Anyone know how we should bind the portfolio? Mine's too many pages to staple.
Any ideas?
Wednesday 27 August 2008
Thursday 21 August 2008
The Running of the Grades
You know how grades are decided? Bill Herbert strips down to his underpants and everyone tapes papers to him that have grades on them. As he runs up and down the hall, professors grab the grades off of him and whichever number they grab, that's what we get. I have created a visual of this, want to see? Well of course you do!
Friday 8 August 2008
Nathan Bransford FAQ's
Do you represent short story collections?
Do you represent women's fiction and romance?
How do I become a literary agent?
Do you consider self-published books and is there a stigma?
Do you accept queries from writers in other countries?
Is word count important? Is my novel too long/too short?
Can I ask a follow up question if you've passed on my query?
How should I mention a series in a query?
How do I know if I have a good plot?
How long does it take to sell a novel?
What is a hook, and how to I craft a good one?
How do I classify my book in a certain genre?
How often should I follow up with a prospective agent?
Can I re-query an agent or another agent at the same agency?
What do you look for in a query?
What is a "platform"?
Which is more important: character or plot?
What is the difference between YA and adult novels?
How do you decide whether to request a partial?
What are the basic terms of publishing contracts?
Should I follow publishing trends?
Do you edit your clients' work? Are you a hands-on agent?
What does this rejection letter mean?
What is the difference between commercial and literary fiction?
How should I handle an offer of representation?
Why do you live in San Francisco instead of New York?
What is "pacing"?
Do editors really edit anymore?
Do you represent literary estates?
I heard from you in five minutes. Did you really read my query?
Can I turn my blog into a book?
Should I call an agent?
Is my book too controversial?
Should I write in first person or third person?
Should I ask my agent X question?
Should I query about more than one project?
How should I approach agents at a writer's conference?
Do you represent young writers?
Should I worry about spoiling the ending in a synopsis?
Can I write books in more than one genre?
What is a typical day like for an agent?
Why am I having such a difficult time finding an agent?
Should I give up?
Should I begin my query with a rhetorical question?
from http://nathanbransford.blogspot.com/2008/08/faqs.html
Do you represent women's fiction and romance?
How do I become a literary agent?
Do you consider self-published books and is there a stigma?
Do you accept queries from writers in other countries?
Is word count important? Is my novel too long/too short?
Can I ask a follow up question if you've passed on my query?
How should I mention a series in a query?
How do I know if I have a good plot?
How long does it take to sell a novel?
What is a hook, and how to I craft a good one?
How do I classify my book in a certain genre?
How often should I follow up with a prospective agent?
Can I re-query an agent or another agent at the same agency?
What do you look for in a query?
What is a "platform"?
Which is more important: character or plot?
What is the difference between YA and adult novels?
How do you decide whether to request a partial?
What are the basic terms of publishing contracts?
Should I follow publishing trends?
Do you edit your clients' work? Are you a hands-on agent?
What does this rejection letter mean?
What is the difference between commercial and literary fiction?
How should I handle an offer of representation?
Why do you live in San Francisco instead of New York?
What is "pacing"?
Do editors really edit anymore?
Do you represent literary estates?
I heard from you in five minutes. Did you really read my query?
Can I turn my blog into a book?
Should I call an agent?
Is my book too controversial?
Should I write in first person or third person?
Should I ask my agent X question?
Should I query about more than one project?
How should I approach agents at a writer's conference?
Do you represent young writers?
Should I worry about spoiling the ending in a synopsis?
Can I write books in more than one genre?
What is a typical day like for an agent?
Why am I having such a difficult time finding an agent?
Should I give up?
Should I begin my query with a rhetorical question?
from http://nathanbransford.blogspot.com/2008/08/faqs.html
Tuesday 5 August 2008
Reposted from http://www.guidetoliteraryagents.com/blog/PermaLink,guid,5b97e2bd-28b2-4894-bedb-f482985a9217.aspx (something you should all add to your rss readers!
Agents' Chapter 1 Pet Peeves!
