Dear, Readers,

Merry Christmas from beautiful Key West! I've hauled my family down to the Caribbean for three weeks of rest and relaxation again this year. For folks who follow this site regularly, you'll know that this is where we've spent the holidays the past three years. It's good to be back, and the weather has been amazing so far. I hope to take my boat out on the Gulf of Mexico in a couple of days, so wish me luck.

Also, we have a new family photo for everyone. 

That's Susan, Sam, and Harper Jane with me in the photo. Yes, Harper Jane. We have a new daughter! It has truly been a wonderful year.

This week, we have a brand new literary agent interview for you. Laurie McLean took time out of her busy schedule to speak with us at How to Publish a Book. Laurie is an agent at Larsen Pomada based in San Francisco.

As always, we are grateful for your interest in and support of our site. Please help to spread the word about How to Publish a Book to your writer friends and fans. We are dedicated to bringing you the very best literary agent interviews in the business.

Thanks so much, and enjoy the interview!

Stacey 

 

 

 

 LAURIE MCLEAN

Laurie McLean joined Larsen-Pomada in 2005 following a 20-year stint as the CEO of a successful Silicon Valley public relations agency. Laurie was able to switch gears in 2002 to immerse herself in writing. She penned three manuscripts, and if that wasn't enough, decided that the life of a literary agent would be the perfect complement to her duties as a writer of fantasy and romance.

Laurie has been writing professionally since high school--first as a journalist, then as a public relations agent. She earned a Bachelor's Degree in Journalism from the State University of New York and a Master's Degree at Syracuse University's prestigious Newhouse School of Journalism.

Laurie specializes in adult genre fiction (romance, fantasy, science fiction, mystery, westerns, horror, etc.) plus middle-grade and young adult children's books. She does not handle non-fiction, or commercial, literary or women's fiction, nor does she handle children's picture books or graphic novels. She prefers to receive the first ten pages and a 2-page plot synopsis of a manuscript via email (no attachments, please) at query@agentsavant.com.

 

HOW TO PUBLISH A BOOK: How did your background as a CEO of a public relations firm help prepare you for a career as a literary agent?

LAURIE MCLEAN: I learned and fine-tuned the skills I would need in any job as the CEO of my own multi-million dollar corporation. Time management, prioritization, negotiation, organization, the importance of being on time, workplace etiquette, contracts, sales, marketing, writing, persuasion, HR, accounting, being an inspiration to others, and a host of other business critical skills. I was CEO for 20 years and it was glorious! Plus, as a public relations agent I learned how to interpret features and benefits between buyers and sellers to effect a deal, the importance of honing your writing to cogently and efficiently get your point across, and how to take a deal from an inspiration to a contract. So when I became a literary agent all I needed on top of that were contacts in the book business. Elizabeth Pomada and Michael Larsen have nearly 40 years in the publishing business, so they provided the perfect match.

HOW TO PUBLISH A BOOK: How did the position at Larsen-Pomada come to you?

LAURIE MCLEAN: Actually I met Elizabeth and Michael at the second annual San Francisco Writers Conference. I was seeking an agent for my romance manuscripts and Elizabeth took me on as a client. I was so impressed by the conference I volunteered to create and manage their first writing contest (which is still going today as the Indie Publishing Contest). The more time I spent at the agency, the more similarities I saw between literary agenting and public relations agenting. So three months after meeting them I asked if they’d ever thought about bringing on an associate and they hired me on the spot.  Best decision I’ve ever made.  Well, besides marrying my husband!  :-)

HOW TO PUBLISH A BOOK: As a writer yourself, do you find it easier to relate to what other writers go through?

LAURIE MCLEAN: Absolutely. I understand the personal nature of what an author does. The story, characters, everything comes from inside an author’s mind and heart. So when anyone—agent, editor, reviewer, reader—says something that could be considered negative, it hurts. Also, I didn’t understand the business of publishing when I first started as a writer, so I try really hard to help writers who have yet to make the transition to being published understand the harsh realities of the publishing industry—with a gentle hand. Of course once a writer becomes an author, a whole new set of uncertainties and knowledge points occur, and I help them through that learning curve as well.

