@Brattyhack writes: “My question is about the biz itself. Why do book stores make 50% of the sale and agents and authors and pub’s so much less?” I’m not quite sure where that 50% figures comes from, actually. On a book which an author gets 10% of the price for every copy sold, the publisher actually gets 90%, covering costs of production, salaries, shipping, design, etc. So the bulk of the money on a book sale goes to the publisher, not a book store. Any bookstore owners able to answer more clearly than I?

@filamena asks: “How do you propose multi format books? (Novel with some comic elements, photography with short stories.)” By comic elements, I assume you mean graphic novel, yes? Not just that some parts of the plot are funny? I go with the easiest, most well-known way of describing a project, and let the unusual or unknown be the hook of my pitch. Now, novel with graphic elements isn’t all that unusual anymore, but for something like a collection of short stories with photographs, if short stories were doing well, I would try to pitch the quality of the writing, and let the photographs be an extra, almost.

@MsPinkSlip_Blog writes: “How should one approach the follow up process once a query is submitted to an agent?” First of all, make sure you know the agent’s usual timeframe for responses. On my site, for instance, I say that I’ll get back to query letters within two weeks. If you haven’t heard from me within that period, you can send a follow-up email — note: this is not THE SAME QUERY resent. This is an email just checking in to confirm I received the original. That being said, once you’ve submitted to an agent, I would think you might also be following their blog/twitter/etc. in which case you may hear they’re running behind, or suddenly caught up, as I posted earlier this week, and you can use that info as an opportunity to follow up. Key to a successful follow-up: be polite and provide all necessary information (your name, the book’s title, genre, and when you sent it — which you should have easily accessible, because OF COURSE you track all your submissions, rights?)

@kimchatel asks: “Do self publish credits or POD pub credits neg/positively affect a query to an agent?” For me, neither. Being self-published doesn’t tell me anything about your writing, even if you’ve sold thousands of copies. It may tell me you thought the traditional publishing route wasn’t for you (in which case, why are you querying me now?), but I look at self-published or POB queries with the same perspective as every other query.

@jjochwat writes: “Guy submits first 10 pp. Agent likes them, immediately asks for complete. Guy rereads mss, finds he could cut & improve. Now what?” Send what you have already. I’d rather you’d have waited to query in the first place until you’d done the rereading and the revising, but now that you’ve sent it out and someone wants to see more, you should send the rest, and let them make their decision. If they say no, then revise, and go out with a stronger manuscript elsewhere.

@sdficklin asks: “When querying a new project, should you mention if you already sold one to a small house w/o an agent?” Yes, absolutely! Any publishing credits are noteworthy, so long as they involve an actual paid acquisition and an editorial process.

@bethrevis and @driftsmoke ask about “unpublished writers and blogs? i.e. do’s/don’ts, mention in query?, what to post on, whether u check em out?” Speed round response: yes, you should have a blog/website. No, you should NOT be posting your entire manuscript, or writing about the details of your query process on said blog, and certainly not bad-mouthing or even excessively praising any of the specific agents you’re querying, because yes, we DO sometimes look at your sites, and do you want us to know we’re we fall on your wish list for an agent? Or (true story) that I requested a manuscript at the same time as another agent, and you decided to wait three months to respond to my request while waiting to hear from your more preferred choice? For answers from editors, check out my series of posts from last year here, here, and here. Use them to talk about yourself, particularly what you enjoy about writing and reading, and build a community around your site for the purpose of communication and camaraderie, not blatant marketing.

@anniekawaii asks: “My brother-in-law & fam are coming to visit us in Louisiana where the heat & humidity are oppressive. Are they crazy?” Yes, unless you live in New Orleans, which is an awesome vacation destination. And if you live somewhere else in Louisiana — are YOU crazy?

@LorelieBrown writes: “Just how many inches of snow did y’all get this year?” According to KKTV, recorded snowfall for the Colorado Springs area, about an hour south of me, was 17.9″, over 6 inches of which fell in March and April. Why? How much did YOU get?

