SHALLA Q&A with Literary Agent Robert Brown (transcript)

Hello!

I'm Robert Brown, an agent with Wylie-Merrick Literary Agency,and hopefully I can answer questions you've always wanted to ask an agent—questions about publishing in general, querying and what I lookfor in both queries and samples. So just cut loose and ask away, butplease be gentle.
;)

To find out more on what Robert Brown is looking for:http://shalladeguzman.blogspot.com/

Our Q&A is at:
http://groups.yahoo.com/group/ShalladeGuzman/

Message #'s 1067-1088

I would like to ask you about editing. How do you suggest we edit our manuscript? What are editors and agents looking for, that most writers miss (editing)?

There was a time when agents helped edit author's manuscripts, however, that time has long passed.

We at Wylie-Merrick do sometimes help our clients with requested revision edits; however, we expect a novel or book to be "print-ready" before we consider a client for representation. Editors look at everything, and agents, because we filter for our editors, also look at everything. A small item like a misspelled word in a sample, for instance, can cause us to reject. Why? Because we assume that there are others within the MS.

We very closely scrutinize a novel's opening. Openings that are filled with dry narrative or exposition are not going to catch a reader's eye, so a weak opening is also cause for rejection. As I stated above, agents do not edit. It is the writer's responsibility to make sure his or her manuscript is the best it can possibly be before seeking representation.Also, when going through your work, look for timeline and storyline problems, check your dialogue (use "said" rather than other tags except for in a few places), look for POV shifts (you should know what POV you will use for your story before you start writing), and anything in your story that will distract your reader. Another major issue is to know what you have written and stick with the elements of fiction or nonfiction that make your book what it is. There is nothing more frustrating than a solid mystery that changes in the middle to a mainstream novel.

Thank you for asking this great question. I could go on and on for this one, but I hope my answer was adequate---Robert


I'm wondering about what editors seem to like nowadays. It seems they like a mix between two or more genres. Like romance mixed with paranormals, chick lit mixed with mystery, etc.

Am I getting the info right? And where do you think commercial fiction is heading?

Your question is actually pretty complex. Editors like stories that are fresh, new and original. The some old thing does not work, especially if you are a new, unpublished writer. I don't feel that the genres are being mixed as much as new elements are being added within them. Writers should take care to not go too far when writing, for example, a romance with a mystery sub-plot in it, and end up with something that is termed to be midlist or mainstream because the romance, mystery, and other elements get equal time. These types of novels do not sell well because there is no place for them on bookstore shelves.The romance genre has been changing for quite some time. There are historical romances, sci-fi romances, suspense romances and so on. They are still romances and not mixes as you stated in your question. The formula has not changed, just elements within the story. Chick-lit, however, because it is a new genre, is changing and growing constantly, but chick-lit is still chick-lit with a mystery element. Chick-lit is also growing upward and outward. As its reader base ages, so do its characters and each generation spawns a new subcategories--mommy-lit, hen-lit and granny-lit(I made up the last one, but I'd imagine there will soon be this subcategory too).Commercial fiction will always have an audience. There are more readers now than ever before. Mega bookstores are locating in smaller and smaller towns throughout the world. At present, fiction is in strong competition with non-fiction, but that won't last forever. Non-fiction spoils fast--fiction lasts forever. Thank you for your question. I hope this answer helps—Robert


I would like to ask, can we query more than one agent at a time? Or do I have to query one, wait for their response, then query another?I'm thinking of querying about a dozen agents at the same time, and see if anyone likes my submission.Thank you.

Thanks for your question. Yes, you should query more than one agent at a time unless the agent's guidelines specifically state otherwise. If you query agents one at a time, it will take years to reach those who might be willing to represent you. We assume when we receive a query that the writer is sending out to many agents--this is a given in our industry. I would send out a dozen queries and then when some come back, send an equal number back out. This way you have a constant number out there all the time. If you get requests for partials or full manuscripts, you are on the right track. If, however, you send out a full group--say twelve in your case--and you get no hits, reanalyze your query or writing, for there might be a problem. Another item to consider is Web sites. Many agents have them now, so you should always go there first to see if you are sending what each agent is looking for. I can't stress enough to research an agent BEFORE sending to him/her. Sending twelve queries blindly is useless, but twelve targeted queries will net you some results.Thank you for this great question. I hope my small contribution helps.Robert

What I want is to find out just exactly how do I get an agent to actually want to see more of my work. I have researched agents and followed their guidelines, but honestly, the rejection letters keep coming. I would like to be able to pitch my stories to agents successfully.