HOW TO PUBLISH A BOOK: How do you balance advocating for your own writing in contrast to that of other writers?

LAURIE MCLEAN: Alas, I have not paid much attention to my own writing in the last couple of years as my submissions grew to nearly 2,000 per month, my client list topped 20 authors and the amount of writers conferences I speak at grew to 20+ per year. Plus I’ve spent thousands of hours the past few years learning about the emerging and exciting field of digital publishing and eBooks, so that also took away from my personal writing time. But I hope to get back to it in the coming years.  We’ll see.

HOW TO PUBLISH A BOOK: Where did your love of reading first take root?

LAURIE MCLEAN: I can’t remember a time I didn’t love to read. From listening to my mother read to us at bedtime, to holding A Wrinkle in Time in my own hands, to writing my own horror short story in third grade, my love affair with books grows ever stronger.

HOW TO PUBLISH A BOOK: What are you most interested in representing? What is the best way for prospective clients to contact you?

LAURIE MCLEAN: I am currently closed to new submissions unless I meet the writer at a conference or he/she is referred by someone I know in publishing (client, agent, editor, author).  I represent all adult genre fiction (romance, fantasy, science fiction, horror, thrillers, mysteries) as well as young adult and middle grade children’s books. I love it all. I read it all. Might I also suggest that we have two new agents at Larsen Pomada—Lindsey Clemons and Kat Salazar—who are actively building their lists and are eager to find new clients. Your readers might contact them if they write what Lindsey and Kat represent.

HOW TO PUBLISH A BOOK: What are your thoughts on Amazon emerging as a force in publishing and are their imprints like Thomas & Mercer, Montlake, and 47North very responsive to literary agents?

LAURIE MCLEAN: Well, I think the Big Six traditional publishers are about to become the Big Seven, frankly. Unless Amazon buys one of them! I don’t see how Amazon is going to fail in its attempt to become a traditional publisher (in addition to its role as book distributor and eBook enabler). They have been courting literary agents fast and furious, and they are listening to what we’re saying about how we want their imprints to compensate authors. I hope they don’t topple the entire industry with predatory practices. That is a real fear. But I think they’re too smart to do that.

HOW TO PUBLISH A BOOK: What is the San Francisco Writers University?

LAURIE MCLEAN: Ah, a question close to my heart. San Francisco Writers Conference is the jewel in the crown of our non-profit writer-centric organization. But co-founder Michael Larsen wanted to reach out to every level of writer at every stage of his or her writing journey and at every price point. The only way to do that was with a robust online component. So we founded San Francisco Writers University (SFWritersU.com) in November 2010 and it’s been growing like crazy ever since. We’re close to 800 members now. It’s free to join, has many free or exceedingly cheap ($10) classes on craft, commerce and community, and is built on a social media engine that offers free blogs, email, critique groups and networking that emulates the feel of a real life university that focuses only on writers. I hope your readers will check it out. We’re adding real-life classes too, like our day-long eBooks Symposium and Self-Publishing Boot Camp, so we’re always improving the experience.

HOW TO PUBLISH A BOOK: At the end of the day, what do you enjoy most about working in publishing?

LAURIE MCLEAN: The variety, the challenges, the creativity, the people, and the satisfaction of seeing my efforts bear fruit.  Thanks for having me, Stacey.

Dear, Readers,

Thanks so much for visiting us at How to Publish a Book. As always, we are grateful for your interest and support, and we are dedicated to bringing you the very best literary agent interviews in publishing.

This week our spotlight literary agent is Elizabeth Kracht of Kimberly Cameron & Associates.

Let us know if you have any comments or feedback. We love hearing from visitors to our site. Enjoy the interview!

Stacey 

 

 

ELIZABETH KRACHT

Elizabeth Kracht joined Kimberley Cameron & Associates in the fall of 2010 to broaden her perspective on the publishing industry. She represents both literary and commercial fiction as well as nonfiction, and brings to the agency experience as a former acquisitions editor, freelance publicist and writer.

