sharing the material with her colleagues. While I recognize that this isn't an offer, I wanted you to be aware of the news. I look forward to hearing your reaction."

For those agents whom you've queried but who haven't yet responded to ask for material, do nothing for now. If they write and ask for a partial, I'd let them know then that Editor Q at Publishing House Y is seriously considering it, and that you'll like to keep them apprised of her reaction.

Now here's where I tell you a little secret -- sometimes (not always, but SOMETIMES) if I know an author whose material I haven't gotten to yet has an offer, or other interest, I may be more inclined to pass rather than read more. This is more true if we're talking about interest from another agent, but it's occasionally applicable with an offer from a publishing house. There's that sense of rushing to respond which doesn't really give me the chance to sit with something, let it gestate in my brain, and see if I really want to spend the next couple of years dealing with the author.

Now, say things DO happen quickly, and Editor Q does make an offer, before you get an agent on board. What you want to do then is let her know that several agents are considering the work, ask when she needs to have your response, and then send another note to the agents. You may also want to consider asking the editor if she has any recommendations of agents -- likely she will know someone she enjoys working with, and you might be able to garner a quick response if the referral comes from an editor.

It's not a slam dunk easy process, and there's reasons why you may not want an agent who's ONLY coming on board because you have an offer, so make sure you've done your research. In all things, though, communication is key. Good luck!

J.O. asks:

In my manuscript I have certain words and paragraphs that I would like italicized. I have read conflicting information regarding whether to underline or italicize these passages in my manuscript. Is this an agent preference issue, or is there a standard that I can apply to my manuscript? (Currently, I am underlining words or sentences that I would like to appear as italics.)

I could do a little research to answer this question, but instead, I'm just going to spew forth with whatever's already in my head.

It's my understanding that the stated preference for underlining passages which you'd prefer to be italicized i the finished product comes from a time before computers (i.e., The Dark Ages). Typewriters weren't able to show off italics, so authors marked the emphasized passages with underlines, which typewriters could do. Over time, personal computers were developed which made the whole word processing thing an easy slam dunk. Now, it's a cakewalk to insert italics.

That being said, if any editors or agents have listed a stated preference for underlines over italics, than you should, as always, follow their instructions for your submission. I think that if they haven't said anything, you can feel free to send your material with the formating you most prefer -- especially when you're talking about an electronic submission, which can be reformated, if necessary.

When I used to print out partials, I would reformat every document that came in to 11 point font, with 1.5 spacing. This way, I was able to save a few trees, while still capable of reading something on my subway ride. Now, I leave stuff on the computer when I read, so all I have to do is format how much text I want to see on the screen.

I don't usually bother with changing underlines or italics -- although I think that visually italics mean something very different than underlines. It's like in email -- if you capitalize your entire message, it's like you're shouting. Please don't shout at agents. Thank you.

MM asks

What types of fiction do you NOT represent?

Honestly, I picked this question because I thought it'd be fun for a Friday, on what I've otherwise decided will be a reading-heavy day. I've got loads of queries to get to and requested materials piling up, so I want to get a move on! (And though I was going to try to get some reading done last night, Rexroth and I instead ventured out to see The Spiderwick Chronicles, which was six different kinds of fun.)

So! What DON'T we represent? Literary fiction, to start. I like a rousing story, and it seems to me most adult literary fiction is more about language and beautiful prose than plot. Mainstream thrillers, hardboiled detective stories, traditional westerns, high fantasy, cold war spy novels, cosies (or is that cosys?) Lots of different types of adult fiction, really, although some of these genres, if well told in a YA or middle grade novel, might be right up my alley.

As for the rest -- so often it depends on the telling. If you have something and you're not sure whether or not it'd be right for me -- try me! You have nothing to lose.

Hullo, readers! It's been a whirlwind couple of days here at Unfeasible Enterprises, what with the SCBWI conference, a flurry of wedding planning, various flights back and forth across the country, and a ton of reading to do. We've also gone out with our first official submission, and shared another author's next novel with her publisher. So -- whirlwind!

But it's nice to be back in the office and getting back to my regular work schedule, so with that in mind, let's tackle a question, shall we?

