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A literary agent is an agent who represents writers and their written works to publishers, theatrical producers and film producers and assists in the sale and deal negotiation of the same. Literary agents most often represent novelists, screenwriters and major non-fiction writers. They are paid a fixed percentage (ten to twenty percent; fifteen percent is usual) of the proceeds of sales they negotiate on behalf of their clients.
Advantages Authors often turn to agents for several reasons: (1.) Quite a few well-known, powerful, and lucrative publishing houses do not accept unagented submissions. (2.) A knowledgeable agent knows the market, and can be a source of valuable career advice and guidance. (3.) Being a publishable author doesn't automatically make you an expert on modern publishing contracts and practices, especially where television, film, or foreign rights are involved. Many authors prefer to have an agent handle such matters. (4.) The author's working relationship with his or her editor isn't muddied by disputes about royalty statements or late cheques. Diversity Literary agencies can range in size from a single agent who represents perhaps a dozen authors, to a substantial firm with senior partners, sub-agents, specialists in areas like foreign rights or licensed merchandise tie-ins, and clients numbering in the hundreds. Most agencies, especially the smaller ones, will specialize to some degree, representing authors who (for example) write science fiction, or mainstream thrillers and mysteries, or children's books, or highly topical nonfiction. Almost no agents will represent short stories or poetry. Legitimate agents and agencies in the book world are not required to be members of the Association of Authors' Representatives (AAR), but according to Writer's Market listings, many agents in the United States are. To qualify for AAR membership agents must have sold a minimum number of books and pledge to abide by a Canon of Ethics. Effective professional agents often learn their trade while working for another agent, though some cross over to agenting after working as editors. Cost Legitimate agents do not charge reading fees, demand retainers, bill authors for operating expenses, or otherwise derive income from any source other than the sales they make on their clients' behalf. They also will not place their clients' work with a vanity or subsidy press. Both these practices may indicate that the author is dealing with a scam agent. Traditionally representation agreements between agents and clients were simply verbal; however, an increasing percentage of agents are offering written contracts to make the terms explicit. Another questionable practice consists of referring the author to a so-called "professional editor" or "book doctor" who is in collusion with the agent. The ensuing edit may or may not be appropriate, or of professional quality, and is almost always expensive. The cost of ink cartridges is not usually something to worry about for the client as well. Querying A client typically establishes relationships with an agent through querying, although the two may meet at a writer's conference, through a contest, or in other ways. A query is an unsolicited proposal for representation, either for a finished work (fiction) or unfinished work (nonfiction). Various agents request different elements in a query packet, and most agencies list their specific submissions requirement on their Web site or in their listing in major directories. It typically begins with a query letter (1-2 pages) explaining the purpose of the work and any writing qualifications of the author. Sometimes a synopsis or outline are requested as part of the query. Often, the author sends five to ten pages of their work. Lastly, for paper queries, a SASE (Self-Addressed Stamped Envelope) must be included to receive a response. If a written query is rejected (which happens to the vast majority of queriers), the response is sent in the SASE. Typically the rejection is a form letter; getting a rejection which isn't a form letter or has hand-written comments (especially a message to the effect of "query me for other projects") is typically taken as a very good, even if disappointing, sign. Story Credit: Wikipedia en.wikipedia.org |
| Contact the agency for their submission guidelines before submitting your query. Also you may check the latest edition of the Literary Market Place or the Writer's Digest Guide to Literary Agents for specific submission guidelines and marketing areas. We do not endorse any person or agency. |
| Some of these agencies are located in Australia, Bulgaria, Canada, France, Germany, Israel, Italy, Netherlands (Holland), New Zealand, Peru, South Africa, Spain and The United Kingdom. I've indicated those with a code after their company name; AU, BG, CA, FR, GR, IL, IT, NL, NZ, PE, SA, ES and UK. |
| E-Mail Address | Person to Contact | Agency | Added/Updated |