Elizabeth's career in publishing took root in Puerto Rico where she completed her BA in English and worked as a copyeditor for an English-language newspaper. When she returned to the mainland she found her "vein of gold" in book publishing. She thrives on working closely with authors and researching the potential market for new books.

HOW TO PUBLISH A BOOK: How does the experience of having lived in Puerto Rico inform your tastes as a literary agent?

ELIZABETH KRACHT: Puerto Rico informed my tastes as a literary agent in many ways. Living in Puerto Rico gave me a radically different perspective on life as I embraced a different culture. One of the reasons I went to Puerto Rico was to improve my writing. As an American living in Puerto Rico, I was pretty invisible, so I spent a lot of time paying attention to my surroundings, trying to understand the culture, politics, subcultures... I don't think I'd appreciate quirky characters quite as much if I hadn't met so many of them while living in Puerto Rico. Puerto Rico was a bittersweet experience for me, but I'll always feel connected to the island, especially the water on a calm day at Ocean Park beach. I would love to represent Puerto Rican or Hispanic authors. My experience in Puerto Rico also drives my general interest in multicultural settings and settings as characters.

HOW TO PUBLISH A BOOK: Tell us about your experience working as an acquisitions editor. Specifically, what are some of the practical skills that taught you that translate into your job as a literary agent?

ELIZABETH KRACHT: I bring many skills to my job as a literary agent from my experience as an acquisitions editor. Some of those skills are: evaluating the marketplace, identifying niche markets, negotiating contracts, developmental editing, focusing the market of a project, working closely with authors... Having worked as an acquisitions editor, I understand the perspective of the publisher, which I am able to use as I evaluate new projects. Working for a small publisher often gives a person experience in other departments as well. I also worked closely with marketing and publicity, giving me not only a well-rounded perspective of the industry, but also the ability to direct my clients on career development/self-promotion, which is important in today's publishing climate.

HOW TO PUBLISH A BOOK: You completed your BA in English. Did you ever consider teaching as a career path? What about publishing was particularly attractive?

ELIZABETH KRACHT: I have never considered a career in teaching; I'm not sure why. I've always been interested in publishing, but mostly from a writer's perspective. I figured the more I knew about the publishing industry, the better. When I began work as a copyeditor/proofreader for a newspaper, I realized I had skill working with other people's writing, and really enjoyed it; it was an epiphany of sorts. Written communication is probably the biggest and most important theme in my life, and publishing is the industry that gives me an opportunity to live my life's work. I also love being a part of helping people fulfill their dreams.

HOW TO PUBLISH A BOOK: What are you most eager to see?

ELIZABETH KRACHT: I'm open in terms of what I'm interested in and looking for. Of course, I'm looking for compelling, well-written projects. I love voice-driven works and strong settings. I would like to find a great piece of women's literary fiction. I never thought I would represent chicklit, but recently found a quick, fun read. I would like to find a memoir so compelling that author platform is a nonissue. I would love to represent a Native American author. I'm interested in helping disprove the notion that cat books don't sell. I would like to find an author like Carlos Castaneda, Dan Millman or Paulo Coelho (magical realism/spiritual quest). I would also like to see more nonfiction projects, maybe even a graphic novel. I'm very eclectic in my tastes, so I'm eager to see many different kinds of projects. Kimberley is eager to find a great horror manuscript, and we'd both like to represent some high-concept nonfiction.

HOW TO PUBLISH A BOOK: What types of books do you see too much of?

ELIZABETH KRACHT: I'm not sure we really see too much of any one type of book, but there are common qualities many manuscripts share that we see too much of. We see too many adverbs, clichés and gimmicky query letters. We also see word counts from debut authors that the current publishing climate doesn't support. We do see too many vampire and zombie manuscripts. In general, we see too much fantasy, since we don't represent fantasy.

HOW TO PUBLISH A BOOK: What is the best way for prospective clients to contact you?