@JulieWeathers writes: “Fashion and conferences. Tips on what not to wear.” Shoes you can walk in, and stand in for hours. (I’m allowed not to take my own advice — people expect certain things from my shoes!) Otherwise, business casual is usually the best way to go. Do not dress like a character from your unpublished novel.

@ktkm asks: “I am a Canuck but hoping to attract US agent. How do I deal with book rights when different for each countries?” If you’re looking for a US agent, I assume that’s because you want a US sale. If another sale is primarily your focus, you should seek out another agent. Most of the deals I do for US rights also include Canada — i.e., I do deals for North American English language rights. I also sell translation rights, as do most of my colleagues, in one way or another, so we would work with you on the rights in all countries. Very few authors have different agents for different territories, although as we use subagents, sometimes it may seem that they do, but in truth, all deals go through a central agent.

@bythebrooks writes: “How does a writer actually *find* an agent?” Step one through twenty: write a brilliant book and revise it until it’s even better. Step The Next: research, research, research.

I may answer more later, either on Twitter or here, so keep checking back!

Hey look, more answers!

@mp3mad asks: “What is the perspective in which you look at queries?” Mostly, some variation of “Does this interest me?”. Actually, no, I suppose first it’s “Do I represent this?” which I have to ask to get rid of the folks who clog my inbox with cozy mysteries, political thrillers, and self-help books, etc. Then “Does this interest me?”, followed by “Is it well-written?”, with “Is this unique enough?” tagging along, bringing up the rear. But sometimes, sometimes, all it takes is one good line. As I said to a writer the other day in my request for her manuscript, “You had me at ‘Cheer Boot Camp.’”

@tommymccormack writes: “How about this: considering a career change to get into publishing biz. How the hell do I get a job, and where do I look first?” The phrase “rearranging deck chairs on the Titanic” comes to mind, but would never actually be uttered by an optimist such as myself. So, first question back to you — do you live in or around NYC? Would you consider a move there? If not, how about San Francisco, Denver, or Austin? Publishing exists elsewhere, but the opportunities are fewer. If you’re the schooling sort, there’s publishing programs like the University of Denver’s Publishing Institute, as well as Columbia University’s Publishing Course. You may be able to find others by searching online. If that’s not a route you wish to choose, then I suggest finding a way in through tangential means — book publishing may be your ultimate goal, but maybe you can get a job at a newspaper or magazine, or work on your editing skills polishing company reports for big business. It’s not an easy industry to break into, and the monetary rewards for doing so aren’t much, but I have to say, I love what I’m doing, and don’t know many in this industry who would disagree.

@jimnduncan asks: “When looking at a ms you love, how do handle the decision between thinking it could sell versus thinking it will sell?” It’s a hard line to draw, and honestly, I think I err on the side of thinking it could sell, and should sell — there’s very little guarantee that something WILL sell, especially in this economy. But (see the “optimist” comment above) when I have a manuscript that I love, that I want other people to read and fall in love with, too, I have to believe it will sell. Otherwise, I’m going to do a lot of work for nothing. Remember, I don’t get paid unless my authors get paid, so it really is a labor of love for me.

Ok, I think that’s it for me today. I’m heading off to Date Night with my sweetie, and a movie at the local art theatre. Until tomorrow!

How many times should you revise your novel before trying to get an agent?

Until it’s ready, Kathy. There’s no magic number, but if you’ve polished it, and shown it around to your writer’s group, and feel that each word you’ve chosen is the right one, then you’re ready to send it out.
She also asks:

If you find what you think is your “dream agency” should you only submit to them?

You can submit to them first, if you like, and allow them some time with it, but I’ve said it before, I’m not a huge fan of exclusives. Get your manuscript out there! You may think Agency A is the bee’s knees, but Agency C or D or Q may surprise you, and be an even better fit. You won’t know unless you try.
Sarah wonders:

Do you only accept submissions from residents of the US, and do the writers have to be a certain age?