Originally posted by Chuck
The forthcoming issue of Writer's Digest magazine (Sept/Oct 08) has a piece in it that I wrote on literary agents' chapter 1 pet peeves. For it, I basically just contacted a whole bunch of agents - new and experienced, fiction and nonfiction, Christian and not, juvenile and adult - and asked them all what they hate to see in chapter 1.
They gave a lot of great feedback - real good practical stuff touching on cliches and pet peeves and overused beginnings. The article will be online in several weeks, so you can see a lot of great advice soon.
Although we saved plenty of juicy parts for the WD article, in the meantime, enjoy all this great feedback that didn't make the final cut for space purposes!
Agents Chapter 1 Pet Peeves:
"Anything cliché such as ‘It was a dark and stormy night’ will turn me off. I hate when a narrator or author addresses the reader (e.g., 'Gentle reader')."
- Jennie Dunham, Dunham Literary
"Sometimes a reasonably good writer will create an interesting character and describe him in a compelling way, but then he’ll turn out to be some unimportant bit player. Other annoying, unoriginal things I see too often: some young person going home to a small town for a funeral, someone getting a phone call about a death, a description of a psycho lurking in the shadows, or a terrorist planting a bomb."
- Ellen Pepus, Ellen Pepus Literary Agency
"I’m really turned off by a protagonist named Isabelle who goes by 'Izzy.' No. Really. I am."
- Stephany Evans, FinePrint Literary Management
"I dislike opening scenes that you think are real (I rep adult genre fiction), then the protagonist wakes up. It makes me feel cheated. And so many writers use this hackneyed device. I dislike lengthy paragraphs of world building and scene setting up front. I usually crave action close to the beginning of the book (and so do readers)."
- Laurie McLean, Larsen/Pomada Literary Agents
"I do in fact hate it when someone wakes up from a dream in Chapter 1, and I dislike an overly long prologue. The worst thing that you can do is let that crucial chapter be boring - that’s the chapter that has to grab my interest!"
- Michelle Brower, Wendy Sherman Associates
"I don't like an opening line that's 'My name is...,' introducing the narrator to the reader so blatantly. I might be prompted to groan before reading on a bit further to see if the narration gets any less stale. There are far better ways in Chapter 1 to establish an instant connection between narrator and reader. I’m also usually not a fan of prologues, preferring to find myself in the midst of a moving plot on page 1 rather than being kept outside of it, or eased into it."
- Michelle Andelman, Andrea Brown Literary Agency
"I hate seeing a 'run-down list:' Names, hair color, eye color, height, even weight sometimes. Other things that bother me is over-describing the scenery or area where the story starts. Usually a manuscript can lose the first 3-5 chapters and start there. Besides the run-down list preaching to me about a subject, I don't like having a character immediately tell me how much he/she hates the world for whatever reason. In other words, tell me your issues on politics, the environment, etc. through your character. That is a real turn off to me."
- Miriam Hees (editor), Blooming Tree Press
"Perhaps my biggest pet peeve with an opening chapter is when an author features too much exposition - when they go beyond what is necessary for simply 'setting the scene.' I want to feel as if I'm in the hands of a master storyteller, and starting a story with long, flowery, overly-descriptive sentences (kind of like this one) makes the writer seem amateurish and the story contrived. Of course, an equally jarring beginning can be nearly as off-putting, and I hesitate to read on if I'm feeling disoriented by the fifth page. I enjoy when writers can find a good balance between exposition and mystery. Too much accounting always ruins the mystery of a novel, and the unknown is what propels us to read further. It is what keeps me up at night saying 'just one more chapter, then I'll go to sleep.' If everything is explained away in the first chapter; I'm probably putting the book down and going to sleep."
- Peter Miller, Peter Miller Literary
"1. Squinting into the sunlight with a hangover in a crime novel. Good grief -- been done a million times. 2. A sci-fi novel that spends the first two pages describing the strange landscape. 3. A trite statement ("Get with the program" or "Houston, we have a problem" or "You go girl" or "Earth to Michael" or "Are we all on the same page?"), said by a weenie sales guy, usually in the opening paragraph. 4. A rape scene in a Christian novel, especially in the first chapter. 5. 'Years later, Monica would look back and laugh...' 6. "The [adjective] [adjective] sun rose in the [adjective] [adjective] sky, shedding its [adjective] light across the [adjective] [adjective] [adjective] land."
