Welcome, Scott!

This issue of category romance authors having an agent came up when I first opened Greyhaus Literary Agency in 2003. I was actually sitting in a session, listening to a panel discussion from editors when someone asked if it was necessary to have an agent when pitching to a category house. What amazed me, at that time, was the answer. This editor began first with the answer I already knew – “We accept both agented and unagented submissions.” O.K. so far, so good, but then the editor continued, “However I have to say that we actually prefer unagented submissions.” Arrghhh, screeching tires, “what did this editor say?” They preferred unagented?

Fortunately the moment of panic didn’t last for that much longer. She went on to discuss the issue of contracts and the fact that they use a pretty standard contract with not much room for negotiating. What she was really saying is that there really wasn’t much need for it. Over the years though, I have come to the conclusion that, while for contract purposes, the agent might (please note I say might) not be necessary, there is indeed a strong argument for having an agent. In fact, I don’t see much of a separation between having an agent for a category house or for any other house.

I do think there is a misconception that all agents do for writers is negotiate contracts. While I am sure some do, there are also a lot of agents out there that do a lot more. An agent is really that one reader that has the ability to see both sides of the equation when it comes to publishing. They can see that creative side of the author, but they can also provide that “inside” look at what editors and book buyers are really wanting. That is a valuable resource.

I have seen a lot of great category writers out there that suddenly find their career coming to a standstill as they wonder why the editor just wasn’t happy with that last project they sent off. They scream, “what do you mean they didn’t want my next book?” The agent, in all likelihood, could have prevented that from happening. Not because they can argue for another book and negotiate the next deal (although they can do that), it is because they can prevent a writer from making a huge mistake with that next work in progress.   

Category writing is difficult in the fact that a writer has to maintain the single voice and theme of the house, without becoming too repetitive in terms of style and voice. Take the “baby” stories. How do you find different ways of telling the surprise baby theme? I am a firm believer it can be done and it just takes some team work and the agent can help with that. While the writer might think they have a new story, the agent, as that outside reader can look at it with truly an objective eye and make sure the writer doesn’t just copy what she has done before.      

I think there is also another element that we don’t often think about. When I first opened Greyhaus there were a lot of publishers out there that would accept unagented submissions. That number has dwindled significantly. Instead of dealing with the “slush piles” the editors have passed that stack down to the agents. So, now we are the ones that get to deal with the stories. To the editor, a writer that has an agent has already had the story approved one time. In other words, the editor is confident in knowing it has already passed muster.      

As an agent, I love working with category romance authors. These are writers that are truly dedicated to the craft and their genre. It takes a lot to keep those books coming and not lose focus. It isn’t easy to keep finding new and unique stories and still maintain that theme the editor is looking for.       

I want to reiterate a comment I made earlier. I really don’t see much of a difference between having an agent for a category house or any other house. Having an agent gets a writer a lot of benefits they might not normally get with simply their critique group.

Kelsey: Can you share with our readers how you work with your clients on the creative aspect of the writing process?

Scott: I am a firm believer in working with my writers through all stages of their writing. Of course, each writer is different and some of my clients have stronger support systems at home to assist that process. Still, the more interaction I have with the writers from the beginning is always a great help.

One of the biggest reasons I want to work with the writers is a time management issue. The Greyhaus Literary Agency writers have always been known for their fast turnaround times on times on projects. When an editor wants revisions, we always get the projects in under the deadline. When there is a need to create a new project due to a need with a publisher, the Greyhaus writers are always some of the first called. By working with writers early on in the process, we can eliminate the sometimes lengthy process of having to go back and seriously over-haul a project.

As many writers know, having to make global revisions on a manuscript, after it has been written is difficult. Changes that you make to the first part of a story, you often find there is a domino effect or a trickle-down effect to that change. If I can catch projects early on, before we get too far with the idea, we can generally get the project moving faster without that serious “back tracking.”

If you are a Greyhaus client, we often start with developing a list of potential projects that you think you might be interested in writing. When I see this list, I can often shape the direction you want to head. Sometimes the project you want to write might not be the one that an editor would want first. Sometimes there is simply a need for another project. Together, we discuss those ideas.

I also like to look at projects after the story gets going. I will frequently read projects at the first, third and fifth chapters just to make sure we are on track. Again, this is just to keep the writer heading in the right direction.

I do think the added bonus is that I can frequently call editors and discuss potential projects. Many times, I will have editors that request one story over another in the early drafting phase. Truly, another added bonus of that “hands-on” approach I take here at Greyhaus.

Kelsey: What trends are you seeing in the category romance market?’

Scott: Why does everyone ask this question? Trends are really a tough call considering what seems to be hot right now will not necessarily be hot later on. In the case of the category romance lines, I really don’t see much of a difference between what they are doing and what the single title romance lines are doing. Also, each of the things I am seeing varies from one subgenre to the next. Let me just bullet point this one.

• Paranormal – More and more angels and demons and less of the vamps and were’s. Of course, in my humble opinion, the writing is still the same with just a change in words. I am also seeing more of a shift to what was once called “urban fantasy” in this paranormal line.
• Contemporary – While we still see many of the same issues we have always seen in category, I do think more and more of the traits from the women’s fiction genre are creeping in. Writers are trying to bring in more and more of the controversial issues into the stories. We’re talking the things that make headlines in newspapers now.
• Romantic Suspense is really trying to do more than simply kidnapping issues. I think, due to the rise of the single title Thriller and Suspense writers (Steve Berry and the like) writers are trying to incorporate those ideas into their projects. Simply put, we are seeing more of an international feel to the stories.
• Historicals, as most of you know is one of my favorite. In the category lines, the writers are really adding a lot more depth to their stories. Instead of just placing the stories in a specific time period, the authors are tying the stories into major event in history. Reading authors such as Bronwyn Scott and Nicola Cornick will show you just that. These are big stories in a small package.

That should give you a feel for what is going on.

Kelsey: What category lines are aggressively looking to acquire new authors?

Scott: Be careful of this one. Just because someone is acquiring does not mean you should go out and write the stories. Still, there are some genres that really struggle finding great authors. One in particular is the Medical romance line. These are tough to write but if a writer is in the field, they have an added advantage.

I think the easier way to look at this is to focus on what is pretty swamped right now. The Teen line, Romantic suspense/mystery, historical and urban fantasy is really tough. Everyone seems to be writing these.  I would always recommend working on those powerful contemporary stories.

Kelsey: Could you give us a feel for a category author’s career arc? Is it still possible to make a career writing  category romance?

Scott: Writing category romance is always tough. The key is to be able to come up with constantly new ideas and yet, at the same time, maintain the central idea that is inherent to that line. Writing the same thing over and over again is really a sure sign to eventual failure in the line.