ELIZABETH KRACHT: The best way to contact me is at a conference or by e-mail. Our submission guidelines can be found on our website at www.kimberleycameron.com. We do accept unsolicited manuscripts. We ask to see the first fifty pages of the manuscript and a one-page synopsis as a Word attachment or PDF, along with a query letter in the body of the e-mail. Also, be sure to look over the associate bios on the website in order to decide which associate is the best fit for your project.

HOW TO PUBLISH A BOOK: What are your thoughts on the recent impulse of some literary agencies becoming eBook publishers for their clients' books?

ELIZABETH KRACHT: I think this is something literary agencies have to consider as the publishing landscape changes; our clients require this of us. We recently published our first eBook at the request of one of our clients. This has been an experiment for the agency and our client. We are committed to maintaining our focus on the traditional publishing route, but as the definition of traditional publishing changes, we have to be prepared to change as well.

HOW TO PUBLISH A BOOK: What are your thoughts on agents withholding digital rights from publishers when negotiating print deals for their clients? (Mostly in the case of writers who have broken out as self-published eBook authors, and as such, already have an established following in that market.)

ELIZABETH KRACHT: This is a tricky question to answer. We would not consider representing an author who has already published an eBook unless they could show impressive sales and a following. If we did represent a writer who was in this position, it may be a requirement of the publisher that the original eBook be taken down and digital rights granted as part of the print deal. Publishers want digital rights.

HOW TO PUBLISH A BOOK: What advice do you have for aspiring writers regarding writers' conferences?

ELIZABETH KRACHT: Conferences are a great boon for writers of every caliber (I'm currently at the Surrey International Writers' Conference, getting ready for my next pitch session). I signed four clients from the last PNWA conference (and am still considering other works). Conferences are a great way to interact with agents and editors looking for new work; they are a place to get truly objective feedback from people who understand the industry from a commercial perspective. Writers can also find freelance editors in attendance, who can help tighten up that last pass before submitting to an agent. And there are also great teachers and speakers to help bolster confidence and improve writing skills. Conferences are a worthy investment. If finances are limited, a writer may want to be strategic about which conference(s) he or she chooses to attend. I'm a sucker for personal connection, and personal connection goes a long way in publishing.

HOW TO PUBLISH A BOOK: At the end of the day, what is the most enjoyable thing about working in publishing?

ELIZABETH KRACHT: The most enjoyable thing to me is working in a creative industry with a lot of history where I can apply all of myself. Working closely with writers is also enjoyable. I love it when a manuscript makes me see everyday things through a new lens. It's also a blessing to be able to work with someone like Kimberley and be part of an agency with a great legacy.

HOW TO PUBLISH A BOOK: Thanks so much for speaking with us, Elizabeth!

_____ 

 

Dear Readers,

Thanks so much for visiting the site. As always, we are grateful for your interest and support. I am happy to announce that our proposal to host the World Mystery Convention in Raleigh, North Carolina in October 2015 was successful at this year's Bouchercon in St. Louis. If you're a writer or reader interested in mystery, crime fiction, true crime, etc., I encourage you to follow us on Twitter at @BCon2015 for news and updates related to the coming conference. We're very excited and grateful that voters selected the Raleigh proposal.

This week we have an original literary agent interview for you. This week's spotlight agent is Meghan Macdonald. Meghan is an agent with Transatlantic Literary Agency.

Stacey

 

  

 

HOW TO PUBLISH A BOOK: How does your background in academia influence your interests as a literary agent?

MEGHAN MACDONALD: It has set the bar high in terms of the calibre of finished manuscript I’ll consider; spelling, grammar, sentence structure and an artfulness with the language are all vital to me, and they rightly should be in a business that trades in literature.

HOW TO PUBLISH A BOOK: Prior to working at TLA, you were with David Grossman for a year. What were the most important things you learned while in the role?

MEGHAN MACDONALD: I learned so many things working for David Grossman, it’s almost impossible to narrow them down, particularly because I’m still discovering new things that were standard fare in his agency. But generally, I learned to always expect the very best, to enjoy the process as a whole, to utilize that quintessentially English stoicism to its best effect, and to delight in good conversation.

HOW TO PUBLISH A BOOK: What are you most interested in representing?