| a.whelchel@globaltalentreps.com | Andrew Whelchel | National Writers Literary Agency **Click for Website | Feb 5, 2010 |
| abbot@abbotmanagement.com | Tim Lambert | Abbot Screenplay Management **Click for Website | Jan 22, 2008 |
| adam@artistsandartisans.com | Adam Chromy | Artists and Artisans Inc**Click for Website | Jan 27, 2005 |
| agency@bell-lomax.co.uk | Eddie Bell | Bell Lomax Agency (UK) | Nov 19, 2003 |
| agency@felicitybryan.com | Felicity Bryan | Felicity Bryan (UK) | Nov 14, 2003 |
| agency@fsainc.com | Lynn Franklin | Lynn C. Franklin Assoc | Jul 23, 2003 |
| agency@interlog.com | Pamela Paul | Pamela Paul Agency Inc (CA) | Jan 13, 2005 |
| agency@puttick.com | Elizabeth Puttick | Elizabeth Puttick Agency (UK)**Click for Website | Jan 13, 2005 |
| agent@aboutwords.org | Susan L. Graham | About Words Agency **Click for Website | Feb 3, 2004 |
| agent@ethanellenberg.com | Ethan Ellenberg | Ethan Ellenberg Literary Agency**Click for Website | Jan 20, 2004 |
| agentflorida@aol.com | Kevin DiTanna | The Florida Literary Agency | July 10, 2005 |
| agile@authors.co.uk | John Havergal | Author Literary Agents (UK) | May 27, 2004 |
| agrayson@halyardagency.com | Alaina Grayson | Halyard Agency **Click for Website | Feb 5, 2010 |
| ajpicard@aol.com | Alison Picard | Alison J. Picard Agency | Jul 23, 2003 |
| alana@lennieliterary.com | Alana Lennie | Lennie Literary Agency & Author's Attorneys-Click for Website | Jan 1, 2007 |
| alex@ahliteraryagency.com | Alexander Hernandez | AH Literary Agency **Click for Website | Nov 1, 2009 |
| alison@bondlit.com | Alison Bond | Alison Bond Literary Agency | May 1, 2005 |
| alkellock@aol.com | Alan C. Kellock | Alan C. Kellock Company | Jul 23, 2003 |
| amr@rinaldiLiterary.com | Angela Rinaldi | Angela Rinaldi Literary Agency**Click for Website | July 18, 2005 |
| amy@amyrennert.com | Amy Rennert | The Amy Rennert Agency | May 23, 2005 |
| query@aplusbworks.com | Amy Jameson | A+B Works **Click for Website | May 29, 2010 |
| andrew@stuartagency.com | Andrew Stuart | The Stuart Agency **Click for Website | May 15, 2005 |
| andyrossagency@hotmail.com | Andy Ross | Andy Ross Literary Agency **Click for Website | Jan 29, 2010 |
| angela@milleragency.net | Angela Miller | The Miller Agency | May 14, 2005 |
| anitadiggs@aol.com | Anita Diggs | Diggs McQillar | Jan 30, 2010 |
| anniejo@ridgenet.net | Jo Ann Krueger | The Aaland Agency**Click for Website | Feb 7, 2005 |
| apw@apwatt.co.uk | Matt Wilkinson | AP Watt Ltd (UK)**Click for Website | Feb 7, 2005 |
| arcadialit@att.net | Victoria Gould Pryor | Arcadia Literary Agency | Mar 2, 2005 |
| arobey@janerotrosen.com | Annelise Robey | Jane Rotrosen Agency | Jan 17, 2005 |
| assistant@thebukowskiagency.com | Denise Bukowski | The Bukowski Agency (UK)**Click for Website | May 28, 2006 |
| aurora.artists@sympatico.ca | Janine Cheeseman | Aurora Artists (CA) | Jan 13, 2005 |
| barbarabova | Barbara Bova | Barbara Bova Literary Agency**Click for Website | Jan 19, 2004 |
| barorint@aol.com | Danny Baror | Baror International Inc | May 1, 2005 |
| bbaker@bakersmark.com | Bernadette Baker | Baker's Mark Literary Agency **Click for Website | Feb 5, 2010 |
| beaconagency@hotmail.com | Pat McLaughlin | Beacon Artists Agency | July 10, 2005 |
| Bhogenson@aol.com | Barbara Hogenson | Barbara Hogenson Agency | Apr 28, 2005 |
| bigscore@bigscoreproductions.com | Sharon Hanby-Robie | BigScore Literary Agents**Click for Website | Dec 1, 2004 |
| bmccabe@atalentagency.com | Brian McCabe | McCabe Justice**Click for Website | Dec 1, 2004 |
| bookdevelopment@yahoo.com | Kirk Kazanjian | Literary Productions**Click for Website | Feb 1, 2005 |
| brett@bookscrossingborders.com | Brett Kristofferson | Books Crossing Borders **Click for Website | Jan 29, 2010 |
| brfleuryagency@juno.com | Blanche Fleury | BR Fleury Agency | Jul 23, 2003 |
| brie.burkeman@mail.com | Brie Burkeman | Brie Burkeman | Nov 06, 2003 |
| broagent@aol.com | Roberta M. Brown | Brown Literary Agency **Click for Website | Jan 29, 2010 |
| browpeter@aol.com | Peter Brown | Perter Brown Agency | Jan 27, 2005 |
| bruce@wcaltd.com | Bruce Westwood | Westwood Creative Artists (CA) | Dec 10, 2003 |
| brucekennedy@bigpond.com | Bruce Kennedy | Bruce Kennedy Management (AU) | July 21, 2004 |
| bschrewe@bschrewe.com | Bettina Schrewe | Bettina Schrewe Literary Scouting | May 23, 2005 |
| bthorpe@mac.com | Betsy Thorpe | Betsy Thorpe Literary Management | July 10, 2005 |
| c.bernardi@melleragency.com | Cristina Bernardi | Michael Meller Literary Agency GmbH (GR)**Click for Website | Jan 14, 2005 |
| CAKirker@aol.com | Carol Kirker | The Write Source | Feb 1, 2005 |
| carol@carolmannagency.com | Carol Mann | Carol Mann Agency | Dec 28, 2003 |
| cat.ledger@virgin.net | Cat Ledger | Cat Ledger Literary Agency (UK) | Nov 25, 2003 |
| cathy@redwoodagency.com | Catherine Fowler | Redwood Agency**Click for Website | Jan 3, 2004 |
| cattails0166@yahoo.com | Cathy Bailey | Cathy Bailey Agency | Mar 15, 2011 |
| cb@curtisbrown.co.uk | Curtis Brown Group Ltd (UK) | Jul 23, 2003 | |