This is also a line that production is really key! Since the marketing for the category romances is different from many of the single title authors, keeping your name out there on the shelf and in the face of the public is even more important. This means fast and consistent writing. My category writers are currently producing 3-4 full length books a year, combined with numerous smaller stories for the category electronic lines (somewhere between 3 and 4 of those). These authors are also writing under other names with other houses. Right now though, the focus is keeping their name out there.

Staying in the single line is not a problem, but I always encourage writers to find a way to branch off, either into 1 other category line, or even into a single title line. Remember though, as soon as you branch off, this means the category production could potentially decrease. You don’t want that to happen.

I do believe it is important to establish yourself as a brand name within a category line. If you think about the category romance authors, you will find that you come back to the same names over and over again. This is due, not so much with the simple quality of a single book, but the consistency of their writing over time. In other words, to build your brand name in a category line is going to take a while. You can’t just do that in one year.

As far as making a career of writing category, this one is tough. Again, it is all a matter of production. You cannot make a career writing only 3 books a year. Finding authors making a career of their writing is really tough. Many are supplementing with single title books, or if they are fortunate, have either a job or spouse that is assisting with the income.

In the end, I would never encourage a writer to consider giving up their day job to write until there is some certainty, and even then, there is never a guarantee.

***

RU Crew, what questions do you have for Scott about the agent/category author relationship or other agent-related issues? Fire away!

Don’t forget to join us Wednesday when Laurie Schnebly talks about the Greek guy we all love: the Alpha Male!

Bio:

Scott Eagan is the agent at Greyhaus Literary Agency. Opened in 2003, Greyhaus has focused exclusively on the romance and women’s fiction genres. Scott draws on his two MA degrees in Creative Writing and Literary as well as his undergraduate work in literature and writing to provide hands on assistance to his writers. Scott is actively looking to acquire category romance authors. Please review the website for specific details but please remember, when submitting, be prepared to: A) know which category line you are submitting to; B) be able to explain either in writing or in a discussion how the story meets the criteria for that line; and C) be able to have either additional stories or works in progress that also fit that same line.

Following their interview, Kris has provided a wonderful lecture on what’s the worst thing that could happen in your story. Be sure to check out. Kris and Barbara will check in throughout the day to answer your questions.

Take it away, ladies!

Tracey: How would you define the historical/medieval subgenre?

Barbara: Um, High Necklines and Low morals.
(Okay, that one was just to make you laugh. I don’t want to answer that, I mean come on, the answer is in the question.)

Kris: Fortunately, yes, this one is an easy one.

Tracey: What is your opinion of the state of this subgenre today?

Barbara: The historical romance? Well it is definitely alive and well. There are indications that it has peaked but then there always seems to follow another swell in demand. As far as medievals in particular, I do hear people struggling to place them, but good writing is good writing. If the content and execution are phenomenal, the book will sell.

Kris: I am guessing too, that some of it a toss of the dice.  How many books of a certain, small subgenre does a certain editor or publisher already have?  There’s only so much space in publishers’ release schedules, and if they already have some great medievals, it being a smaller market, they might turn it down.

And since this is nothing you have control over, I think if you and your Muse *have* to write a medieval, then you’d better write a medieval. We need more great ones!  And then, Barbara can help find the right home for it.

Tracey: Do you think it’s hot right now?  Why or Why not?

Barbara: (I kind of answered this above)

Kris: I have no idea how to answer this, in part because it doesn’t really matter.   Anything I’d say would be a ‘trend,’ and since there’s no way to know if a trend is a trend, or a new strong subgenre, we writers can’t really follow that either.  Our course direction has to be to follow where our writing is strongest.

That being said, if you have it in you to write a unique paranormal, say,  as well as a medieval, I’m going to guess you’d have more marketing options with the paranormal.

Tracey: Do you see any trends writers should avoid? Move toward? Any advice for writers wanting to break into this subgenre?

Barbara: Our agency represents Linda Lael Miller who, as far as I am concerned, is the single best historical western romance writer out there, so my bar is set very, very high, but still I always shoot my mouth off saying I am looking for a western historical. The reality of it is, it would need to be spectacular for me to place it as Westerns aren’t as popular as the Regency or even Scottish as of late. If you are looking into breaking in I would stick with Regency England Historicals BUT I would research research research. Those readers are extremely well versed in the times and will nail an author to the wall if there is some question of plot or demeanor or even dress plausibility.

Kris: Whatever she says.

Tracey: Why do you represent this subgenre?  What else do you represent? Do you see any cross-over, any similairites?

Barbara: For whatever reason, my super powers extend pretty much only to historical romance. I seem to have a 6th sense for placing them with the right house. I am hideous at contemporary romance; I just don’t have a refined enough palate to have a sense for the good stuff in that one. I can do some paranormal, though. So that leads me to believe it is all about the world building. The attention to craft, technique and detail in both historicals and paranormals is so important and I can thrive within that.

Tracey: Do you have any insight in “historical-friendly” agents and editors?

Barbara: Um, me.

Kris: Um, her.   :-)   And as far as editors, Barbara will know them, and what they want.

Tracey: How do you think this sub-genre has changed in the last five years?

Barbara: I think the envelope is allowed to be pushed a little more each year, some of the love scenes are a little hotter, the heroines are a little feistier. I also think that I have seen the secondary characters become much more fully realized and personally I love that.

Kris: I agree.  Strong secondary characters can tweak out corners of the main protagonists in new ways, making the tapestry of the story world much richer.   Oh, and I’m very pleased by the move towards hotter stories.  I love them hot.

Tracey: What are your predictions for this subgenre in the next one to three years?

Barbara: Wow, well if I had those I would not be answering these questions I would be at the Kate Spade store across the street spending all of the money coming my way in the next one to three years. But here is the thing: if you have the ability to craft a fresh, original take on a concept that works, with an alpha hero and a determined heroine you have a shot and being part of the sub genre. Just make sure to research the era and READ in your genre.

Kris:  Oohh, when you’re at Kate Spade, can you pick me up pair of those red heels, with the black . . . Well, really, any pair will do . . .

It’s hard to keep hearing the same things over and over: write a great story.  Give it a relatable hook so we can know where to put it on a shelf, but . . . be Unique and Original!

It’s like trying to read tea leaves. Which is why . . . I don’t think we should do it.

Agents and editors really mean it when they say those things.  It really is that indefinable.  Good art often is.

Think about it.  Think about the stories you love to read.  Yes, you could probably explain what you loved about them, but that can’t be sufficient explanation, can it?  Because there are other stories out there with those same exact elements, that didn’t grab you.  Why?  Can you explain it in a way that would allow someone else to say, “Oky-doky!  Got it.  I’ll start doing that in my manuscripts from here on out.”

Probably not.  “Strong heroine” could be a thousand different things.  This is just one of those things.   You know it when you see it.

I think we writers should forget trends, forget the indefinables.

