Tag Archives: agents

Vlog: Sarah and Savannah on Revisions

9 Mar

Sarah and Savannah discuss the Revisions process, both pre-agent and post-agent.

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Savannah J. Foley is the author of the Antebellum (originally known as Woman’s World) series on Fictionpress. She has written five novels, owns her own freelance writing company, and is signed with the Bradford Literary Agency. Antebellum is currently out on submissions. Her website is www.savannahjfoley.com, but she updates more frequently on her livejournal.

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Sarah J. Maas is the author of several novels, including QUEEN OF GLASS, a YA fantasy retelling of Cinderella. Her agent currently has her novel on submissions to editors. Sarah resides with her fiancé in Los Angeles. You can visit her blog here.

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Exciting News!

4 Mar

Let The Words Flow is excited to announce that Lynn Heitkamp has signed with a literary agent for her historical romance, THORN OF THE KINGDOM!

We are so proud of Lynn for her hard work over these past months, editing and rewriting TOTK until it became a fantastic manuscript that was snatched up immediately!

Lynn is now represented by Mandy Hubbard of the D4EO Literary Agency. Mandy is also a contributor for Let The Words Flow, and we’re so glad these two were a perfect fit for each other, co-contributors aside.

Congratulations Lynn! We’re so excited to see where you go from here!

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Lynn Heitkamp is the author of Thorn of the Kingdom, and several other novels on FictionPress.  She lives in Michigan, where she is a librarian and former journalist.

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Mandy Hubbard is a literary agent with D4EO Literary Agency, and the author of Prada and Prejudice. You can follow her at her website: http://www.mandyhubbard.com/, or at her bBlog: http://mandyhubbard.livejournal.com/

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Making It Official: New LTWF Contributor!

3 Mar

Hi everyone!

As if it wasn’t obvious enough, what with my picture and bio already having been in the contributor page for a couple of weeks now, we just wanted to make it official: I’m Vanessa Di Gregorio, the new LTWF contributor! I am super excited to be a part of this group of amazing and talented writers, and I hope my experiences on the other side of publishing prove to be useful!

So, I suppose I should tell you a little bit about myself. I apologize in advance if you already know most of this, but bear with me!

I’m twenty-three years old, and the third member of LTWF living in Toronto, Canada. Currently, I have an English Literature degree, and am now enrolled in a Publishing Program. I worked for 5 years at a book wholesaler, selling books to schools and libraries; and it was there that I realized I wanted a career in this industry. Children’s and YA books are my favorites, be they graphic novels, picture books, non-fiction, fiction – I love it all. While I’m not completely sure what I want to be, I do know that I am loving my current intern position at a literary agency called The Rights Factory; where I edit manuscripts, write proposals, read queries/partials/full manuscripts, write rejections, and do some design work (create party invitations, a revised logo, email signatures, etc). I love editing manuscripts, so a career as an editor or agent is something I will probably pursue in the near-future.

I started out writing when I was 12, scribbling over pieces of lined paper. To my great dismay, I still have pages and pages of this as proof, sitting in the bottom of a drawer somewhere in my room (collecting dust, of course). I later moved to fanfiction.net, where I began writing; and after a few years, I then moved onto Fiction Press, although by this point in time, I was writing rather sporadically. Eventually, I decided to leave; so I took my FP account down.

It wasn’t until a year ago that I began to write again (and then, I only wrote a prologue and a couple of chapters). The files were somehow deleted, and it took me quite a few months before I could get over my heartbreak and attempt a rewrite. Currently untitled, it is a YA fantasy set in another world revolving around a young woman named Danae, and her journey into a realm she has only ever read about. A lover of stories and curious by nature, Danae takes a path most of her people do not; she ends up leaving her sheltered life amongst her people to explore new lands, find a lost friend, and discover the truth.

Now, with an internship, a part-time job, and school, I have very little time for writing (let alone for any of my other numerous hobbies, such as drawing, painting, or playing excessive amounts of video games). But at least I write when I can! At this point in time, though, I am happy with editing other people’s manuscripts and helping their work get published. Though I would one day like to be published myself, my main priority is helping other writers with their work. Oh, and trying to land myself a real job. While planning my wedding.

Nice to (officially) be a part of the group!