MEGHAN MACDONALD: I’m most interested in fiction that introduces me to a new way of perceiving the world, and non-fiction that really challenges me.

HOW TO PUBLISH A BOOK: What is the best way for prospective clients to contact you?

MEGHAN MACDONALD: Always email. Everyone in publishing receives an incredible amount of email in a day, a week, a month, and although it’s sometimes hard to respond to everyone in good time, it’s one of the best ways to be introduced to a writer’s work.

HOW TO PUBLISH A BOOK: What are your thoughts on the recent trend of some agencies functioning as an eBook publisher for their clients’ work?

MEGHAN MACDONALD: An agent is not a passive participant in the industry; we’re facilitators. We’re here to get the best for our clients, to offer advice and, importantly, provide options. Digital publishing is exactly that: an option, and we would be remiss not to offer it to our clients to consider pursuing.

HOW TO PUBLISH A BOOK: A few publishing news stories of late have highlighted how some authors who have broken out as self-published eBook authors have gone on to sign print deals with major publishers, while their agents fought to keep the digital rights with the author. What are your thoughts on keeping the eBook rights reserved to the author? Is this something that publishers feel strongly about securing? And what do you do in a case where you have an author who has sold very well on his/her own as an eBook self-published author and so only wants to sell print rights?

MEGHAN MACDONALD: E-Books, enhanced e-Books and issues of rights are still being explored in many different ways by authors, publishers and agencies alike. So there’s no blanket approach to take for all situations – everything depends on the author’s preferences, the publishers’ mandates and resources, and any initiatives agencies pursue on behalf of their clients.

In many cases, the publisher is very keen to secure e-Book rights and will produce an e-Book as another edition – along with hardback, trade paperback, mass market paperback, etc – with the same editing, layout and cover art as the print editions. I feel this is a good thing, because it standardizes the work across formats and platforms and allows the author to capitalize on and enhance their own professional brand. In a lot of cases, a publisher won’t take on a work without e-Book rights as well, because otherwise it could be considered a competing edition and would be in breach of most template contract language.

I’m still early enough in my career as an agent that I don’t have any authors who have self-published an e-Book and want to sell print rights only. My personal sense of things is to offer print and e-Book rights to a single publisher looking to acquire the book so that the work will look and feel the same across multiple platforms. However, I’m always open to new ideas and strategies for a client’s work and would readily consider alternative solutions in particular situations.

HOW TO PUBLISH A BOOK: Where did your love of history first begin?

MEGHAN MACDONALD: With fiction, surprisingly enough. My parents are big readers, so there were always stories to be told. It was books like The Jungle Book, The Dark Is Rising series, and The Eagle of the Ninth that introduced me to the reality of other worlds, other times, and other peoples.

HOW TO PUBLISH A BOOK: Why did you pursue a career outside of academia?

MEGHAN MACDONALD: I never really went about ‘pursuing a career’ in a structured, planned or meaningful sense, so the choice to pursue a career outside of academia was never really mine to make. Academia is a tougher business than publishing, but they still both essentially trade in ideas and the pursuit of articulating and discussing them.

HOW TO PUBLISH A BOOK: Describe your dream client.

MEGHAN MACDONALD: I don’t have one. People always have something unique to bring to the table and this is, after all, a perpetual relationship-building learning experience. I like all of my clients for who they are and how they see the world.

HOW TO PUBLISH A BOOK: At the end of the day, what do you most love about working in publishing?

MEGHAN MACDONALD: The beauty of expression. It sounds simple and idealistic, I know, but there are turns of phrase, ideas, and concepts that can stir the blood and galvanize the brain into action. At the end of the day, we’re all in this because we’re enthusiastic about it.

HOW TO PUBLISH A BOOK: Thanks so much for speaking with us, Meghan.

_____ 

KATIE KOTCHMAN

 

HOW TO PUBLISH A BOOK: How did your education at Vassar help prepare you for a career as a literary agent? Was there any one particular class or professor that was extraordinarily helpful?