I think we should read craft books.  I think we should read books in the genre we want to write in.   Most importantly, I think we should write.  Lots.   Quantity produces quality. The more you do it, the better you will get.   (As long as you’re not banging your head against a wall, ignoring feedback and not evolving.)   It’s *exactly* like playing the piano. The more you play, the better you get.

And we should take risks in our writing.  Once you have the basic craft elements down, don’t be safe. Push your own personal envelope.   (More on one way to do this in my craft-related blog here at RU today, “I Mean Really . . . What’s The Worst That Could Happen?”)

And, if you know that you simply must write, then write.  Worry about writing, not selling.   I think the overwhelming focus on being published can actually be detrimental to us as craftswomen.   I don’t recall it being so strong when I first got involved with RWA, maybe 10 years ago.  Think about Story.   How do I write a great story?

Focus there, be persistent, be smart about it, and forget about trends.  Who knows what might happen?

Thanks so much for having us here!

* * *

Read on for Kris’ fabulous lecture:

I Mean Really . . . What’s The Worst That Could Happen?

A car chase?  The murderer walking in?   A slip of the tongue?  An army marching by and setting up camp beneath the tree where the hero and heroine are hiding and, ahem, engaged in other activities? (THE IRISH WARRIOR, June, ‘10, pg 266 )

Because whatever that ‘worst thing’ is, that’s what we need to do in our fiction.

In the scene you’re writing today, or the one you’re revising, have you really made the characters sweat?  Pushed them to their limits (as they are thus far revealed)?  Have you taken away the person the hero relies on, the quality the heroine depends on, the outcome they expected, and turned it all on its head?

If not, back to the drawing board.

This is part of what keeps readers reading.  And moreover, gets them really engaged and excited about the story.  Creates that feeling inside them of “No WAY!  What’s going to happen next?”   Makes them wave off the husband who comes in to ask about dinner and ignore the ringing phone for just one  . . . more . . . minute.   Unable to resist,  they do what we writers NEED them to do, if we want a career in the publishing world: They Turn The Page.

Voila.  A page-turner.

To my mind, this is especially important in genre fiction, because the reader already *knows* how everything’s going to turn out. Hel-LO, it’s a romance. He gets the girl.  She gets the boy.  They live Happily Ever After, or at least with a real hope of it.

And yet, even in genre fiction, one of the things that keeps people reading is the tension that arises from a story question on each page.

You don’t need to have car chases or vampiric attacks on every page (please feel free to do these things, but they’re not required, unless you have vampires who need to attack and such.)  In fact, stories with the most explosions (speaking metaphorically) don’t always sell with the most astonishing results, because there was never any tension in the reader.  What *is* required is a certain level of tension within the reader, a feeling of “There’s  a story question here and I have to see it answered.”

And one of the most fun, effective ways to do it is make bad stuff happen to your characters.

Whhheeee! It’s like being at an amusement park.  No, really.

(And, lest my enthusiasm for Terrible Things Happening To Good People lead you to think I believe it’s the only ingredient  to creating reader involvement, I’ll say right now, I know it’s not.   For instance,  it helps if readers care about your characters.  So you have to write compelling protagonists.  Just as a for instance.  But this blog is about making those compelling protagonists suffer, which is the fun part.  And, not coincidentally, it leads to creating characters readers care about, so it’s a very cool feedback loop.)

Making things bad for our characters can be difficult for us writers.  Without even knowing it, we take it easy on them.  They planned to make it home from work that night, and, lo and behold, they make it home from work that night.

Bo-o-o-ring.  I mean, maybe *sometimes* they can make it home from work.  Like, say, on Tuesdays.

But if you want a page turner, you may want to turn up the heat, throw them some curve balls, do the unexpected, take away whatever they thought they needed, then push them  in the river when they don’t know how to swim.  And oh my goodness, did you say a flash flood is coming??

Whatever expectations you set up at the start of the scene or chapter, try blowing them out of the water, and see what happens.   Whatever goals you had for them, ensure they do not achieve them, and in the most uncomfortable ways imaginable.

A simple test for your current scene:

Are your characters’ scene-by-scene goals being answered with one of the following?

~ Yes, but . . .

~ No.

Or, my favorite,

~ No, and furthermore . . .

Oh, yes!  Yes, yes, yes!  Now, that’s some Story fun.

If your characters are achieving their goals as planned in each scene, you can very likely ramp up the tension and get your readers engaged more deeply by trying this approach.

Again, I’m not talking the literary equivalent of “24”.  Your story can be a very ‘quiet’ one, with two people simply trying to avoid falling in love.  But within that framework, there need to be story questions that keep the reader engaged.

What’s the last thing your heroine successfully accomplished, or that went as planned?   Her alarm clock going off on time?  Her winning the case?  The carriage arriving on time for the ball?   Did she talk to a friend and does she feel better now?   Stop that.

Make her fail.  Put a bigger obstacle in her way, one that has to stop her dead in her track, make her readjust course, into a brick wall. Or better yet, the hero!

And who about him?  What’s he got going on?

Did the boat arrive at the dock as expected?  Is the castle gate open?    Did he plan to wear clothes to work today?  And were they all hanging there in his closet as expected?  Darn.   Was his side-kick a reliable and trustworthy side-kick, with no personal agendas or ulterior motives, not thwarting the hero in any way, even for the best of reasons?

Did they person they went to for help give them help?  Did they get the information they needed?  Did the army about to camp beneath the tree they’re hiding in move on and camp somewhere else?  (In draft versions #1-43 of THE IRISH WARRIOR, they did.  Then, to my surprise, they decided to camp beneath the tree, and holy moley . . . .)

Give it a try with the scene you’re working on today.  Or, if you hit a boring, ho-hum patch in your manuscript, go back about 2 chapters, and make something that went well, go poorly.   Make something that went as planned, go awry.  Make the army camp beneath the tree.  Mix it up.

Push them in the river and don’t teach them how to swim.  That’s why we’re reading.  We want to watch them learn.

* * *

RU Readers, what do you think? Are medievals hot? Will you give Kris’ technique of making something good go bad?

In February, we’ll also highlight we’ll highlight Regency/Edwardian and Victorian periods. Check our lecture schedule for the dates.

Be sure to stop back on Monday to chat with 2009 RWA Bookseller of the Year Rosemary Potter. She’ll tell us what draws her to a book and how authors can make their books stand out.

Kris’ Bio:
Kris Kennedy writes sexy, adventure-filled medieval romances for Kensington and Pocket Books.  Her debut book, THE CONQUEROR, came out May ‘09.  Her second, THE IRISH WARRIOR, was the winner of RWA’s 2008 Golden Heart ® Award for Best Historical Romance, and releases June ‘10.   Kris loves hearing from readers–stop by her website  http://www.kriskennedy.net/, sign up for her newsletter, and say Hi!