Vanessa

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Currently reading: Chuck Palahniuk, Choke
Currently playing: Starcraft 2 beta

Query Week 2: Greetings From the Slush Pile

17 Feb

QUERY WEEK PART 2

Greetings from the Slush Pile

Guest Blog by Vanessa Di Gregorio

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Hey everyone! So I’m Vanessa, and today I’ll be guest-blogging about what happens after an agent has your partial or full manuscript. And yes, that means I’ll be talking about the dreaded slush pile (dun dun duunnn)! As an intern at a literary agency, hopefully I’ll be able to give you guys some insight into what goes on over on the other side of the fence.

So, what happens after your manuscript has been requested? Whether it be a partial or a full manuscript, you need to be patient. Agents get a ridiculous amount of queries at any given time, and will request for quite a number of partials. If you’ve reached this stage and are rejected, don’t take it to heart! This is a VERY subjective industry. Agents will only take on manuscripts that they are passionate about.  And what about agent interns, you ask? Well, while our own personal taste certainly comes into play, we also have to consider what kind of manuscripts would work for certain agents at the agency. For example: I help manage two different slush piles at the agency I am currently at. After reading material from the clients they have already signed on, I have a fairly good sense of what they would like in a manuscript, and what they don’t.  And interns will only get this responsibility if they prove that they are good at it.

Now, what about rejection? Why do so many manuscripts end up on the chopping block? The reasons vary. Sometimes people just aren’t starting their story in the right place. Other times, the protagonists aren’t engaging enough. Or the writing style is just not something that particularly appeals to the agent. If I feel that I can offer some sort of advice to the writer, I will. So don’t think that agents who reject you are heartless, or have terrible taste, or are the vaguest at offering you advice! Agents need to be vague in their advice when they are rejecting you because it isn’t their place to tell you want they want. The specific advice comes after you have been signed on. So they will give you broad advice that can help improve your story instead of specifics (which can be much more subjective).

Also, keep in mind that agents get drowned under a sea of slush, and have to do a hell of a lot of digging to find something that catches their eye. And with all that slush to plow through, sometimes we don’t have the time to read your entire partial (blasphemy, I know! But this shouldn’t be new to you). After around 2-3 pages, it’s easy to get a sense of whether or not we’ll take you on. And if we read more than that, it’s because SOMETHING has caught our interest in some way. It can be a well-written character, a great P.O.V., a plot that just hooks; it can be so many different things.

If we still reject you, it’s probably because it might need too much work at that particular moment. So if an agent says something positive, or mentions that your manuscript needs more work, keep that in mind – and listen to them. They aren’t your bff’s telling you that your story is totally awesome and will sell millions. They are strangers to you and your work, and will give you their honest opinion. Some agents will even mention that they would love the opportunity to read your manuscript if you rewrite it. In fact, I did just that recently. The query was absolutely AMAZING – her summary was just so intriguing! But then after receiving her partial, I was disappointed. The story begins and falls flat, but there is one short scene in the middle of the first chapter that I thought was absolutely BRILLIANT. And I thought, why couldn’t THAT be the beginning of the book? So while we ultimately said no to her manuscript as it currently stood, we did tell her that if she rewrote her manuscript, we would love for her to resubmit it.

Just to give you an idea, out of all the partials I read through, only around 10% of these will get a request for a full manuscript. Slim, I know. BUT DON’T DESPAIR! Chances are, if you have a crit partner for your work, you will be at a tremendous advantage. The reason for this very small percentage is because most people send their very rough first drafts… Which NO agent wants to see. So as long as you have given your work a thorough look-over and edit, you will be WAY ahead of a majority of people.

And here are some reasons WHY I have ended up rejecting some manuscripts from the slush pile… and since I love making lists, what better way than in a list of DON’Ts?

  • DON’T have a ridiculous amount of typos. No, seriously. This may sound like the most OBVIOUS thing in the world, but you would not believe how many people send in partials that are CLEARLY first drafts (and full of typos/simple grammatical mistakes). Likewise, don’t mention that you are sending your first draft (that is actually kind of insulting). Now, I’m not saying that all first drafts are horrible – but the majority of writers should go over their manuscript and polish it up after writing it. If an agent requests a partial, remember: make it as polished as you can. You are trying to show an agent what it is you are capable of.
  • BUT (and this is a biggie) – DON’T just polish your partial and leave the rest of the manuscript alone. It should ALL be equally polished. If there is one thing agents hate, it’s thinking that your work is BRILLIANT, only to see that the rest of your manuscript is a great big mess. Agents don’t like being fooled.
  • DON’T write a 3-page synopsis that sounds exactly like Twlight/New Moon. It isn’t appealing. It’s fine to compare your work and point out similarities in theme with other titles, but don’t show how good you are at taking an already published story and changing the setting and character names with your initials slapped on top.
  • DON’T mention how characters are of a certain background if it has absolutely NO relevance to the story – and especially don’t make it a selling point for your manuscript. Example: If you are writing a novel about faeries, don’t mention how they are Irish as opposed to British when the story takes place in California. Because then what you have are American faeries who have different hair colours. UNLESS their background is somehow relevant to the story, don’t mention it as a selling point.
  • DON’T look up body parts in an anatomy book when you’re trying to be sexual/erotic. Let me just say, IT DOES NOT WORK. Please, PLEASE use urban dictionary if you are trying to write something erotic. Don’t start naming various parts of the body using terms that only doctors would use. It just makes the reader (and the agent) laugh. And then cry a little on the inside.