Nope, Sarah. I’m open to all! kt literary client Lili Wilkinson is a happy resident of Australia, fer instance. As for age, you don’t have to be a certain age, so long as your writing is strong enough. I just haven’t yet seen a novel by a teenager that was on par with the submissions I’ve received from authors with a few more years of experience under their belt. But I’d love to be proven wrong.
Meanwhile, Gabby ponders:

I don’t know what to do. You see, I had an amazing idea for a novel but it seems just like everything else I’ve read. So the whole idea seems ridiculous, like I need to make up something that no one has read before.

Well, Gabby, there’s a school of thought that there are only five original stories out there, and every novel ever written is based on them, but that’s not really helpful to you, is it? Justine Larbalestier had some great advice on this topic during her “January is Writing Advice Month.” In terms of finding ideas of your own, she suggests, “take a plot from somewhere else: a fairy tale, a movie, a novel, manga, anime, anywhere at all really. But change it. Change it a lot.” That’s just the beginning of it. Read the whole thing, and see if that doesn’t help you come up with an original idea.
And another teen reader writes:

I want to write an autobiography, but I’m only 16 years old. Would it be wrong to write your life story when your life isn’t over?

Not wrong exactly, but what’s so great and important about your life that a memoir or autobiography at this stage is going to be worthy of being published? Maybe you’re a movie star (like Miley Cyrus) or a royal (like Prince William or Harry) — then I’m sure you have tales to tell, even if you’re just a teenager. You don’t have to be famous, either — if you’ve lived through an extraordinary event, you may have an important story to tell. But for most of us — and I think back to my own teen years — a memoir of me at 16 would have been pretty dull. It’s not that your life isn’t over yet, and therefore not worthy of being told, just that it may not be all that readable.
Thanks for the questions, guys! Please keep ‘em coming by emailing me at daphne.unfeasible@gmail.com

Lately I’ve noticed that every new book except, perhaps, for occasional long-anticipated new releases by big-name authors, comes out on a Tuesday. Why is that? What’s so special about Tuesdays?

This is partially a guess on my part, but I’m thinking it’s an educated one. The publishing world is trying to keep up with other forms of entertainment, like CDs and DVDS, most of which ALSO release on Tuesdays. It’s like how most new movies hit theatres on Fridays. I think it’s so by the end of the week, newspapers have enough time to collect the information necessary to come up with bestseller lists and hot new releases. It probably also has something to do with trying to get authors on talk shows when they’re not being shoved aside by movie stars with weekend releases. Maybe?
Moving on to something I know a little bit more about, Kathy writes:

I’ve heard the term “plot points” bandied about. Can you give us a definition and a “how to use” column?

The way I use the term, it refers to the major highlights or turning points in a novel. Your book may include lots of scenes of your characters sitting around in the cafeteria talking, but a plot point might be when one of them comes out to the another. That’s a turning point. Plot points are especially useful to be aware of in, perhaps, putting together a treatment or synopsis for your book. Maybe a note of the major action scenes or reversals, and try to convey the action of your story in a few short pages. The important information you need to include to actually tell what happens are the plot points. That’s what moves your story along, and separates it from other books about high school kids, for instance.
Ok, time for one more. Not actually from the comments, but I’m tackling it anyway, ‘cuz I don’t play by the RULEZ!! Ahem. Bill writes:

I have noticed a trend for shorter literary novels in the bookstore especially foreign translations. Is a 215 page, 50,000 word novel too short for serious consideration?

I wouldn’t think so, Bill, but I can tell you it depends on so much more than just length. While 50,000 words sounds about right for a teen or MG book, I can see how adult editor may think it feels a little short — but others may disagree. This is an important point to end on, so let me be emphatic: Don’t let yourself be bogged down in trends. Are you seeing lots of novels getting published tipping the scales at over 200,000 words? Don’t worry. There always needs to be a counter-balance. A perfect gem of a 50,000 word literary novel is going to find a home, even if it does seem like the midget cousin of a literary giant.