Barbara’s Bio:
Barbara Poelle began her publishing career as a freelance copywriter and editor before joining the Irene Goodman Agency in 2007, but feels as if she truly prepared for the industry during her brief stint as a stand-up comic in Los Angeles. She has found success placing thrillers, literary suspense, historical romances, humorous/platform driven non-fiction, and upmarket fiction and is actively seeking her next great client in those genres, but is passionate about anything with a unique voice. Barbara has a very hands on approach with the craft and editorial details of the books she represents, and loves working with her clients to take their writing to the next level.

Today, New York Times bestselling author Carly Phillips and literary agent Laura Bradford are here to share their insights and predictions. RU crew, hang tough as this is a long post, but 100% worth the time to read! Carly and Laura will also check in throughout the day to answer questions.

NOTE: This interview was primarily directed toward the single title—rather than category—romance, but feel free to ask category related questions in the comment section.

Welcome, Carly and Laura!

Kelsey: Carly and Laura, What are your opinions of the state of contemporary romance today, especially single titles?

Carly: I admit to being biased in my interest on the state of contemporary romance today. I answer with two hats, as an author who writes contemporary romance and as a reader who loves reading contemporary romance. In order to answer the question, I think you need to define contemporary romance – for my purposes, contemporary romance is a story set in the present day and the characters and their journey is what drives the story and the hero and heroine towards their happily ever after. There are other sub-genres within contemporary romance that really are genres in their own right, such as romantic suspense. This is not the same as the suspense in a contemporary romance that I write – where the “light” suspense plot helps move the characters along, but the thrust of the story is the romance and the characters and their emotional journey.

So what is the state of contemporary romance today? I believe contemporary romance is on the cusp of becoming big again. For the last few years, paranormal has taken over the larger market share and as a result, contemporary romance has struggled for audience in comparison. As a reader, over the last year when I would go into a bookstore and look for a good, light contemporary romance, they were few and far between. Yes, the staple authors of the genre put out their contemporary romance novels, but for fast readers like me, there weren’t enough contemporaries to sustain my appetite.  With the advent of “soft romance”, character driven stories in smaller town settings (Robin Carr, Susan Wiggs, Debbie Macomber, Susan Mallery), we are seeing a rebirth and regrowth of contemporary romance.

I’ve always preferred to write (and read) light contemporary stories – in this category I also include Rachel Gibson, Susan Elizabeth Phillips, Toni Blake, Susan Andersen, Jill Shalvis, Kate Angell, Lori Wilde, among many talented others who forgive me for not mentioning. In other words, the staple authors are continuing to do what they do and do it well. And I believe finally the market will begin to open up for newer authors again, just not at the rate which we saw a few years ago.

Laura: I have been finding them pretty consistently difficult to sell for some time.  I think when paranormal boomed, contemporary romance got squeezed out a bit and it hasn’t completely cycled back around yet.  Contemporary romance isn’t at all an unpopular genre, but there are a number of established contemporary authors that have been dominating for a while (Rachel Gibson, Susan Elizabeth Phillips, Nora Roberts and others).  So while paranormal has been the “It” romance genre lately and the (theoretically) reduced contemporary romance readership has been satisfied by the established contemporary romance authors already being published, there just hasn’t been as much room for new contemporary romance authors to enter the field.  Of course, what editors and publishers are looking to acquire more of is (again, in theory) what the major accounts buyers tell them is selling the best.  If book buyers are spending their money on genres other than contemporary, then it makes perfect sense that editors might be more resistant to acquiring more contemporary.  However, there are a few newer contemporary authors that have made the cut (like Victoria Dahl) and hopefully they will bring about some renewed interest in the genre.  I have been a consistent fan of contemporary myself and I have continued to pitch it throughout this “low period”.  If we don’t continue to try with contemporary, there won’t be anything new out there to buy in a couple of years.  Things could be really different in a couple of years. 

Kelsey: Carly and Laura, how do you think this sub-genre has changed in the last five years?

Carly: Five years ago, contemporary romance went through a boom period along with the rest of the country, where everything just seemed easier, more prosperous even. Contemporaries were all over, everyone wanted to write one, and the opportunities seemed to exist in all publishing houses for talented writers to break in. That’s not to say getting published was easy, but there were more slots for contemporaries. When the paranormal craze caught on, it changed how readers think when they read. As a result of world-building and new types of characters and plots, readers learned to be more demanding of content and complexity in books and the straight contemporary suffered as a result. This is just my opinion, mind you. But what went along with this change was also that by virtue of more paranormals being published, there was less room for other genres. Again, the straight contemporary suffered as a result. When there is the new “hot” thing, everyone tries to jump on the bandwagon and there becomes a glut in the marketplace as we saw with paranormal romances. But eventually, the cream rises to the top, the great books and authors stand out and withstand the test of time, and others fall away. Sometimes talented authors suffer as a result of a bad market. I know plenty of talented contemporary writers whose sales did not match their talent. And that’s a shame because it resulted in the lack of contemporaries I spoke about earlier.

Fast forward a few years. Paranormal romance has settled, here to stay, but publishing houses are being more selective in how they publish them. As a result, other genres, such as historicals, are becoming stronger again. We’ve heard a lot about the “death” of the contemporary romance, but I think reports have been greatly exaggerated. Peaks and valleys are normal in any business and I hope contemporary romance will emerge stronger than ever  – but the form it shows up in may differ, just as covers differ.  Remember the years of the cartoon covers when contemporary romance was booming, to the straight hero on the covers, to something a little different going forward.

I have always maintained contemporary romance is the backbone of all romances and won’t go away forever. In fact, contemporary romance is due to see a resurgence.  As I mentioned above, the straight contemporary romance books may segue into more “soft” romance books, valuing community, emotion, and character above all else, but character driven, contemporary romance stories will flourish.

Laura:  I think that everything having to do with the romance subgenres is cyclical.  For a long time, in the 90’s, I think historical romance was very much the dominant subgenre.  Then romantic suspense and romantic comedy became hugely popular.  Remember when Julie Garwood stopped writing historicals and started writing romantic suspense? Remember when Avon first started doing those “cartoon”-style contemporary covers?  They were a huge hit and that is what everyone started buying.  Of course today, saying the words romantic comedy is like the kiss of death…even if there are authors out there successfully writing it.  If I have to refer to it now, I call it humorous contemporary romance.  More recently paranormal romance boomed and that boom is really still happening, I think.  Contemporary romance has not really gone away in the meantime…if you look at the shelves, there is still plenty of it out there to buy.  Are there fewer contemporaries on the shelves than there were 5 years ago?  Yes.

Kelsey: Carly, why do you write contemporaries, and do you write in other sub-genres?

Carly: I write contemporaries because I love them. As a reader, when I walk into a bookstore, that’s what I want to pick up and read. As a result, writing them for me is pure joy. I lean towards a mix of the romantic light fun contemporaries as well as hitting on small town stories with eclectic secondary character elements. Occasionally I’ll also set a story in New York City for a more sophisticated feel. For me, it’s all about “write what you know and love” and that’s what I do.