And, just in case you still feel insecure, my fellow intern Rachel (gotta love her) showed me what I think is a great guide for writers who just can’t figure out what they’re doing wrong when querying called, Thanks, But This Isn’t For Us: A (Sort of) Compassionate Guide to Why Your Writing is Being Rejected by Jessica Page Morrell.

So, hopefully I haven’t scared any writers away from dreams of publication! Remember, agents aren’t personally slapping you in the face when they reject you. And the slush pile isn’t some black hole where all your manuscripts go to die. If you have received a partial request, pat yourself on the back – your query letter was good! If you have received a full manuscript request, do a few fist pumps. And if you get signed, remember – there is still a long way to go. BUT, you’ll have someone in the industry who LOVES what you’ve written and will do everything it takes to get that book published. And then that slush pile won’t seem so evil anymore, cause it’ll all be worth the wait. And I think THAT deserves a happy dance.

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Vanessa is currently an intern at The Rights Factory, a literary agency located in Toronto. She is also taking courses in a publishing program, and is trying to figure out where in the world of publishing she wants to end up in. Currently, she is working on a YA novel.

Query Week 2: After the Query

16 Feb

QUERY WEEK PART DEUX:

After the Query

By Sarah J. Maas

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So, let’s say your query was stellar, and you’ve got a whole pile of requests from agents!  Excellent. But what the heck do agents mean when they ask for the first fifty pages, or the first three chapters, or—eek!—the full manuscript?

First of all, this is AMAZING. This means you’ve got the agent’s attention. Feel free to do a victory dance. Go ahead. You know you want to.

Done? Awesome. Now, let’s get down to business.

When an agent requests the first fifty pages or the first three chapters, this is called a Partial Request (ooooh). They want to get a sense of your writing before committing to reading more from you. This is precisely why your opening pages are SO important—this is your only shot to get that agent excited about your work. If an agent likes your partial, they’ll most likely request the rest of the manuscript.

But I’m getting ahead of myself. When I got my first partial requests, I freaked out. Why? Because Page 50 stopped right in the middle of a scene! Most often, your first 50 pages will end somewhere inconvenient.

You can either choose to end the partial at the scene closest to page 50 (maybe it ends on page 48), OR you can just find a good final sentence on page 50 and end it there. It doesn’t matter THAT much, but I personally preferred to close the partial with the end of a scene, rather than stop in some random place/in the middle of the action. If your scene ends on page 51, it’s okay to go over by a little bit, but not by much.

But what if an agent replies to your query with a request for the full manuscript? Well, the short answer is: Jackpot! They want to read your entire book. This essentially translates into: “Your Query Blew My Mind, and I’m Hoping Your Book Will, Too.”

When you send off your partial or full manuscript to an agent, it should ALWAYS look professional.  To help with that, here are a few rules to abide by:

  • Your manuscript should be double-spaced in Times New Roman, 12-point font (unless the agent specifies otherwise—make sure to check!!!).
  • You should have 1-inch margins.
  • DON’T FORGET PAGE NUMBERS! Upper or lower right corners are fine.
  • Be sure to add in a header that includes your name and the title of your work (example: Sarah J. Maas, Queen of Glass).
  • Chapters should begin around 10 lines down from the top of the page (like in a book).
  • When sending electronically, remember that some agents don’t have computers that support .docx, so always send your manuscript in .doc format.
  • Again, some agents might prefer a different set up, so ALWAYS double-check their agency guidelines before you send them material!

Once you’ve sent off your material, the hard part begins:

Waiting.