I have gotten positive feedback from several publishers, I have two children's books that will be due out, and one is sitting still at Avalon (my romance) I just want one of my non-fiction books based on my life with my ex, be noticed. It would make a good Lifetime for Woman story. I would appreciate any help you can help me get this story noticed.


Thank you for your question. This could go many ways, as this same question has been asked by writers since there have been writers. So where do I start? The first thing I see here is that you write in many different areas at once. In my experiece, it is very difficult to get enough proficiency in one area, let alone many, to gain the interest of an editor, let alone an agent. Take Steinbeck, for instance. He concentrated on his area of expertise, which was the Depression, and characters impacted by it. He wrote, as far as I know, only adult fiction. This worked for him because he was able to build an audience of adult readers who bought his books. Nothing has changed today except the players. A writer still has to build an audience, and you are making building this audience much more difficult by changing areas. So, my suggestion would be to focus in one area and become an expert in that area, and then you can build your audience there and switch later. By the way, don't worry about one of your books being a Lifetime for Women feature, since dramatic rights are a different ballgame. Many writers query me and say how well their work will translate into the dramatic field, but I have to have a book to sell first. Focus on an area where you enjoy writing and are the strongest in your skills. I hope this helps you. I really enjoyed trying to help here—Robert



What do you like to see in submissions?What do you like to see in the query letter? The writer's experience?The writer's voice?

To answer your question, I prefer a very simple three-part query letter. The three parts should be in about three-five paragraphs. The first should state what category (fiction or non-fiction)you are querying about, the work's approximate word length, and, if fiction, its genre (mystery, romance, suspense, etc.). The second paragraph should contain a short (one or two paragraph) overview (sometimes called the jacket copy but with the ending). The third paragraph should contain something about you--your writing experience--publishing credits, whatever. If you have never published, just say, "I'm a new writer." Lastly, I would need your contact information. When sending anything to me, also include the first ten pages of your book or novel. To me, the writing--and only the writing--will determine my interest in representing you. If you interest me in your writing, (the writer's voice) we will then determine if you and I can work together toward geting you published and beyond. Thank you for your great question. Robert



I'd like to know what the proper etiquette is for re-submitting a query (or partial) to an agent who has already rejected that same project. This would be approximately a year later with extensive editing to the manuscript. Would most agents even remember something they'd looked at a year earlier?

A good question that needed to be asked. The proper etiquette for re-submitting to an agent is to always remind him or her, in your query, what transpired before. If he or she asked to see a revision, then include this request with your resubmission. If the agent didn't ask to see your work again, then begin the query process anew, reminding the agent that he or she had seen the project before and asking if they would like to see the revision.Many times I receive email queries from writers I rejected but had added that, if they revise, I would like to see the revision. Months later, I receive pages or a complete from a person whose name sounds vaguely familiar but of whose work I remember nothing. Sometimes, as I'm reading, I remember. However, what would make it easier for me would be to have something in front of me to go by, like the reason I rejected the work in the first place.Hope this helps. Good luck! Robert



I have a book that at least one agent is interested in representing but it has been suggested I do a little editing before it is submitted to a publisher. It has been difficult for me to "self-edit" so I queried two freelance editors as to fees. Both charge what I think is a ridiculous amount. (And I have worked as a reporter and freelance journalist/editor for a number of years.) They also significantly changed my voice in the sample pages submitted.
What is the best way to locate an editor who will work as an editor and not try to re-write the novel in his or her voice?
Thank you for your time.

