What I’m really looking for is the intersection between stellar writing and plot, something that leaves me puffy eyed or laughing out loud. I’m probably not the best choice for "message” or hard science-fiction books. Give me something bold and fresh with a voice that’s impossible to put aside. YOUNG ADULT: I'm eager to find novels that are high concept, diverse, fantasy or magical realism, and am open to anything conceptually unique. Please send me your diverse, epic, cinematic, action-packed, adventuresome, mysterious, and fast-paced novels! I always bear in mind that readers in this age group are looking for fun and mischief, to learn something about life, and to escape and romp. I’m open to almost anything within this genre (although less so horror, sci-fi, dystopian) and I’m eagerly looking for something new. MIDDLE-GRADE: I’m currently on the look-out for stellar, fun, expansive, bright, fantastical, joyful, adventurous middle grade. We strive not only to discover and cultivate the most compelling new voices and the most original and memorable styles of illustration, but also to indefatigably and strategically support our established writers and illustrators as they thrive and develop their careers in the publishing industry. Worthwhile to take their feedback into serious consideration and possibly revise before sending out your project more widely.ALWAYS AND FOREVER, LARA JEAN by New York Times bestseller, Jenny Han, now streaming on Netflixįolio Jr., the division of Folio Literary Management devoted exclusively to the representation of today’s most stellar children’s book authors and artists, is wholly committed to offering our clients impeccable, individually-tailored care. However, if you are receiving unanimous feedback from a number of agents about why your project isn’t working for them, it might be I tell writers all the time that just because a project isn’t right for me doesn’t mean that another agent will feel the same. It is so important to keep in mind how subjective our tastes can be. If one agent turns me down, should I expect others to do the same?Ībsolutely not. I’m looking to represent an author’s entire literary career and everything that entails. After all, I am not looking to represent this or that project. The truth is, I adore short stories, so while collections can be difficult to sell, if I absolutely love the writing I’m not one to shy away from the challenge. I cannot speak for all agents, but I certainly would-especially if there’s a novel attached. Will agents work with writers whose initial work is a collection of short stories? Are short story collections ever considered by agents for a writer’s first publication? Once you and your agent have reached an understanding and are able to part on amicable terms, then begin querying other agents whom you feel would be a better fit for you and your projects.
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The best way to begin that process is to have an honest and professional conversation with your current agent about what is and what is not working for you in your partnership and why. It’s not wrong to want to seek new representation, but it is important to go about it the right way to avoid leaving a negative impression. Is it wrong to want to seek new representation? And what is the most civilized way to go about it? I don’t want to seem ungrateful, but I’ve suspected for a long time that we aren’t the best fit. My literary debut, which she sold to an editor I had a history with, did well both critically and commercially. What’s the best way to change agents? My existing agent specializes in thrillers and nonfiction. If I love the project, chances are that overcoming a previous track record is just a matter of strategy that the author and I would discuss once we are officially working together. That said, before I do, I first fully consider the project that writer is querying me with before I take the author’s previous track record into consideration. More often than not, if a writer mentions a previously published book in a query (and you should, of course), I check its sales numbers.
How widespread is this practice, and can you share your thoughts about how an author can overcome an early record that isn’t his or her fault?
I have been told by several agents that they rely on Nielsen BookScan to check an author’s previous sales and often base their reactions to queries accordingly.
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