- Chip MacGregor, MacGregor Literary
"Here are things I can't stand: Cliché openings in Fantasy can include an opening scene set in a battle (and my peeve is that I don't know any of the characters yet so why should I care about this battle) or with a pastoral scene where the protagonist is gathering herbs (I didn't realize how common this is). Opening chapters where a main protagonist is in the middle of a bodily function (jerking off, vomiting, peeing, or what have you) is usually a firm NO right from the get-go. Gross. Long prologues that often don't have anything to do with the story. So common in Fantasy again. Opening scenes that our all dialogue without any context. I could probably go on..."
- Kristin Nelson, Nelson Literary
"I recently read a ms when the second line was something like, 'Let me tell you this, Dear Reader...' What do you think of that?"
- Sheree Bykofsky, Sheree Bykofsky Literary
"I know this may sound obvious, but too much 'telling' vs. 'showing' in the first chapter is a definite warning sign for me – the first chapter should present a compelling scene, not a road map for the rest of the book. The goal is to make the reader curious about your characters, fill their heads with questions that must be answered, not fill them in on exactly where, when, who and how. Don’t ever describe eye color either..."
- Emily Sylvan Kim, Prospect Agency
"Characters that are moving around doing little things, but essentially nothing. Washing dishes & thinking, staring out the window & thinking, tying shoes, thinking ... Authors often do this to transmit information, but the result is action in a literal sense but no real energy in a narrative sense. The best rule of thumb is always to start the story where the story starts."
- Dan Lazar, Writers House
"I hate reading purple prose, taking the time to set up-- to describe something so beautifully and that has nothing to do with the actual story. I also hate when an author starts something and then says '(the main character) would find out later.' I hate gratuitous sex and violence anywhere in the manuscript. If it is not crucial to the story then I don't want to see it in there, in any chapters."
- Cherry Weiner, Cherry Weiner Literary
Agents' Chapter 1 Pet Peeves!
Originally posted by Chuck
The forthcoming issue of Writer's Digest magazine (Sept/Oct 08) has a piece in it that I wrote on literary agents' chapter 1 pet peeves. For it, I basically just contacted a whole bunch of agents - new and experienced, fiction and nonfiction, Christian and not, juvenile and adult - and asked them all what they hate to see in chapter 1.
They gave a lot of great feedback - real good practical stuff touching on cliches and pet peeves and overused beginnings. The article will be online in several weeks, so you can see a lot of great advice soon.
Although we saved plenty of juicy parts for the WD article, in the meantime, enjoy all this great feedback that didn't make the final cut for space purposes!
Agents Chapter 1 Pet Peeves:
"Anything cliché such as ‘It was a dark and stormy night’ will turn me off. I hate when a narrator or author addresses the reader (e.g., 'Gentle reader')."
- Jennie Dunham, Dunham Literary
"Sometimes a reasonably good writer will create an interesting character and describe him in a compelling way, but then he’ll turn out to be some unimportant bit player. Other annoying, unoriginal things I see too often: some young person going home to a small town for a funeral, someone getting a phone call about a death, a description of a psycho lurking in the shadows, or a terrorist planting a bomb."
- Ellen Pepus, Ellen Pepus Literary Agency
"I’m really turned off by a protagonist named Isabelle who goes by 'Izzy.' No. Really. I am."
- Stephany Evans, FinePrint Literary Management
"I dislike opening scenes that you think are real (I rep adult genre fiction), then the protagonist wakes up. It makes me feel cheated. And so many writers use this hackneyed device. I dislike lengthy paragraphs of world building and scene setting up front. I usually crave action close to the beginning of the book (and so do readers)."
- Laurie McLean, Larsen/Pomada Literary Agents
"I do in fact hate it when someone wakes up from a dream in Chapter 1, and I dislike an overly long prologue. The worst thing that you can do is let that crucial chapter be boring - that’s the chapter that has to grab my interest!"