This is an interesting question for many reasons. First, you don't say whether your book is fiction or nonfiction. If it is fiction, then that would explain your difficulty in self-editing, since writing in these two categories requires two completely different sets of skills. Or you could be like many writers and just be too close to your book to edit it on your own. The second reason it is interesting is that you bring up finding a freelance editor, which can be extremely difficult. A good, legitimate editor is worth his/her weight in gold, but there are many editors out there who just aren't good at what they do, or they are only good in one area, such as fiction, and can't really help a nonfiction writer. I would suggest getting in touch with other writers who have utilized the services of a freelance editor and gotten published to get their feedback on who they hired. You can do this through newsgroups, writer boards, critique groups, conferences, etc. You will be able to hear their experiences and decide whom you might like to contact. Years ago, I tried to work with writers just a little bit before taking them on, but found the same problem you express--their work suddenly became mine. This is why I am an agent. Finding a good editor who can give professional advice without letting his/her own creativity interfere can be arduous, but worth it. Get referrals from successful writers, and I think you will find what you seek that way. The only problem you might have is that those editors are usually VERY busy and they can be expensive too. Do your research and only go with a freelance editor who has a proven track record, in addition to being recommended by other writers.Thanks for your question!Robert


Do you personally represent all of the genres listed on your site, or do you and your business partner, Ms. Martin, divide the genres?Do you have a reader reading submissions?

Sharene and I specialize in different areas, and I am pretty sure we listed that somewhere on our blog, which you can link to from our site. Also listed there is what each of us is looking for right now. Yes, we do have a couple of readers for some submissions; however, we still go through the bulk of them. We also have an agent in training in CA who reads as well.Best,Robert


Also, I was wondering how much you interact with your clients - are you just an email away (within reason of necessity, of course and not to be abused).

Yes, you could say that I am just an e-mail, phone call or fax away from my clients and the editors I work with as well. Technology is amazing and lets me keep in contact with clients as much or as little as necessary. I also get with them at writing conferences and other events whenever possible. Sharene and I both like to share in their successes or even their failures. Some clients don't want or need contact for many months while waiting for a book to come out, while others like monthly or even weekly updates on their book's progress. I go by what is comfortable for the client and doable for me.

Robert

When working with your clients in building a career do you also include/consider PR/Marketing plans as so many agents seem to be doing nowadays?

Yes. I always work toward educating all my clients in all aspect of marketing. Most writers do not understand that most publishers expect authors to understand that marketing is also the writer's responsibility. In many cases, if the writer does nothing to market his or her book, it will not be marketed to any great extent and again, in many cases, the book will fail. A writer's future hinges on sales numbers. This is especially true for that first book. However, even after a writer is established, a low sales number can cool their publisher's eagerness to produce that next book. So it is essential that writer's understand the marketing and public relations aspect of the publishing world. I do my best to make sure my clients are aware of all the pitfalls they may encounter before and after they are published.


I was wondering how difficult is it to sell and market cross-genre novels? For example, a novel with a Chick Lit voice/attitude combined with the Travel genre. As one of the other members mentioned in an earlier post, the "hybrid" novels seem to be what the market and publishers are looking for, but there still seems to be a reluctance for many of these books to be published. What are your thoughts on this and how do you suggest a writer tackle this cross-genre manuscript when querying agents?

Thank you once again for taking the time to be with us.

You're welcome. This has been fun. These questions are great and I've enjoyed answering them.You are right, anything new and different is sometimes hard to sell. But I don't know if I would call these books cross genre novels, exactly. As I stated earlier when answering another question, in most cases the genre elements are still intact, but parts of other genres are mixed in to make the novel more unique. This is really what it's all about. Editors are looking for novels with different flavors so writers are stretching the boundaries and adding different characters and settings that make this happen. For example, a vampire in a romance or a romance that takes place in a different galaxy and in a different time. In the romantic suspense, there does not have to be a happy ending; the standard genre romance ending. Editors want and accept these changes because readers have embraced them.There is one thing I'm having a problem with and that's the Travel genre. But I think I understand what you mean here. I believe you are talking about the Roadtrip Chick-lits that were popular a year or so ago. Novels do not have be static. We are a society on the move so what better way to keep a book flowing than to place it on a moving storyboard. I think the reluctance to publish comes about because there too many writers jumping on what's been done before. Once a couple of traveling chick-lit novels hit the big time, everyone wanted on that bus and agents and editor were deluged with hundreds of the same old thing. It's the fresh and unique that sells. With Harry Potter, we were (and still are) covered with Harry knockoffs. With DaVinci we were again covered with DaVinci look-a-likes. This isn't the way it works. A novel must be something someone else has not thought of yet to make it in this crowded marketplace. Push those boundaries and take chances. You may fail but when you win, you'll win huge!!