KATIE KOTCHMAN: While I learned most of the requisite skills on the job, Vassar fostered my intellectual curiosity, expanded my knowledge base of various forms of literature, and strengthened my writing and communication skills, all of which are critical qualities for any agent.  The professor I feel most indebted to is Don Foster, whose year-long intensive Shakespeare course was the single most rewarding and enriching class in my academic career.  It fundamentally changed the way I look at language.     

HOW TO PUBLISH A BOOK: It sounds like you had an excellent internship experience at Denise Marcil Literary Agency. What kinds of things did you get to do as Denise’s business manager?

KATIE KOTCHMAN: Absolutely.  In fact, since Don Congdon Associates (DCA) and Denise Marcil share office space, I continue to work as Denise’s business manager while maintaining my own list of clients under DCA.  In that role, I manage Denise’s backlist of nearly 1,500 titles, negotiate her domestic contracts and amendments, sell audio rights on her behalf, and generally keep her office running smoothly.  It’s been an invaluable experience as I’ve learned a tremendous amount in a relatively short amount of time. 

HOW TO PUBLISH A BOOK: What was the single most important thing you learned working for Denise?

KATIE KOTCHMAN: Denise taught me how to read and interpret book contracts.  Starting when I was her intern, we’d read contracts line-by-line, and she’d use events and examples from her 30+ years of experience to illustrate what the language actually meant and how it could be enacted.  It was critical to laying the foundation for my career, and I’m tremendously thankful to her for that. 

HOW TO PUBLISH A BOOK: How did the position at Don Congdon Associates come to you?

KATIE KOTCHMAN: It was a natural progression since Don Congdon Associates and Denise Marcil Literary Agency are affiliated.  And I couldn’t be happier that it worked out as it did. 

HOW TO PUBLISH A BOOK: As an agent, what are you most interested in representing?

KATIE KOTCHMAN: I look for emotionally compelling fiction.  I want stories that make me feel, whether it’s a feeling of fear, hope, love, or sadness.  I love when a book transports me to the time and place the author has created within the pages.  It’s an experience that many readers long for—the brief escape from their lives can have a magical quality and act as a form of release. The fiction projects I consider are young adult, literary fiction, up-market women’s fiction, and mystery/thriller.  In YA, I want relatable characters with heart who grow throughout their journey.  A bit of romance and a compelling struggle are always welcome.  Up-market women’s fiction is synonymous with book club picks in my mind—books that will inspire reflection and conversation.  For mystery and thriller, I need a fast-paced plot with psychological conflict and literary underpinnings.  A quirky protagonist never hurts, either.  

I’m actively looking to build my non-fiction list in the following categories: business, narrative non-fiction, and pop culture.  In business, I’m looking for authors who have innovative ideas, new twists on popular topics, ready-made platforms, and unique points-of-view.  In narrative non-fiction, I’m looking for books from which I can learn and books that offer a fresh perspective.   Pop culture is, of course, all about fun and frivolity, but I’m also open to a serious dissection of various aspects of the media and entertainment world.

HOW TO PUBLISH A BOOK: What really catches your eye in a prospective writer?

KATIE KOTCHMAN: In their writing, it’s all about voice and style.  There’s something indefinable about a great piece of writing—you can dissect the word choice (is it surprising or even intriguing?), narrative structure (does the turning point come at the perfect time; does the tension steadily build leading up to the climax?) pacing (does the need to find out what happens next border on obsession?) and so on—but, in the end, it’s kind of like your favorite food.  You can’t always fully articulate why you like it—it’s just so good.  As far as an author’s personality, I look for writers who are motivated, flexible, and have a strong platform and/or credentials.

HOW TO PUBLISH A BOOK: What is the best way for prospective clients to contact you?

KATIE KOTCHMAN: Email me at kkotchman@doncongdon.com.  Include a brief query letter, and, if you like, paste the first 5 pages into the body of the email.  No attachments, please.

HOW TO PUBLISH A BOOK: What are your thoughts on eBooks: are they harmful or helpful to traditional publishing? And what is a fair price for an eBook?