I have a finished manuscript and I want to find an agent. You said in your chat that any agent that charges fees up front is bogus. But what if it says they only charge for photocopying/postage if the book sells?

No worries. As long as your agent is only charging you after a sale — and if, in the case of photocopying and/or postage, she sends you itemized listings of those expenses, then you can feel confident your agent isn’t a cheat. If possible, ask for a limit on these expenses — this is something to lay out in your agent agreement. Next!
Long question, short answer for Elena, who asks:

Technically, if you post a paragraph of your writing on the internet, it’s considered published, right? I’ve read not to do that, since publishing your work on the internet will turn off publishers because you’ve already given away your “first rights”. I posted some dialogue from my work-in-progress on my blog, but left out the narrative, so it’s just a bare-bones edition of what my characters say in a scene. But, technically, the dialogue does appear in the draft in the exact same words. Once my book is ready for publishing, is this going to hurt me? If I deleted the blog posts that have specific mention of my writing, would this rectify the matter, or have I still given away my first rights? Would I have to re-write the scenes in this case, or is posting a small portion of your writing okay?

Elena, there’s published and then there’s “published”. I think I’m stealing someone else’s line here, but just because Blogger says your post is “published” doesn’t make it so. I’d be wary of posting your entire manuscript, but a short scene here and there or a snippet of dialogue isn’t going to turn off anyone I know. It’s a good way to work towards being a professional blogger — to show a little of your process in writing.
In a comment from a previous post, Elmie asks:

Do I interpret it correctly that there is still hope for self-published authors to seek a literary agent for as long as the first five chapters or first fifty pages are submitted and not in its book form? Should I tell them that my book has been self-published through a company and is retailed on line? Thank you so very much in advance for your kind help!

Absolutely! If those first five chapters or what have you sing, and you’ve submitted them in the proper format depends on our stated guidelines, we may excuse the self-publishing route. But unless you can report sales of thousands of copies, we’re not likely to count self-publishing success as anything other than small-time.
And finally, rounding out our extra-large podium of winners, Emily writes:

I know you’re absolutely, positively never supposed to start a story with your main character (or any character) waking up. But I was wondering about the second chapter. It’s not just a waking up scene- it shows some important family relations- but I was wondering if that’s way too soon to the beginning of the book? Is that a major rejection-worthy error?

If you’re worried about it, I’d consider changing it. How else can you introduce those important family relations? Over dinner, perhaps? A waking up scene isn’t one of my pet peeves, but I know a lot of agents and editors do dislike them — It’s a crutch, more than anything, towards introducing your character. if you can do so without that scene, I think you’d be better off — if not, make sure it’s the BEST waking up scene you can write.
Ok then, I’m getting back to my Olympic tv coverage query-reading. Go team!

Since you’re just getting started with your own literary agency now, are you looking around for any hired help to assist you around the office? If not, do you have any other ideas of where I could potentially look for publishing jobs that exist outside of New York City?

Ah, J.B., I kind of wish I was! I’m afraid though that for now, kt literary remains just me and my alter ego, and we do our best to get to all the work that comes across our desk. You’re on the right track for seeking publishing jobs outside of NYC, though. Find those agencies or publishers that operate outside New York, and contact them! At the same time, keep an eye on the job boards at Publishers Marketplace and Media Bistro — I’ve seen postings from all over the country, although the bulk are in New York. And maybe my readers have other suggestions. Good luck!
Gogirl writes

I’ve queried several agents for my novel and received several requests for fulls and partials. One agent called me a few weeks ago to talk about my novel and what types of changes this agent would like to see. The agent didn’t offer representation at that time. Since then, I’ve made the changes and the agent said she liked what I did. Now she wants more changes–and still no offer to rep. In the meantime, I don’t know whether I should say something to the other agents reading my novel or not. I don’t have an offer or anything tangible to discuss or do I? I also had another agent ask for the full last week based on a large partial, and she asked me if I’d accepted representation “yet.” What is the appropriate protocol in this type of situation?