Thanks for great questions.

Robert

SHALLA Q&A with Producer, Writer & former HBO Development Consultant Taylor Van Arsdale

My question is, are there differences between writing a novel and writing a script?

Would dialogue be written differently? Are there similarities? (in writing a novel and writing a script?)

This is a great question as there are many differences, probably more differences than similarities.

I think the biggest difference is the absence of the omniscient point of view (POV).

In screenwriting, you must present information in a way that will be interpreted visually.

For example, in a novel we may gain insight about a character's background, their history and physical description before the character ever utters a word. Such is not the case in screenwriting because there is no way for us to `see' these character elements. We must therefore substitute action for description.

We would describe the action of a fight scene to indicate an ornery character instead of writing, "He was an ornery guy, always getting into fights."

Every scene is a visual piece of a puzzle that in whole represents the story.

Another difference is the tense used in screenwriting. Screenwriters always use the present tense (with an emphasis on avoiding the gerund whenever possible).

Let me give you a few examples.

Robert was running down the hall. This sentence is incorrect because it is in the past tense.

Robert is running down the hall. This sentence is incorrect because it uses the gerund.

Robert runs down the hall. This sentence is correct because it is written in the present tense without the gerund.

There is a difference in tone in the sentence with the gerund that makes the reader feel as though he is slightly behind the action. The correct sentence pulls the reader into the action as it directly occurs.

There are many additional differences – possibly too numerous to mention here. They include: bald exposition vs. constructive reveal, act breaks, and linear vs. non-linear plotlines and of course the most obvious, introducing or deleting elements for dramatic effect.

I am frequently hired to adapt novels into scripts. Sometimes a novelist may be too close to his or her work to effectively transform the piece to the film/visual medium. I try to work closely with the novelist so that everyone is happy with the final product.

To illustrate this point take a look at the novel Logan's Run vs. the movie. Note how many elements were changed, and see if you can figure out why, from a filmmaker's perspective these elements were changed. And then ask yourself, "Does it make for a better film?" And then ask yourself, "How would I feel as a novelist if my story was changed?" because this happens all the time.

Note also the intention to adhere as closely as possible to Tolkien's Lord of the Rings trilogy (although even in this epic there were many changes). What happened to Tom Bombadil? I would be happy to speak directly with you if you have more questions.

I hope this helps.

Best,

Taylor

More and more paranormal/psychic shows are on TV (Medium, PsychicDetectives, etc), do you see this continuing? Why?Is paranormal growing more popular?

There are several reasons that I can think of though I'm sure there are more and I'm certain the reasons are a combination of factors rather than one concrete reason.

1) This started with M.Night Shyamalan's SIXTH SENSE. The movie was so popular and did so well that the industry jumped on the bandwagon grabbing up as many spiritual/psychic projects as possible.

2) Television naturally follows film trends. When executives see nationwide audience response to a specific genre they figure they can reap the financial rewards with limited risk

3) Mel Gibson's THE PASSION OF THE CHRIST made so much money, so quickly, that it was easy to see the general public was responding to religious and spiritual based films and television shows.

Development executives scoured the markets for similar product.

4) Yes, the paranormal does seem to be gaining popularity.

5) Do I see this trend continuing? If I only knew the answer to this question. My guess is that it will continue for a while or as long as public interest is high.

Good luck with your writing. Hope this info helps.

Best,

Taylor

On Sex and the City episodes, there's always a mention there that the show is based (or something like that) on Candace Bushnell's novel.

I'm wondering how the process works in turning a novel into a TV show?

Do producers find the books? What is mostly selling right now? (comedy? Thrillers? Mystery?

Well, first let me say that I didn't work on Sex in the City but I can tell you a little about the process of how books are selected and then adapted for film.

The executive at Company X is sent submissions from either agents or producers. Sometimes the producer is attached to the project (meaning the producer has optioned the rights to the book and is shopping the project, hoping a television, cable or studio will want to make the book into a film).