Waiting to hear back from an agent is like being in limbo. You jump every time the phone rings, you flinch every time you see your inbox announce that you have 1 new message. Sometimes, all you want to do is lie on the couch and eat bag after bag of Cheetos as you watch reruns of The Fresh Prince of Bel Air.

Normally, after sending your material, you can expect to hear back between 8 and 10 weeks. If you haven’t received a response after 10 weeks, it’s not considered inappropriate to send the agent an email to check on the status of your manuscript.

Sometimes, you’ll wonder if an agent even received your materials. Some agents send a confirmation email to let you know that they received your manuscript—but many just won’t reply until they’re telling you Yes or No. If you don’t receive a confirmation email, please refrain from bugging them about it—wait until the appropriate 8-10 weeks have passed before inquiring.

It’s maddening, but try to find ways to occupy yourself while waiting for agents to get back to you: start a new novel, bake hundreds of cookies, go for long walks. You can’t let the waiting overrun your life, and often you’ll hear back at the most unexpected times. I actually missed The Call from my agent because I was sleeping!

I heard my phone ring early in the morning and was SO ANNOYED that someone was calling me at the crack of dawn (even though it was more like 10 AM) that I didn’t even bother to pick up! When I finally got up and listened to my voicemail, BOY was that the most heart-stopping message of all time!

In short, you can’t make agents read your material any faster (and please DO NOT attempt to do so), and you can’t predict when they’ll respond to you—so don’t drive yourself crazy by trying to guess! Stalking agents on Twitter definitely doesn’t make you feel any better, either—in fact, it can make you even more insane.

But if you’re curious about agent response times, go to Agent Turn Around, a livejournal community that tracks how long it takes for agents to reply.