| cbjenks@att.net | Carolyn Jenks | The Jenks Agency | Jul 23, 2003 |
| cdla@ukgateway.net | Harry Miskin | Caroline Davidson Agency (UK) **Click for Website | Nov 19, 2005 |
| charlie@coregroupta.com | Charles Northcote | The Core Group Talent Agency Inc (CA) | Jan 13, 2005 |
| chrislotts@aol.com | Chris Lotts | Ralph M. Vicinanza Ltd **Click for Website | Feb 13, 2005 |
| christine@christinegreen.co.uk | Christine Green | Christine Green Authors' Agent (UK) | Nov 17, 2003 |
| christy@fletcherandco.com | Christy Fletcher | Fletcher & Company **Click for Website | Mar 10, 2010 |
| cjm@gorge.net | Connie McCormick | C&M Literary Agents | Feb 4, 2005 |
| clagency@bwkliterary.com | Candace Lake | The Candace Lake Agency | Jul 23, 2003 |
| clib5@aol.com | Carl Liberman | The Characters Agency (CA) | Jan 13, 2005 |
| cmagency@yahoo.com | Lisa VanAuken | The Creative Media Agency **Click for Website | Nov 19, 2004 |
| coolmkc@aol.com | Marlene Connor Lynch | Connor Literary Agency | Jul 23, 2003 |
| CrawfordLit@att.net | Susan Crawford | Crawford Literary Agnecy | Jul 23, 2003 |
| cricht1@aol.com | Sha-Shana N.L. Crichton | Crichton & Associates**Click for Website | Jan 13, 2005 |
| cynthiacannell@aol.com | Cynthia Cannell | Cynthia Cannell Literary Agency | Mar 2, 2005 |
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Free Advice For Writers
1. Do I need an agent to sell my book to a publisher? Probably, but not necessarily. Plenty of books are still found and bought out of what publishers called the "slush pile," (or manuscripts that sometimes are known more politely as having come in "over the transom," though rare is the transom in a publisher's office these days). Plenty, yes, but hardly the overwhelming majority. And those that do get bought this way tend to be the more modest purchases. The large and well-known publishing houses deal almost exclusively with agents, and many simply will not look at a proposal that is not submitted by an agent. You have to realize that the average house is dealing with an overwhelming number of submission s. One of an editor's main jobs is to keep in close contact with a group of agents, letting them know what kind of books that editor is looking for, and getting them used to that editor's taste. Ideally, a good agent will help you put the final polish on your proposal, and will get it directly to the editors and publishers most likely to buy your kind of book and most likely to publish such a book successfully. 2. How do I find the right agent or editor? Smart research--the same way you do anything else in life. Literary Marketplace is the Yellow Pages of the book business. Your local library should have a copy in their reference section, and some bookstores carry it as well (with a price tag of about $150). The publisher section lists complete addresses and names of editors; the agent section lists agencies' specialties, and all of their appropriate manuscript submission requirements. The best way to zero in on the right people is by comparing your book to other published works. Odds are good that the editor and agent of someone else's gardening book might be interested in yours as well. The closer a comparison you can make--either i n subject, or sensibility, or style of presentation--knowing of course that your book is unique and unlike anything else ever written, the better the odds that you will hook up with the right people. Look at the copyright page to see if the editor is credited; the next best place to look is the Acknowledgments page, where grateful authors will often thank their editor and agent. If this search doesn't work, you can always call up the publishing house . The editorial department should be able to tell you the editor's name, and the sub-rights or publicity departments will usually know who agented the book. When you write to these people, make it very clear why you zeroed in on them as likely candidates. Editors and agents like dealing with educated authors who know their market, and everyone always enjoys meeting a customer. 3. Can you copyright a book idea, or a title? No. Copyright protection applies to an entire work; their is no way to protect an idea. The same applies generally to titles. Occasionally, series titles will enjoy some trademark protection, but even that is rare. It's often quite likely that more than on e person will have the same idea at the same time--like calculus, for instance. 4. So how do I keep my idea from getting stolen? The best protection is to execute your idea as well as possible. When a publisher evaluates your proposal, they look at the idea to see if they like it, and they look at the author and her sample materials to see if they think her execution can live up to the promise of the idea. One without the other is completely us eless. No reputable publisher is in the business of stealing ideas from people. To the contrary, publishers love authors and good idea people, and they want to encourage an environment in which good ideas are submitted to them freely. More practically, stealing an idea is usually just plain too much work. Publishers look for writers to create books for them; so why wouldn't they want to deal with the writer who brings the idea to them? Additionally, mainstream publishing is still a pretty small, close-knit, and honorable community. People change jobs--and sides of the table--often, and a person's reputation is important. People go into publishing because they love ideas and writing an d working with writers and take pride in the originality of their work; that mentality just doesn't match up with taking other people's ideas. 