I don’t write in other subgenres. I like to say that I have a very linear mind – that’s how I think, in straight lines – and complicated plot as in romantic suspense, or alternate worlds as in paranormal – might make my brain explode. Never say never, but I say do what you do and do it the best you can, learning and growing along the way. So right now, I’m loving and living contemporary romance.

Kelsey: What do readers tell you they love about your contemporaries?

Carly: A lot of readers tell me they love my characters, the stories and the journeys they take. Most comments are about character and I believe that character is at the heart of any good fiction book but most especially contemporary romance. My first editor, Brenda Chin at Harlequin, gave me valuable advice that I have tried to apply to every story I write: Readers have to be able to relate to your heroine and fall in love with your hero. Characters must have flaws that the reader understands but in some ways the characters should be larger than life, too. The reader should feel they are transported to another place, living that character’s life and feeling what they feel. So when readers tell me they enjoy my characters, that’s the greatest compliment I can get.

Kelsey: Carly, do you have any insight on “contemporary friendly” agents and publishers?

Carly: Good question! I would hope that a good story would trump anything else and an editor or agent who is looking for talent will find it no matter what they think their preference might be. That said, nothing replaces research. You don’t want to submit a contemporary to a publisher only interested in historical. So although I don’t have specific editors or agents to mention, I can suggest a game plan. In light of the ever changing market, I would say to people looking to break in, to research the most recent books on the shelves, see which publishers are putting out consistent contemporary romances.  This shows they have a commitment to the genre. The same with agents. Ask other contemporary romance writers who represents them to get a feel for who is contemporary friendly.

Kelsey: Carly and Laura, what advice do you have for writers who want to break into this sub-genre? Any trends writers should avoid or embrace?

Carly: When I “broke into” romance, the one thing everyone told me at every conference I attended was “athletes don’t sell.” Well, the one thing I wanted to write was an athlete. So I waited until I was established and pitched “The Hot Zone Series” (the first of which, HOT STUFF, is repackaged and in stores now) and it sold. I loved writing those stories because they were stories of my heart. So the answer is, don’t write to the trends, write from your heart. But don’t place a brick wall in your way, either. I may not have any specific trends to say writers should avoid because frankly I haven’t heard of any no-no’s or taboos lately. But if you do hear of one, don’t deliberately write one to buck authority and prove people wrong, because you’re wasting time working on something you’ve clearly been warned will not sell. Unless that story is embedded in your heart and your mind and you can’t not write it. Then you should write it because at the end of the day, it will probably be the best story of your life and with a little luck, some smart editor or agent will realize that and if not, you move on to the next story and keep on writing!

Laura:  I don’t really know that it is good to advocate following a trend…my feelings are that an author’s voice is an author’s voice and if she has “it” with contemporary romance than that is what she should write.  Maybe the timing isn’t fabulous for an author’s particular style…it happens…and the author does have a few options that might help set her apart from the pack.  First off, I would never tell an author to write anything that is contrary to her vision for the story, but I think a smart author looks at all the angles and tries to find an edge.  I have found that contemporaries with secondary hooks are easier to find homes for than those that do not have secondary hooks.  By secondary hook, I mean a contemporary romance that also has a dominant suspense angle.  Or a contemporary that is really, really sexy and explicit (though not necessarily erotic).  The market for very, very hot romances is really good right now across all the subgenres.  I have also heard from several editors that they are looking for that kind of contemporary romance-women’s fiction hybrid ala Debbie Macomber, Sheryll Woods, Lisa Kleypas.   

Kelsey: Carly, what do you think it takes to be a NYT bestselling author of contemporary romances?

Carly: The same thing it takes to be an aspiring writer of contemporary romance: persistence, dedication, and the willingness to dig in for the long haul no matter what obstacles present themselves on your journey. I’m the same person today that I was when THE BACHELOR was picked by Kelly Ripa for her Reading with Ripa Bookclub and I hit the New York Times for the first time. I’m just a lot more battle scarred and jaded. Treat every release as if it were your first one. It’s your baby and no one – and I do mean NO ONE – loves it as much as you do – so do whatever you think is necessary to make it succeed, which includes playing nice with others. Success won’t always happen. You won’t always achieve your goals. In fact, I’d venture a guess that more times than not you’ll be disappointed, but then something will happen that makes it all worthwhile. When I was unpublished, an editor rejecting my book but saying, “I’d like to read something else” was cause for celebration. Now that I’m a NYT bestselling author, there’s just more pressure to succeed, to hit higher on lists, sell more books, etc. Too many times I forget to take a deep breath and say, “So I didn’t hit where I wanted, but there are people who would kill to be where I am.” So celebrate all the little achievements and then get back into the trenches. If there’s a bestselling writer out there who has no problems, no issues, no disappointments, I’d like to meet them!

Kelsey: And finally, ladies, what are your predictions for contemporary romance in the next one to three years?

Carly: I wish I had that crystal ball, I really do. The reason I was thrilled when you asked me to do this series with you is that I’ve been questioning the state of contemporary romance myself. Questioning what I write, asking myself what I could do differently to change the status quo, or whether it’s the market itself that has to change first.

Unfortunately, as I write this, I just don’t know. I predict though, that contemporaries will experience a resurgence along with the economy – at least I hope so! And the light, fun, take me away storylines that I love so much will continue to resonate with readers like me, who want more of them.

Laura: I think it will gain popularity again.  There are plenty of readers out there like me who love a good contemporary read and at some point everyone will get tired of it feeling like there is nothing out there to buy except paranormals.  We’ll be looking for some new contemporary authors to reinvigorate the genre and to keep everything from getting stagnant.

So RU readers, what are your opinions of the state of the contemporary romance? Would you like to see more? Who are your favorite authors in this sub-genre? And please remember that Laura and Carly are available to answer questions. Long live the contemporary!

Be sure to check in with us Wednesday when Wayne Levine discusses how to have the “sex talk” with boys/sons. Bet we all know men who would have benefited from a better one!

Carly’s Bio:

New York Times and USA Today Bestselling Author Carly Phillips has written over 28 romance novels with contemporary characters and plotlines that today’s readers identify with and enjoy. She sold her first novel, BRAZEN to Harlequin Temptation in 1998 and has continued to write for Harlequin ever since. Carly’s life is filled with a devoted energy and passion to romance, family and career. Carly lives in Purchase, New York, with her husband, two daughters and two soft-coated wheaten terriers.  More information on Carly can be found at her newly redesigned website: www.carlyphillips.com.