Best of luck with everything!

~~~

Sarah J. Maas is the author of several novels, including QUEEN OF GLASS, a YA fantasy retelling of Cinderella. Her agent currently has her novel on submissions to editors. Sarah resides with her fiancé in Los Angeles. You can visit her blog here.

Query Week 2: Synopses and Agent Tracking

15 Feb

Hey all, Savannah here. Welcome to Query Week Part 2! Now that we’ve discussed how to write a good query letter, this week we’re going to focus on what comes after the query letter. Here’s the lineup for this week:

Monday: I discuss Synopses and Agent Tracking

Tuesday: Sarah J. Maas explains what comes after the query (How will agents request your stuff, partial vs. full manuscripts, etc.)

Wednesday: Vanessa Di Gregorio blogs about what she looks for in the slush pile (She’s an intern at The Rights Factory!)

Thursday: Mandy Hubbard wraps up Query Week with some fantastic insight from the perspective of an agent.

Friday: Question of the Week: Ask us anything about queries!

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SYNOPSES

Let’s begin with the basics. A single summary of a book is called a Synopsis. Plural summaries are called Synopses. So if you’re trying to sell a trilogy and your agent asks for Synopses of all three books, you know she means three individual summaries.

When writing Synopses, essentially what you want to do is write something that reads like the back cover of a book. It should be easy to follow, cover all the major plot points, and excite your reader. The only caveat is that a Synopsis must also include details about the ending, something that would never happen in a book jacket.

There are a lot of different ways to write a synopsis, so let’s start with some Do’s and Don’t’s:

DO:

  1. Involve all MAJOR characters.
  2. Talk about all MAJOR plot points (especially the climax).
  3. Resolve your ending.
  4. Use your query as a basis. You already wrote all that catchy stuff for a reason, and you should be able to recycle SOME of it.

DON’T

  1. Name and explain every single character. It’s okay to refer to a character by their title, like ‘the principal’ or ‘the wizard’, if they are involved in a plot, but if they are a minor character don’t give their name. It clutters everything.
  2. Talk about every single rising action.
  3. Hint at your ending but not explain it fully.
  4. Use the same hook as with your query. A synopsis comes after a query; you’re not trying to hook anyone, you’re trying to tell, chronologically, what happens.

At the end of your synopsis you should have two to three pages of double-spaced text. Now, my original plan was to share my Synopsis for Antebellum with you today. However, after a tense half hour of combing my gmail account it became apparent that I no longer have the original synopsis, and while I obviously have sent it to my agent before, that email record seems to have fallen off the face of the internet.

Therefore, I have had to recreate my synopsis for you, and so I feel your pain if you are about to go through this process yourself.

Please note that Antebellum is not published yet, and so I can’t reveal the synopsis in its entirety or certain plot details, but I can share enough to give you the idea.

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Antebellum Synopsis

At age 19, the famous and reclusive writer known only as the Poetess must take a slave and begin a family, or else face societal rejection and perhaps loss of patronage from the Empress herself. At the Choosing ceremony she is drawn to a Nameless about to be condemned to a life of hard labor if he is not Chosen soon, a young man whose muteness makes him worthless in society’s eyes despite his great beauty. Against counsel from her elders, the Poetess Chooses the mute Nameless and they return to her home in the countryside. That first night the Poetess discovers a terrible wound on her new Nameless, indicating he was abused by other men at the factories, and in her sympathy for his condition they never consummate his union into her household, as is traditional, and he does not receive his name.

The isolation that accompanies their daily life brings into question formerly close-held ideals concerning equality of the genders and the nature of slavery. The Poetess does not wish to further abuse the young man in her care, but she begins to desire him, learning to respect him as a human being and not merely a worker. The internal conflict resulting from feelings that deviate from the strict religious and social dogma that rule their society leads to a public physical collapse and the revelation that the Poetess suffers from a cancerous illness that leaves her shamefully barren.

Keeping this secret from her Nameless, the Poetess decides to end the uncertainty by Naming him, hoping that bringing him out of a status limbo will resolve her conflicted emotions about his place in the world. However, she reveals her respect for him by asking permission to name him. At his acceptance he takes on the name of Shaedyn, Shae for short.

The Poetess begins to teach him how to read and write, despite the fact that this is illegal. The affection between them grows, but Shae continues to rebuff any physical advances, defining the terms of their relationship. He chooses to accompany her to the Winter Solstice, a festival held in the castle-like structure of the North Hall, where he previously worked as a Nameless. When they are separated during the festivities, Shae is contacted by his former workmate, known as Number 17, and the Poetess finds them in a compromising position that implicates the abuse Shae suffered may have not been merely physical.

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In a double-spaced, font size 12 document the above is 1.5 pages, and I’m not even half done (something really good happens after the Solstice, but I don’t want to tell you about it because you need to wait until it gets published 😛 )

I advise you to get a friend who has not read your book to look over your Synopsis. Ask them if everything makes sense, or if there was something they wanted to know more about. As the creator of the work you might assume the audience knows something and leave it out, creating confusion.

If you need more examples of Synopses or how to write them, googling for ‘synopsis’ + ‘literary agent’ will give you tons of great results.

WARNING: Unlike query letters, there’s no real ‘set’ way to write Synopses, and every agent will have different preferences. If your agent wants a Synopsis sent along with the query letter, chances are they’ll have some guidelines on their website. If there are no guidelines, do what feels right to you. If you feel like you’ve got a good Synopsis on your hands, given the amount of research you’ve done and the examples you’ve read, then you’re probably on track.

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AGENT TRACKING

When I queried, I made so many juvenile mistakes. I talked about some of them in my article last week about my query letter: I had a bad manuscript, a bad title, I didn’t do enough agent research, and I queried way too many agents at once. Please don’t make these same mistakes. Make sure your manuscript is ready, your title is intriguing and not corny, you examine the website of each agent you query to make sure they’re a match for you, and don’t query a hundred agents at a time.

There are several different methods for querying agents. If I had to do it all again, this is the method I would use.

  1. Establish list of agents you think would be a good fit for you. I recommend agentquery.com to get a list of the general genres an agent represents, but you should ALWAYS check their websites to make sure agentquery is accurate. Sometimes I would get rejection letters from agents saying they don’t actually represent the genre agentquery said they did, or that they were no longer taking queries.
  2. Order these agents numberologically, with the agents you most want to work with first.
  3. Establish a number of agents I think are appropriate for me to query at once. For me, personally, I would probably pick 25.
  4. Send out your initial number of queries. Again, for me, it would be 25.
  5. Every time you get a rejection, send out one more query. This means that as soon as you get a rejection, send a query to agent number 26. On your next rejection, query agent number 27, etc. Eventually you will either run out of agents (find new agents) or you will be signed.

Now, naturally this order of events implies that you have established and are maintaining a list of agents. There are many websites out there today that want to ‘manage’ your query status for you, but when I was querying I didn’t feel comfortable using any of them, so I recommend the following method:

Do it yourself. Seriously. Make a chart in Excel, and then you can customize what you want to track about each query, and you have all sorts of sorting and highlighting options.

When constructing your chart, I recommend the following column headers (in order): Agent Name, Agency, Genre, Date of Initial Query, Date of Partial Request, Date of Full Request, Offer of Representation, Date of Rejection, Notes.

That should pretty much cover it. If the agent rejected you, but said something nice about your manuscript, I recommend putting it in the ‘notes’ column so you have an easy-to-organize inspirational list staring you in the face every time you look at your query list.

By making and maintaining an Agent Tracking List, you can easily do the following:

  1. Plan who you will query, and when.
  2. Track how many queries you have out at any given time.
  3. Track who has how much of your manuscript at any given time.
  4. Track how many rejections/requests you have had (this will either make you neurotic or very proud of yourself)
  5. Know who has your full manuscript that you haven’t heard from when someone offers you representation (hopefully you can get a bidding war started where agents will try to convince you to be their Client).
  6. Know who to email and tell them to nevermind after you’ve accepted an offer of representation and you still haven’t heard back from them.

Remember, agent tracking is not only beneficial for you, but it’s a courtesy to the agents you submit to. I didn’t do a very good job of agent tracking, and I will never forget how horrified I was when an agent requested my full manuscript AFTER I had signed with my current agent. I emailed her to apologize for wasting her time and explain that I was already signed and must have missed sending her a notification email.

Any questions? Hit me up in the Comments!