KATIE KOTCHMAN: The demise of traditional publishing is a perennial topic of concern and speculation, which many link to the rise of technology and, by proxy, ebooks.  I can understand where that concern originates, but I have to say that for the overwhelming majority of authors, ebooks are helpful.  It’s another format in which to deliver their story to readers, and from what I’ve seen within the two agencies, ebook sales aren’t cannibalizing the authors’ hardcover or paperback sales (and, therefore, their income).  Rather, the ebook sales we’re seeing are in addition to the authors’ physical sales (which is to say that authors are selling physical copies on par with the books they published in the pre-ebook era), which seems to indicate that ereaders are creating new consumers and encouraging lifelong readers to purchase more books than they might have in the past (the price point being a major factor in the latter case, I’m sure).  As far as a “fair” price, it will be dictated, in part, by what consumers are willing to pay.  As such, I’d like to see a move away from the conventional mindset that because an ebook doesn’t exist as a physical product, it somehow has less value.  The majority of the value of any book, regardless of format, is the story.  The author’s intellectual property is highly valuable, and I’ll always work tirelessly to protect that value when licensing rights.  My main concern with ebooks at the moment is that authors aren’t receiving the royalty rates they should from traditional houses.  

HOW TO PUBLISH A BOOK: What is the most effective “outside the box” marketing strategy you’ve seen an author employ to create buzz?

KATIE KOTCHMAN: That’s a difficult question since publicity and marketing strategies are constantly evolving.  What was once “outside the box” is now the norm, as evidenced by the rise of social media.  Recently, I’ve seen some innovative contests and give-aways used to drive buzz around a book.  Authors might give away free chapters when readers “like” them on Facebook; publishers are running contests for free copies of books to the 10^th or 20^th person who retweets; I’ve seen a PR company give away a brand new iPad when readers share a link to a book with their friends.  The goal of all of these is to get a book to go viral.  The most important thing an author can do to foster sales remains the same as it’s always been—word of mouth.  Get people talking about your book by whatever means necessary—both online and face-to-face.   

HOW TO PUBLISH A BOOK: At the end of the day, what do you enjoy the most about working in publishing as a literary agent?

KATIE KOTCHMAN: Seeing a book take shape and come to life.  And then going out and getting others just as excited as I am about that book.  It’s a great job!

HOW TO PUBLISH A BOOK: Thanks so much, Katie, for speaking with us! 

 

HOW TO PUBLISH A BOOK: How did you get your start in publishing? How did the job at Folio Literary Management come to you?

MOLLY JAFFA: Folio gave me my start in publishing, and I never left! I started assisting founding partner Jeff Kleinman several years ago, and absolutely fell in love with agenting and Folio in general. My role has evolved considerably since then: now I’m Subsidiary Rights Associate and am building my own list of clients. It’s been great to see Folio grow, and to grow with it.

HOW TO PUBLISH A BOOK: What is “Folio Jr.”?

MOLLY JAFFA: Folio Jr. is an initiative within the agency that focuses on nurturing and developing the careers of children’s and young adult authors. Children’s publishing is a vibrant, ever-changing, and competitive space, and my colleagues and I are dedicated to providing 360 degrees of care to our clients. It’s been just over a year since we established Folio Jr., and we have a Newbery Honor winner, Caldecott medalists, and New York Times-bestselling writers on our list.

HOW TO PUBLISH A BOOK: What does a Subsidiary Rights Associate do?

MOLLY JAFFA: I assist our Subsidiary Rights Director and Senior Vice President with the management of our clients’ foreign rights. We aggressively pursue the sales of our clients’ books across the globe. I also handle our clients’ audiobook rights. Our subsidiary rights team and its initiatives—foreign, audio, film, digital, and speaking—help our clients’ work reach a wide audience in a variety of formats.

HOW TO PUBLISH A BOOK: What are your thoughts about eBooks?