Sarah writes:

A friend and I wrote a book over the summer about philosophy and I have recently finished a poem book of 40 or so poems, all of which I would one day love to see in print. I'm aware of the hardships I face being only 15, with no money and the content of these books being things people don't like to read but I would love it if you could email me any advice you have about getting these things published.

Sarah, congrats! Only 15 and already you've finished two books -- well done! You write about the hardships of being 15 in trying to get your work done, and no lie, that can be a stumbling block. But it's not about your age, per se. It's about experience.

Publishing is a tough business for all writers, and your book of poems or philosophy has to compete with all the other submissions agents and editors are reading. Your youthful enthusiasm can only take you so far -- you need to be able to back that up with strong writing, with good, quality work, or no one's going to give your manuscript a second look. You write that you'd "one day" love to see your work in print, and I totally think that's the right attitude. It doesn't need to happen right away -- most successful writers have spent years practicing their craft, before they finally get published. Keep reading, keep writing, keep learning about books, and publishing, and poetry, and philosophy... and other great words that start with "p." (Peep-toe pumps!)

And finally, put aside the idea that you need money to be published. You don't, unless you're looking at vanity presses where you have to pay them to produce your book. That's not traditional publishing, and that shouldn't ever be your first course of action if you plan to be a published author. Researching agents, sending email queries, joining a critique group, polishing your manuscript -- none of this takes any money to do, except what you need to support yourself while you're writing. And that's just called life.

Good luck!

Brigid asks:

At what point does no response to a query (an e-query) mean NO from an agent? Say you've sent out, I don't know, 25 queries to agents who are NOT setting up a new shop. You've had some rejections, you've had some requests for partials, but there are still about ten out there that are floating with no response. Two weeks? Four? Six? When do you cut the cord and say, "Ain't gonna happen. Stop praying."? :-)

Well, the first thing I'd do is check the agency's website or the agent's blog, if they have one. Do they accept e-queries in the first place? If they don't, then do things the old fashioned way and send a letter. It's likely your email was just deleted unread. If they do accept e-queries, have they posted anything about a backlog, or a delay in responding? Even if they haven't, have they given a timeframe for responses? Agent A may promise to respond to email queries within two weeks, in which case, if you haven't heard in a month, I think you could be justified in sending a reminder. Agent B may say she'll respond within a month, so I'd give her twice that much time before resending. Whatever timeframe you think might be long enough, double that, then you can resend, or send a reminder.

In any case, when you resend, my personal request would be a brief cover email with your original e-query attached, saying simply something along the lines of "Dear Agent -- I understand you may be overwhelmed with queries at this time, but I didn't want to take the chance that my letter was somehow lost, and I am delighted to resubmit my query of Date." You can flower that up, of course, make it pretty, and I always like to allow the possibility of blame to fall on the intrawebs. But keep it simple.

And of course, keep submitting! Find other agents to query who will respond. It sounds like you've got some good feedback already, so track down some more of the good ones, and keep trying until you get that offer of representation.

P.K. asks:

From your experience, do you think agents who represent humor and romantic comedies (but not gay fiction) will toss a query because the novel has a gay story line? Am I better off only submitting to agents who represent gay fiction?

Hi there, P.K.! I think it depends on each agent's individual tastes. Are you finding people who specifically say "No gay fiction"? In which case, skip 'em! However, just because they haven't represented gay fiction in the past, doesn't mean they won't in the future.

It also depends on your specific manuscript. Is the book ABOUT a gay relationship? In which case, you might indeed be better of skipping agents who're mostly interested in traditional romance in order to concentrate on specialized agents with the best contacts in the world of lesbian and gay publishing.

However, if you've written a psychological thriller where one of the characters happens to be gay, then I'd go all out with your submissions to traditional agents who work with thrillers.

I don't want to suggest segregating your manuscript, so to speak. The benefit of focusing your queries on agents who specialize in lesbian or gay fiction is that they probably have a better handle on what editors of those lines are looking for. Take a look at what other gay fiction is out there, and consider the type of titles your book is most similar to. Are they all published on specialized lists? Or have you written a novel that fits on a mainstream publishing house's general list?