~~~

Savannah J. Foley is the author of the Antebellum (originally known as Woman’s World) series on Fictionpress. She has written five novels, owns her own freelance writing company, and is signed with the Bradford Literary Agency. Antebellum is currently out on submissions. Her website is www.savannahjfoley.com, but she updates more frequently on her livejournal.

Query Week: BIG ANNOUNCEMENT from Mandy Hubbard!

12 Feb

First things first…because of the success of Query Week, we’ve decided to extend Query Week into NEXT week…and we’ll be posting EVERY DAY! So, make sure to check back on Monday for more querying goodness!!!

Secondly, Mandy Hubbard was going to post today, BUT she just had some HUGE news, so she decided to hold off on her article until next week, and share the announcement with us today! From her LiveJournal:

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Today I get to share some exciting news!

I have joined forces with Bob Difiorio, (D4EO Literary), where I will be representing authors of middle-grade and young adult fiction. (And yes– since many have asked– I absolutely still intend to continue my writing!)

The official announcement– which you are all free to copy and share with your querying friends, is as follows:
Mandy Hubbard has joined the D4EO Literary Agency where she will concentrate on YA and Middle-Grade fiction.

Mandy began her career in publishing on the other side of the desk: as an author. Her debut novel, PRADA AND PREJUDICE, (Razorbill/Penguin– June 2009) is in its fifth printing.  She has four other books under contract, divided among Harlequin, Llewellyn Flux, and Razorbill/Penguin.

Mandy interned at The Bent Agency before joining D4EO Literary, where she is now building her list, focusing on YA and Middle-Grade fiction.

Mandy is interested in a broad range of YA/MG, whether they be contemporary or historical, fantasy/paranormal or realistic. She loves books with a heavy focus on romance, as well as “issue books” with a strong voice. If your book has a high concept or a big hook, she wants to see it.

If your story includes portals to fantasy worlds, wizards or dragons, it’s probably not for her. Please, no chapter books, pictures books, poetry, non-fiction, or books for the adult market.

To query mandy, send your query letter, along with the first five pages of your manuscript (both pasted into the body of an email) to  mandy@d4eo.com.

Website: http://www.mandyhubbard.com/ and Blog: http://mandyhubbard.livejournal.com/

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Congrats, Mandy!!! You are AWESOME!

Our Very First Vlog Post: Should You Mention FP in Your Query Letter?

6 Jan

By Sarah J. Maas

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Hey everyone!

So, thanks to our dear friend Anthony’s wonderful suggestion, we’re changing it up a bit today. Instead of writing an article, I decided to vlog about my topic: “Should You Mention FictionPress in Your Query Letter?”

Check it out!

I hope you all enjoyed it! Feel free to subscribe to our YouTube channel: we’ll hopefully be posting vlog entries on a frequent basis. Make sure to return on Friday for our Question of the Week: “What’s Your New Year’s Resolution?” And don’t forget to enter our Book Trailer Contest!

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Sarah J. Maas is the author of several novels, including QUEEN OF GLASS, a YA fantasy retelling of Cinderella. Her agent currently has her novel on submissions to editors. Sarah resides with her fiancé in Los Angeles. You can visit her blog here.