MOLLY JAFFA: I love eBooks. I’m never without my e-reader—it’s wonderful to have my library with me at all times. It’s my job to stay on top of what’s being published, and having an e-reader makes it easier for me to keep up with new releases. I read more books in more varied genres than I would otherwise, and I know I’m not the only one. Ebooks are definitely game-changers. At Folio, we’re working with our clients to embrace the digital space as a key part of their careers. Our digital rights team meets regularly with e-publishers and content developers.

HOW TO PUBLISH A BOOK: What should aspiring writers understand about selling their eBook rights to a publisher versus self-publishing their eBooks?

MOLLY JAFFA: While there are a handful of impressive self-publishing success stories out there, the most important thing to remember is that, for most people, self-publishing an eBook is not the solution to a steady stream of rejections from print publishers or agents. People want to read quality stories regardless of the format.

HOW TO PUBLISH A BOOK: As an agent, what are you most interested in representing?

MOLLY JAFFA: For now, I work primarily with children’s and young adult authors. I love a good story above all else—something that sucks me into a world I’m not familiar with and makes me long for it to be real. I find myself particularly drawn to middle grade novels because I have a real affinity for that readership. I remember what it was like to beg my mom to take me to the bookstore to buy a new novel, only to devour it in a day, and then having to beg her to take me back to the store the next day. (After a few too many rounds of this, we got a library card.) I still get that excited about books! 

HOW TO PUBLISH A BOOK: What are some of the processes you use to work with your clients as an editorial agent?

MOLLY JAFFA: The revision process is all about helping the author convey her vision for the book and her characters’ voices in the most beautiful, polished, and compelling way possible. After an initial read, I’ll go back, re-read the manuscript, and use the comments and track changes features on Word to add notes as I go, looking for rough patches of dialogue, inconsistencies in voice, or places where a character’s motivations aren’t quite clear to me. Then I’ll write an editorial letter, which addresses the bigger-picture questions (pacing, narrative tension, character development, etc.) and send the client my line-edited comments. If what I’ve said resonates with the client, or touches on a larger issue she’s been concerned about, then we’ll work together to figure out how to address those things.

HOW TO PUBLISH A BOOK: For someone completely new to publishing, what are the basic steps you would tell them they need to take in order to publish a book?

MOLLY JAFFA: Do your research. A simple Google search will reveal everything you need to know, from the appropriate word count for books in your genre, to how to write an effective query letter, to which agents are looking for projects like yours. Websites and online writers’ groups like Backspace, AbsoluteWrite, QueryTracker, and Publisher’s Marketplace are good resources. Pick up magazines like Poets & Writer’s, Publishers Weekly, and Writers’ Digest. Even Twitter is packed with publishing tips! In our super-connected age, there’s no excuse for being unaware of the publishing process. Writers spend years of their lives writing and polishing their novels; they should put similar effort into seeking publication. Agents love to get submissions from writers who have clearly done their research. It shows us that the author takes his or her career seriously.   

HOW TO PUBLISH A BOOK: How important are writers’ conferences? How should new writers learn which conferences to attend? How did you learn?

MOLLY JAFFA: It’s not imperative that writers attended conferences, but when they do, they should look for ones that focus partly on craft—not just pitching or marketing. Learning about the business of publishing is great, but it’s also important to hone your writing. For children’s and YA authors and illustrators, I highly recommend attending the SCBWI’s conferences.

HOW TO PUBLISH A BOOK: Describe your dream client.

MOLLY JAFFA: An author who takes her writing career seriously (it can’t just be a hobby—it’s a career), recognizes that publishing is a business, is open to revisions when necessary, communicates openly, and has a good sense of humor.  

HOW TO PUBLISH A BOOK: Where do you see yourself in ten years?

MOLLY JAFFA: Still in publishing.

HOW TO PUBLISH A BOOK: At the end of the day, what is the most satisfying thing about working as a literary agent?

MOLLY JAFFA: There are so many things! Knowing that you’ve had a hand in creating something that’s bigger than yourself; something that could hold a lot of meaning for a lot of people. Knowing that you helped someone’s lifelong dream of becoming a published author come true. Knowing that you have the kind of job your childhood self would be proud of.

HOW TO PUBLISH A BOOK: Thanks so much, Molly, for speaking with us.

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