Gogirl, while you’re in an enviable position, at this point, it’s still a waiting game. Without a firm offer of representation, I don’t believe you’re under any obligation to inform other agents of your dealings with the first agent — unless they won’t look at anything unless it’s exclusive, but then, you wouldn’t currently be in touch with them, would you? You could ask the first agent point blank if an offer is forthcoming, mentioning that you’ve had other interest, but seeing as she’s already requested additional changes, you might not get the answer you’re looking for if you press her. I would recommend making the revisions, if they interest you, and waiting to hear her reaction then. If an offer is forthcoming, at that point I’d recommend you tell the other agents reading your material, and try to give them a reasonable amount of time to get back to you with a decision. I hope that helps!
And finally, OneBittenTwiceShy asks

What do YOU define as “middle grade novel”?

Roughly, I’d call it a book aimed for an audience of 8-12, although there can be low middle grade books for readers on the younger end of that range, and high middle grade books that may feature older situations.
OK, that’s it for today! Keep those questions coming.

For my romance writing, I know all about Romance Writers of America and page counts and such, but what about for novels for teens and pre-teens? Any associations you would recommend? What are the targeted page/word counts for such books?

SCBWI, baby. It’s THE organization for writers and illustrators of children’s books. Their boards are a fantastic place to get info on word counts, among other things — although I’d say 40- 50,000 words is a good estimate. Next!

Daphne, you mention in your bio that your interests include urban fantasy, yet on your submissions page that’s not a genre you’re looking to represent. Or am I reading your list wrong for “what we’re looking for”?

Our submissions page lists age ranges and categories rather than genres. Within YA and middle grade fiction, for instance, I’m looking for romance, mystery, adventure, and fantasy of all kinds. Urban fantasy, or magical realism, is one of my favorite genres to read, even if I’m not currently representing much.
Next, Ursula Unreasonable asks:

Can you please explain (perhaps with one or two egs) what you mean by ‘narrative non-fiction’?

Ursula, there may be a more specific definition I could look up online in two seconds, but basically I mean a true story, whether it’s an adventure, like Into Thin Air, a romance, like Around the World in 80 Dates, or a travelogue, like McCarthy’s Bar. It doesn’t need to the author’s own narrative, but it should read like a novel, even though it’s fact. Susan Orlean (The Orchid Thief, among others)is another great author of narrative nonfiction. Do my readers have any other great suggestions of narrative nonfiction?

From the time you accept a client, how many drafts does a manuscript go through before it becomes an actual published book?

First of all, even if the author’s done a lot of work on the book before sending it out to agents, I often request a revision before I sign them on. After that, say we send it out to editors, someone loves it and buys it, then there’s often another draft with the editor’s big picture comments, followed by a line edit for more specifics, then a copy edit and careful read of proofs before you get a book. That’s the pretty standard short form. Your experience may vary. Some authors, once they become giant bestsellers whose new books are trumpeted by sales and marketing departments as simply “the next Joe Bestseller!”, basically turn in a draft and it’s published. That’s rare though. You’re more likely to do more revisions than less.
Ok, we have time for one more!

I am wondering if you are accepting short story collections.

I have to say, without knowing anything more about the project, my gut reaction is no. Short story collections, even in adult publishing, are very difficult to place and promote. Even there, they’re usually sold in connection with a novel. Except for anthologies which are often put together by publishers, who then reach out to several authors for contributions, short story collections for teens and younger readers are almost nonexistent. Sorry!
Thanks for tuning into the speed round, folks. Back to some more detailed question-answering soon.