Laura’s Bio:

Laura Bradford has fifteen years of professional experience as a literary agent, editor, writer and bookseller. Laura began her career as a literary agent at Manus and Associates Literary Agency and formed Bradford Literary Agency in 2001. She considers herself an editorial-focused agent and takes a hands-on approach to developing proposals and manuscripts with her authors for the most appropriate markets. The mission of Bradford Literary Agency is to form true partnerships with their clients and build long-term relationships that extend from writing the first draft through the length of the author’s career. Her recent sales include books placed with Berkley, Grand Central, Harlequin/Silhouette, Kensington, Spice Books, Pocket, Virgin Books, Avon, Dorchester, Hyperion, NAL, Eos, Macmillan and Mira Books.  She continues to actively build her client list and is currently seeking work in the following genres: Romance (historical, romantic suspense, paranormal, category, contemporary, erotic), urban fantasy, women’s fiction, mystery, thrillers and young adult as well as some select non-fiction. 

She is a member of the Association of Authors’ Representatives (AAR) and Romance Writers of America and she is an RWA-recognized agent.

Welcome, Holly.

Kelsey: What are the primary parts of a publishing contract?

Holly: Definition of the work (how many books and what those books are), rights granted (territory and subsidiary), operating instructions (who delivers what to whom, and when, and what happens next), advance (including payout), royalties, accounting details (when and how will you be paid), warranties and indemnities, option, and provisions for termination.

Kelsey: What items are generally negotiable for a debut author? How does this change for an established author?

Holly: There are no hard and fast rules on this—there isn’t one form for debuts and another for established authors. It’s true that the more successful you are, the more demonstrated value you’re bringing to the house and therefore you have more leverage when it comes to certain terms. That said, I’ve seen plenty of contracts for debut authors that were every bit as good as ones for midcareer authors. Plus in many instances the special modifications that come into play for A-listers (specific dates and mode of travel for promotional appearances, certain kinds of bestseller incentives, etc.) simply don’t apply for the debut novelist.

Kelsey: If an author writes recurring characters, does the publishing house own all the characters in a particular book?  In other words, if the author changes houses, can he/she use characters from a previous book? 

Holly: There are certain very specific circumstances & publishers where character rights would be specifically included as part of the deal but in most cases for general single-title trade contracts, this is not something we’d give up.

In practice, it is very difficult to move a series, but contractually you always want to have the freedom to do so.

Kelsey: Do authors sign new contracts with each book deal or is there normally a contract clause about subsequent books?

Holly: The number of books per contracts varies—you could have a one book deal, two book deal, or three or more. But more isn’t always better if it means being locked in to the same terms—if your series takes off in book 2, for example, it’s possible you could’ve gotten better terms on Book 3 if it were the first book of a new contract rather than the last book of the first contract. It’s different every time. (Are you seeing a theme here?) But even if the new deal is just the book that was under option in the first deal, a new contract will be generated and there will be room for some renegotiation.

Kelsey: Do most publishers ask for first right of refusal?

Holly: Most publishers ask for an option—the first look at the next work (and an agent can narrow the definition of what’s considered next work, the amount of material that’s submitted, the time frame the publisher has to consider the work, etc.). After you submit your next work according to the terms, if you and the publisher can’t come to terms you’re free to look elsewhere.

Kelsey: Do you always include foreign rights in contracts?

Holly: They’re always mentioned, to clarify who controls them, author or publisher. The territory—North American, World English, and World are the three most common alternatives—is one of the basic deal points and will be negotiated with the editor before contracts are drafted. Deciding what territory to grant depends on many outside factors: the level of competition for the project here, the international marketability of the work, the terms of the publisher’s offer, the agent’s success in placing similar projects internationally, even the publisher’s ability to successfully exercise the rights it retains. There are a ton of variables and no one right answer.

Kelsey: What areas of the contract can an agent normally negotiate to the benefit of the author?

Holly: Publishers are willing to at least hear any reasonable, well-thought-out request from a reputable agent. It doesn’t mean you’ll always get exactly the answer you were hoping, but a good agent will have an open line of communication with both the editor and the contracts department, and know what terms are worth spending time on and on which ones the boilerplate will suffice. Agents will specifically negotiate the deal points with the editor: territory, # of books, advance, payout, basic royalties, option, etc.; then when the contract arrives, we’ll verify all those elements as well as vetting the remaining contract language (all the tricky stuff like high-discount royalties and out-of-print reversions and ensuring any breach language includes the right to cure). I find it’s best to discuss any potentially contentious deal points in the negotiation stage, when there’s more room to find a middle ground.

Kelsey: Do your clients normally see all iterations of a contract you’re negotiating, or do you wait to discuss the contract with the author until after you have most of the details worked out?

Holly: In most instances I’ll fully negotiate the contract then send to the client and answer any and all of their questions.

For our RU readers, Holly will try to stop by today to answer questions. If she doesn’t drop in, we’ll assume she’s busy negotiating a wonderful contract for one of her authors!

Be sure to drop by on Monday when mystery author Hank Phillippi Ryan will teach us about using TV techniques to write a killer novel – not to be missed!

Holly’s Bio:

Holly Root is a literary agent who began her publishing career as an editor in Nashville, TN before coming to New York and joining the William Morris Agency’s agent trainee program. She then moved to Trident Media Group, where she sold audio right for the agency’s clients, before joining The Waxman Literary Agency in 2007 and starting her own list. She is actively seeking commercial fiction, including mystery, romance, YA, and women’s fiction, as well as nonfiction projects, with particular areas of interest in lifestyle & relationship projects, narrative nonfiction of all sorts, and pop culture.

Welcome, Lucienne!

Kelsey: Pre-published writers are often nervous about talking with agents. In a conference setting, how do you suggest someone approach you and introduce herself?

Lucienne: “Hi, my name is ___.  I’m a huge fan of your authors X & Y.”  Or something like that.  Then springboard into a conversation.  As you mentioned, agents are people too.  We have things we geek out about (like Joss Whedon or So You Think You Can Dance).  I’m not suggesting you bone up on every agent’s likes and dislikes pre-conference, but if you happen to know them, they can be a great place to start.  Pitches, though, should be kept to pitch sessions.  If you’ve met an agent you’d like to query, a simple, “Is it possible to get your card; I’d love to query you” will do just fine.  You get the same benefit, the ability to say in your letter that you met the agent at a conference, without pitching over pasta or pit stops.

Kelsey: Do you prefer the national or regional conferences for low-key interaction with authors?

Lucienne: At the national conferences I’m usually so busy running around to see my various authors and their editors that I have very little time for the relaxed, coincidental meetings that are often the high point of my trip.  I love how much I get done at nationals, but for low-key interactions, the regional conferences are priceless.

Kelsey: Which small talk topics are acceptable for writers to use when first meeting an agent?

Lucienne: The best thing you can do when meeting an agent outside a pitch session is to forget that you have an agenda.  Just talk to them as people.  You already know you have one thing in common – the love of books.  None of us got into publishing because we thought we’d make scads of money – that’s just a bonus <g>.  We got into it because we love words, intelligence, creativity, voice, stories.  You can start there.  Questions are always good ice-breakers, because they express interest in the person you’re talking to.  As long as the question isn’t, “Can you tell me some of the reasons you turned down my query?”  Unfortunately, unless an author was referred to us or we took the time to write a very personal rejection, we won’t necessarily remember yours out of the hundreds we read every month.