- Michelle Brower, Wendy Sherman Associates
"I don't like an opening line that's 'My name is...,' introducing the narrator to the reader so blatantly. I might be prompted to groan before reading on a bit further to see if the narration gets any less stale. There are far better ways in Chapter 1 to establish an instant connection between narrator and reader. I’m also usually not a fan of prologues, preferring to find myself in the midst of a moving plot on page 1 rather than being kept outside of it, or eased into it."
- Michelle Andelman, Andrea Brown Literary Agency
"I hate seeing a 'run-down list:' Names, hair color, eye color, height, even weight sometimes. Other things that bother me is over-describing the scenery or area where the story starts. Usually a manuscript can lose the first 3-5 chapters and start there. Besides the run-down list preaching to me about a subject, I don't like having a character immediately tell me how much he/she hates the world for whatever reason. In other words, tell me your issues on politics, the environment, etc. through your character. That is a real turn off to me."
- Miriam Hees (editor), Blooming Tree Press
"Perhaps my biggest pet peeve with an opening chapter is when an author features too much exposition - when they go beyond what is necessary for simply 'setting the scene.' I want to feel as if I'm in the hands of a master storyteller, and starting a story with long, flowery, overly-descriptive sentences (kind of like this one) makes the writer seem amateurish and the story contrived. Of course, an equally jarring beginning can be nearly as off-putting, and I hesitate to read on if I'm feeling disoriented by the fifth page. I enjoy when writers can find a good balance between exposition and mystery. Too much accounting always ruins the mystery of a novel, and the unknown is what propels us to read further. It is what keeps me up at night saying 'just one more chapter, then I'll go to sleep.' If everything is explained away in the first chapter; I'm probably putting the book down and going to sleep."
- Peter Miller, Peter Miller Literary
"1. Squinting into the sunlight with a hangover in a crime novel. Good grief -- been done a million times. 2. A sci-fi novel that spends the first two pages describing the strange landscape. 3. A trite statement ("Get with the program" or "Houston, we have a problem" or "You go girl" or "Earth to Michael" or "Are we all on the same page?"), said by a weenie sales guy, usually in the opening paragraph. 4. A rape scene in a Christian novel, especially in the first chapter. 5. 'Years later, Monica would look back and laugh...' 6. "The [adjective] [adjective] sun rose in the [adjective] [adjective] sky, shedding its [adjective] light across the [adjective] [adjective] [adjective] land."
- Chip MacGregor, MacGregor Literary
"Here are things I can't stand: Cliché openings in Fantasy can include an opening scene set in a battle (and my peeve is that I don't know any of the characters yet so why should I care about this battle) or with a pastoral scene where the protagonist is gathering herbs (I didn't realize how common this is). Opening chapters where a main protagonist is in the middle of a bodily function (jerking off, vomiting, peeing, or what have you) is usually a firm NO right from the get-go. Gross. Long prologues that often don't have anything to do with the story. So common in Fantasy again. Opening scenes that our all dialogue without any context. I could probably go on..."
- Kristin Nelson, Nelson Literary
"I recently read a ms when the second line was something like, 'Let me tell you this, Dear Reader...' What do you think of that?"
- Sheree Bykofsky, Sheree Bykofsky Literary
"I know this may sound obvious, but too much 'telling' vs. 'showing' in the first chapter is a definite warning sign for me – the first chapter should present a compelling scene, not a road map for the rest of the book. The goal is to make the reader curious about your characters, fill their heads with questions that must be answered, not fill them in on exactly where, when, who and how. Don’t ever describe eye color either..."
- Emily Sylvan Kim, Prospect Agency
"Characters that are moving around doing little things, but essentially nothing. Washing dishes & thinking, staring out the window & thinking, tying shoes, thinking ... Authors often do this to transmit information, but the result is action in a literal sense but no real energy in a narrative sense. The best rule of thumb is always to start the story where the story starts."
- Dan Lazar, Writers House
"I hate reading purple prose, taking the time to set up-- to describe something so beautifully and that has nothing to do with the actual story. I also hate when an author starts something and then says '(the main character) would find out later.' I hate gratuitous sex and violence anywhere in the manuscript. If it is not crucial to the story then I don't want to see it in there, in any chapters."
- Cherry Weiner, Cherry Weiner Literary
Subscribe to:
Posts (Atom)