Good luck!

A Peachy Student asks:

I'm currently taking Intro to Public Relations at my state university (Georgia State University) to major in PR. For our research paper we are supposed to write about a PR profession we are interested in and write about it. I chose literary agent. As this is something I would like to know more about and possibly do.

Part of our essay has to include "A Day in the Life of" type of feature. So my question to you is, "What is a day in the life of "Daphne Unfeasible"?" Especially as it relates to your profession.

Well, Peachy, it's been a big change in the last few days, but here's how it's shaking down.

Up at 7am, or earlier, sitting in front of the computer at 8am Mountain time. Check emails, read industry news, catch up on author (and other) blogs.

9am - Post something to ye olde blog: either an Ask Daphne question, a bit of news I've pulled from an author or industry site, or something miscellaneous. Keep checking email.

Rest of the morning - follow up on submissions, keep in touch with editors, read queries, send manuscripts and galleys for submission to either domestic editors, our foreign subagents, or interested movie folks. Review contracts, if necessary.

12 noon - lunch! (I'm not actually good at this yet, but I'm trying to get on a Mountain Time schedule.) In any case, if I'm working at home, this is just a half hour break, and then it's back to work.

The afternoon - check emails, respond. Set up meetings for my next trip to New York. Afternoon mail run with everything I'm sending out, and hopes to find a fancy check for one of my authors in the box. Read more queries. Sort mail, respond or file as necessary. Check in with other editors.

Rinse, repeat.

Some days are like that. Some aren't. Soon, I'm hoping to get some help in building a fancy new tracking program for my submissions, so that may take some time away from other things. And of course, all this above doesn't account for frantic calls from my authors needing information or reassurance, all of which I'm happy to track down or provide.

And when I'm in New York, the days are packed full of meetings - breakfast, lunch, office meetings, drinks, and sometimes dinner (if I'm on super friendly terms with an editor).

Evenings, all the time, are for when I can sit down with a block of time and hope not to be interrupted, reading chapters and full manuscripts.

Weekends, of course, are for shopping for shoes.

I've had a couple of questions lately about education and career paths, and what to study or do to make your way into publishing, and, specifically, towards being a literary agent. Now, knowing that I'm not an officially licensed guidance counselor, here's a few thoughts.

The first thing to do is read everything you can get your hands on, but that's just good advice for everybody. Yes, I was an English major in college (a double major, actually, along with history), but I know people from every course of study who've found their way into publishing. It helps to be able to read critically, but business majors will always be needed to actually RUN the publishing house -- same with marketing majors, who can get the books into readers' attention, sales people to get the books into readers' hands, and designers and artists to make the book pretty.

Basically, there's no one course towards working in publishing. Yes, there are a lot of English majors, but if you polled a bunch of people at most major corporations, I think you'd find a good number of English majors there, too. We're everywhere! Look, under that hydrangea bush! It's another English major!

One reader asked me to help her decide between an English degree and social work, but you can read any course of study for "social work." You have to go where your drive is, and if your drive leads you towards helping people -- hoorah! The world needs more people like you. Books will always be there for you.

Also, here's a secret about the working world after college: you can change your mind. You HAVE to pick a major to get through college, but if you study a range of subjects towards that one major, you'll graduate a well-rounded individual with lots of possibilities in front of you. Try social work for a few years, or sales, and if that's not where your passion is, keep searching. Lots of people come to publishing from different works of life.

Ad for being a literary agent, once you've decided publishing is the business for you, (and you're still reading critically), try interning, or do what I did, and answer every ad in the classifieds that leads you towards agentry. Just know that it's not always a straight shot.

We agents -- we like to meander.

Sound the trumpets! Ring the bells! kt literary is open for business!

And already swamped with queries, of course. Before I get too far behind, I'm reminding myself that I pledged to respond to all queries within two weeks (those of you who've sent emails early know I've been burning the midnight oil already). And I've already seen some interesting stuff out there, so woot!

And before I get too busy to say it, or forget it in the rush of work to do, thanks to everyone I spoke to about making this transition. You know who you are. Your advice, encouragement, offers of help, and all around fabulousness helped me make this wonderful decision.