Kelsey: Are there some topics best avoided in a social setting?

Lucienne: Pitching.  Pretending not to pitch while grilling the agent about your genre.  For example, “What do you think of the possibilities for a funny contemporary romance involving a white witch and a possessed broomstick?” 

There’s also a right way and a wrong way to show that you’ve done your homework.  Right way: I love your blog.  So informative!  Wrong way: How old is your kid again?  If I’ve met you before and we’ve exchanged stories that only a mother could love, asking about my family is perfectly acceptable.  If not, well, it’s sort of creepy.

Kelsey: What impresses you when you first meet someone?

Lucienne: Personality and professionalism.  I met Vicky Dreiling, whose debut historical romance series I’ve just sold to Warner Forever for 2011 release, over a dinner at a conference.  It was casual.  She sat down next to me and we just hit it off.  She didn’t have to pitch to me.  If I remember correctly, I liked her so much I asked what the book was about and then insisted she send it.

Kelsey: Could you offer some suggestions for acceptable dress for pitch appointments?

Lucienne: Business or business casual are good.  Basically, as long as we don’t remember you as the girl in the Daisy Dukes, you’re probably fine.  We’re really looking for the material to speak for itself, so there’s no need to get the cold sweats worrying about whether the red power suit in your closet washes you out.

Kelsey: What catches your attention about a writer’s online presence/website?

Lucienne: I don’t go looking for a web presence for a prepublished writer, though if they have one – for instance they host a very well-known blog – that’s great because it can help in marketing.  A successful web presence isn’t about the sales pitch.  It’s about personality and content.  You want to provide information and entertainment.  Rachel Caine is a wonderful example.  Her blog is funny and full of extras.  It’s not about soliciting readers, it’s about giving back to them.  For that reason, she runs contests, posts bonus stories and does all kinds of wonderful things.

Kelsey: At what point is it acceptable for a writer to follow up with an agent after sending a requested partial? A requested full?

Lucienne: Most agencies have their guidelines posted on their websites.  It’s a great idea to check these before ever querying, because agents or agencies will sometimes close to submissions to catch up on their backlog.  Those guidelines will probably list an agent’s general response time.  If they’ve gone beyond, a polite e-mail inquiring about the status is just fine.  If you’re concerned about your material arriving, use a read receipt (if e-mail) or delivery confirmation rather than bother the agent with a call.  If your follow up e-mail doesn’t elicit a response, a second e-mail or polite phone call at that point is just fine.

Kelsey: If you return a manuscript with suggested revisions, do you welcome questions from the author if s/he needs clarification?

Lucienne: It depends how detailed I am in my letter.  The more information I provide, the more likely I am to welcome questions, but also to have answered them with examples.  In other words, “I just didn’t connect with the material” or “I couldn’t suspend my disbelief” are not specific enough revisions that I’m suggesting the work is close enough (for me) that I can advise the author on exactly how to bring it up to snuff.  This is a very subjective business, however, and another agent may feel entirely differently about it.  If an agent does give pretty specific suggestions and you decide to revise accordingly, you may want to query him or her again to see if s/he’d be amenable to giving your novel a second look.

Kelsey: What do you see as your particular strengths as an agent? What type of relationship do you like to have with your authors?

Lucienne: With over sixteen years in the business, I bring a lot of experience, as well as enthusiasm and attention to my work.  I haven’t learned to relax or give anything less than 110%, so my authors get the benefit of my workaholism.  I’m also very communicative on submissions, rejections, negotiations and editorial input, helping my authors hone their work before it ever sees an editor’s desk.  I like that I have a very close relationship with my authors and that some have given me nicknames I’d love to put on my business cards, if it wouldn’t mess with my, ahem, gravitas.

Thanks so much, Lucienne. You can be sure I’ll read this post more than once!

RUers, stop by on Wednesday when Wayne Levine joins us for the first installment of Wayne Wednesday, a monthly feature where he will discuss men and relationships.  This week Wayne tackles how men talk to other men about their woman troubles.

Lucienne Diver joined The Knight Agency in 2008, after spending fifteen years at New York City’s prestigious Spectrum Literary Agency. Over the course of her dynamic career she has sold over six hundred titles to every major publisher, and has built a client list of more than forty authors spanning the commercial fiction genres, primarily in the areas of fantasy, romance, mystery, suspense and erotica. Her authors have been honored with the RITA, National Readers’ Choice Award, the Golden Heart, and the Romantic Times Reader’s Choice, and have appeared on the New York Times and USA Today bestseller lists. 

She’s also an author in her own right with her debut YA Vamped released in May 2009 by Flux.  Further information is available on The Knight Agency website: www.knightagency.net, her author site: www.luciennediver.com and her blog: http://varkat.livejournal.com.

Kelsey: Lois, you’re both an agent and an author. Some people might see that as a match made in heaven, but I imagine your two roles clash at times. Can you share with us the three skills you think are most important in each role?

Lois: Interestingly enough, there are some people who feel being both an agent and an author is a conflict of interest.  I suppose that’s why so many agents who also write do so under closely guarded pseudonyms.  You’d be surprised by how many agents and editors are also published authors.  I don’t view the two sides of my life in the publishing world as a conflict of interest because I don’t represent my own work.  And rather than clashing, I find that these two sides complement each other. 

The three skills I believe are most important to an author would be creativity (the ability to come up with a unique story, populated by interesting characters); technical prowess (the ability to write that story in a way that will make for a compelling read); and patience (the ability to weather the lengthy process — often years — from the point where you first type THE END until you finally get the call.  

The three skills I believe are most important for an agent are vision (the ability to recognize a well-written, commercially viable manuscript); perseverance (the ability to keep championing a client’s work even after repeated rejections); and business acumen (the ability to  deal with the various issues that are involved in not only selling a client’s work but advancing the client’s career.)

Kelsey: How do you (or do you have to) disengage your “business brain” during the writing process?  If so, when and how do you allow your agent persona to take over with regard to your own work?

Lois: I’m not sure I ever disengage my “business brain” when I write.  I am the sum of all my various parts.  My writing is a reflection of my life experiences.  “Write what you know” isn’t just about giving your heroine the same profession as you or setting your novel in a town similar to one where you’ve lived.  You can always research professions and locales.  To me, “Write what you Know” means infusing your work with all the emotions and experiences that have made you the person you are.  So even when I’m submerged in the creative, the “business brain” side of me is always somewhere in the background, looking over my shoulder and occasionally putting in its two cents.

Kelsey: What strategies might you recommend to writers to enable them to turn off the internal editor? At what point should that internal editor return to the forefront?