5. I've heard that you are supposed to get an editor's name before submitting a proposal? Is that true, and if so, how do you find the right person? This is the standard advice of most getting published manuals. It is true that sending a proposal just to the Editorial Department is often a dead end. But often, sending something to an editor who does not know you is just as futile. When you send a p roposal to an individual, you need to let them know why you sought them out (e.g. by referring to other books that you know that person edited that are similar in some fashion to your book). 6. How do I find the right publisher for my book? The same way that you find an editor or agent--by research. Ideally, you want to find not just a publisher, but the best publisher, who will not only put your book in print but will make your book a success. In addition to the tips provided earlier, you should draw further on the resources available to you. The bookstore is a great place for research. Look closely at the category in which you book would be sold. Try to see if any one or two publishers "dominate" the category. Which publisher's books are facing out on the shelf, or there in large quantitie s (ten copies or more)? You can also look at individual books to see how successful they have been; check the copyright page, and look for a small sequence of numbers at the bottom of the page (e.g.: 10 9 8 7 6 5 4). This tells you what printing t he copy of the book comes from. The more printings, the more successful the book. More simply, talk to your local bookseller. Booksellers are always supportive of writers, and are often happy to share their thoughts on which publishers are doing the best job in your field. Similarly, your library may have a very good opinion on the s ame subject. Make sure that you aren't just looking at the big-name publishers that are immediately familiar to you and your friends. Some of the country's most successful publishers--Rodale, Andrews and McMeel, Rutledge Hill, Running Press--are not based in New York and are not household names. 7. What is a standard book deal like? Though terms vary from house to house, the general parameters tend to fall within an established range. All publishers will offer you some form of non-refundable advance, applied against royalties accrued on all sales. Advances can go all the way from $ 100 to $1 million and up; publishers are advancing you a portion of what they conservatively think you will earn within the first year or two of publication; it doesn't really have much to do with the work you will expend in writing the book. Royalties are generally 6 to 8 percent of the retail price on trade paperbacks, 6 to 10 percent of the retail price on mass market paperbacks, and 10 to 15 percent of the retail price on hardcovers. But there is plenty of variation. Coffee-table books a nd reference books often require more investment and production work upfront, and yield lower advances. Certain publishers invest more editorial and artistic effort, and therefore offer lower royalties. And so on. A bonus: not a question, but an amusing answer. Think there's a glut of cat books? Think again. Herewith, the three most-common humor book proposals: 1. Fart books 2. Visual puns 3. Books about roaches Story Credit: Cader Books caderbooks.com |
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What is
creative Nonfiction?
Creative Nonfiction is that branch of writing which employs literary techniques and artistic vision usually associated with fiction or poetry to report on actual persons and events. Forms of creative Nonfiction can include essays, diaries, autobiography, biographies, magazine writing, travel writing, nature writing, science writing, histories, journalism, dramatic, true stories using scenes, dialogue, detailed descriptions and other techniques usually employed by poets and fiction writers about important subjects - from politics, to economics, to sports, to the arts and sciences, to racial relations, and family relations. Creative Nonfiction can in fact take any form, from the letter to the list, from the biography to the memoir, from the journal to the obituary. This is a relatively recently recognized “genre” that involves writing from personal experience and/or reporting on other peoples’ experiences. The best creative non-fiction work usually involves conducting a considerable amount of research. |
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