Lois: The internal editor is not necessarily a bad thing.  If you saw some of the submissions I receive, you’d understand why I wish more authors had and used one.  Balance is always key, though.  You don’t want that internal editor to get in the way to the point that you never finish anything.  I know writers who have never gotten beyond the first few chapters of a manuscript because they’re constantly reworking those same chapters.  If you want to be a published author, you first have to finish a manuscript. 

There’s also such a thing as overworking a manuscript.  Some people wind up editing all the creative voice and style out of their work because they take every piece of criticism they receive as gospel.  So each time they get a critique back from a critique group or a score sheet back from a contest or a rejection letter from an agent or editor, they go back and completely revise based on those comments.  What they don’t realize is that even editors and agents have different takes on the same work.  If a writer is repeatedly receiving the same comments regarding a certain area of her work, then she probably needs to work on that area.  But what one editor or agent praises in a work can often be the reason that another rejects it.  Taste is very subjective.

What I do recommend is that whenever a writer finishes a manuscript, she should put it aside for at least a week.  Get some distance between yourself and your baby.  Then go back and read it as if it were someone else’s baby.  In other words, try to read with as objective an eye as possible.  The objective eye is your internal editor, and this is the point where you need to let her lose on your manuscript.

Kelsey: How does being a writer impact the way you agent other authors?

Lois: Because I was an unpublished author before I became an agent, I believe I’m more empathetic.  I’ve been where unagented authors are.  I know what it’s like to receive a form rejection letter.  I know what it’s like to get your hopes up, thinking you’ve got a sale, only to have someone further up the editorial chain dash those hopes with a rejection.  I know what it’s like to wait and wait and wait for the mail (or e-mail) with fingers crossed.  I know what it’s like to lose an editor and find her replacement isn’t at all enthusiastic about your work.  I know what it’s like to lose out on an offer because the publisher has decided to fold a line.  For those reasons and more, I totally understand what it’s like on the other side of the table.

Kelsey: What characteristics make for a successful and congenial agent-author relationship?

Lois: Being able to communicate with each other is essential.  Neither the agent nor the author is a mind reader.  For the author, if you’re unhappy with the way your agent is handling something, tell her!  Don’t gripe to your friends and fellow authors, especially on writing loops.  You never know who’s going to pass your comments along to your agent.  No agent wants to learn that her client has been complaining about her behind her back.  I’ve seen this happen many times.  Too many authors are afraid to speak up to their agents.  They’re so grateful that someone is willing to represent them, that they don’t want to rock the boat.  You have to remember that in the author-agent relationship, the author is the employer and the agent is the employee.  If you want your agent to handle something differently, or you don’t think she’s spending enough time submitting your work, or you feel she’s not submitting to the right editors, pick up the phone and start a dialogue on the subject.

On the other hand, the author must remember that the author-agent relationship is a business relationship.  The agent is not your BFF, your surrogate mother, nor your confessor.  You may get along terrifically, but at the end of the day, it’s still business.  Always act as a professional in all your dealings with your agent as well as all other industry professionals.

Kelsey: Do you consider yourself an editorial agent? If so, do you consult with your client on the WIP during the writing process or only after?

Lois: I was asked to join the agency because of my editorial skills.  I’m a hands-on agent.  Generally, I don’t see my clients’ work until they’re ready to have me make submissions.  However, they all know that if they’re having a problem with a certain aspect of the WIP, I’m more than happy to give it a read and offer suggestions.

For prospective clients, if I see a work that has potential but isn’t quite there yet, I’ll give a detailed analysis of the work.  If the author is willing to revise and does so successfully, that’s an author I want as a client.  If the author isn’t willing to revise, I won’t offer representation.  That said, though, there are many successful, well-respected agents who don’t feel that it’s their job to offer editorial input.  An author has to decide what she wants the author-agent relationship to be and target those agents whose style works best for them.

Kelsey: What’s your advice for gaining an agent’s interest in this tight economy?

Lois: Write something spectacular.  If you’re the next J.K. Rowling or Stephanie Meyer, agents will be fighting over you.

Kelsey: Can you share any specifics on what hooks you on a manuscript?

Lois: Voice!  You can have the greatest plot idea in the world, but if your voice is dull or bland, I won’t read beyond the first few pages.  In addition to voice, I want to see tight writing and fast pacing.  Nothing drags a story down faster than pages and pages of description that have nothing to do with the scene at hand and/or dialogue that’s nothing more than useless chit-chat.  Finally, if you can make me laugh out loud as I’m reading, you increase your odds exponentially.  That’s not to say I only want humorous books.  One of my authors writes horror.  However, in my personal reading, I find myself drawn mostly to humorous contemporary novels.

Lois, thank you for taking the time to share your thoughts on being both an agent and a writer. And to our RU readers, we’re wishing you spectacular writing!

Please join Tracey and author Shannon Butcher on Monday for a discussion about Support System for Writers.

Award-winning author and literary agent Lois Winston has published humorous, cross-genre, contemporary novels, romantic suspense and non-fiction essays.  She also writes mysteries, women’s fiction, and middle grade books, often drawing upon her extensive experience as an artist and crafts designer for her source material. 

Winston’s published novels have received accolades from readers, librarians, booksellers, reviewers, and fellow authors.  TALK GERTIE TO ME was the recipient of the Readers and Book Buyers Best Award, took second place in both the Beacon Awards and Laurel Wreath Awards, and was nominated for a Reviewers’ Choice Award and a Golden Leaf Award.   LOVE, LIES AND A DOUBLE SHOT OF DECEPTION was the winner of the Winter Rose Award for Excellence in Romantic Fiction, the More Than Magic Award, and the Laurie Award.  The book also took second place in the Beacon Awards and garnered Golden Leaf and Golden Quill nominations.  Her books have been called “smart,” “witty,” “fun,” “captivating,” “fresh,” “fast paced,” and “unable to put down” by bestselling authors Christina Skye, Kasey Michaels, Alesia Holliday, Lori Avocato, Lauren Baratz-Logsted, and Jan Coffey.

Winston has also contributed to several anthologies: DREAMS & DESIRES, VOL. 1, 2, and 3 and HOUSE UNAUTHORIZED. 

When not writing or designing, Winston can be found trudging through stacks of manuscripts as she hunts for diamonds in the slush piles for the Ashley Grayson Literary Agency.  She began her association with the agency as a client.  Several years ago she was invited to join the agency as an associate, opening what she likes to call their East Coast division.  She continues to be represented by one of the other agents in the agency.

The Ashley Grayson Literary Agency was established in 1976 and consists of four agents who handle both literary and commercial fiction, children’s fiction, and some non-fiction.  Recent sales have included romance, women’s fiction, urban fantasy, YA, and mysteries to Pocket, Harlequin, Grand Central Publishing, St. Martin’s Press, Harper Collins, Viking, Scholastic, Red Sage, and Dorchester, as well as children’s chapter books to Little Brown and Feiwel & Friends.