Let's say for the sake of this example that it's your book that is pitched to the executive (by either an agent or producer) and the executive responds favorably to the pitch. The executive will then send your book out for coverage. Basically this means a 19 year-old intern/reader who has scant knowledge of literature will read your story and write a short synopsis. If you're lucky, someone intelligent will read your novel. If not, well, your producer and/or agent will submit to another company. Let's pretend the reader likes your story and has given your novel a favorable review. Then the executive reads the synopsis and your novel gets pitched to the in-house development division at their next development meeting. If the Vice President likes the pitch and wants to develop the story –they will make a bid to option your novel. Remember this doesn't mean they are going to make the film.

At this point, they will most likely purchase the option from your agent and/or producer and depending upon the type of contract your producer has, he or she will be reimbursed either wholly or partially and Company X will continue developing the story.

Here's the fun part – the waiting game. During this time Company X will try to find a writer to adapt your novel into a screenplay. They will meet with several different writers and see who has the best "take" on the project. When a screenwriter is finally selected he or she will be hired to adapt the project. This usually takes about 8 weeks. The script may go through several rewrites and several writers. This process can take additional months. Company X may also try to attach a director and or talent and pitch to another company and then process begins all over again.

If the project (once all revisions and attachments are in place) is submitted to the President of Company X and he passes on it, your novel may sit on a shelf for several years before going into turnaround. If it's greenlit, then your novel will be produced and a film will be made.

This entire process can take a year or more depending on the company and the interest level in the property. It can take as little as 4 – 5 months. Different genres sell better at different companies. For example, I don't think HBO is going to make a Sci-Fi in the near future, but you never know.

Hope this helps.

Best,

Taylor

I'd like to ask you if you have any online classes?

I do not have an online course at this time, although I do teach a correspondence course and I have students from all over the country enrolled. This is probably the best course on screenwriting that also includes a section on adaptation. If you are interested please check out my website.

Thank you,

Taylor

If we get our novel published, can we or our agent contact a producer to see if he/she would like to buy it and turn it into a movie? Or TV show?

If yes, how do we contact producers? Is there a site which lists credible producers?

I'm not sure if a literary agent typically contacts producers. That's usually the job of the manager. I say I'm not sure because I deal mostly with screenwriter's agents and they typically do not solicit producers. There is no reason why you shouldn't query a producer on your own.

And yes, there is a directory of legitimate producers. It's called the Hollywood Creative Directory and you can purchase it online or in paperback. Any bookstore should be able to order it for you.

Check for the Producers version – they have an Agents and Managers directory as well. I'd be happy to discuss this with you in greater detail.

Best,

Taylor

My question is: Would you happen to know where sitcom is heading?

I was watching Situation Comedy (reality show on Bravo where they were talking about how they have to "save" sitcoms) Is comedy going out of style?

Thanks for your question. I will have to be completely honest here and say I know nothing about the Sitcom format (I don't even have time to watch them) or the recent trends in comedy. I deal strictly with feature films and the 2-hour format. I'm sorry, I wish I could have been more helpful.

Best Regards,

Taylor

How do you submit scripts to producers? Should we go to conferences?

How do we know if someone, claiming to be a Producer, is legit? Do you have any books and/or classes you can suggest to get us started?

There is a directory of legitimate producers. It's called the Hollywood Creative Directory and you can purchase it online or in paperback. Any bookstore should be able to order it for you. Check for the Producers version – they have an Agents and Managers directory as well. There's no reason why you shouldn't query a producer on your own. I'd be happy to chat with you further about this in greater detail.

I'm not sure exactly what type of class you need based on your brief e-mail, but I would be happy to teach you or refer you to the right instructor (if my classes don't fit your needs).

Best Regards,

Taylor

I would like to ask you, is there a correlation between best selling novels and what becomes a hit in the theatres and TV? Bridget Jones Diary, Sex and the City and Desperate Housewives, when they were at their height, chick lit novels/novels dealing with the same kinds of dilemma, similar scenes, etc. started coming to book stores.

Nice to have you here.


There is definitely a correlation between best selling novels and hits in the theatre and on TV. I answered a question earlier regarding the trend toward the paranormal and/or spiritually driven material.

When a project, whether it is a book or a movie, makes a lot of money, there are always going to be spin-offs and/or similar films and or books in the works. It just makes good business sense.

Hope this helps.

Best Regards,


Taylor

I'd also like to ask about how getting a movie deal works? Do
literary agents take the manuscripts to you (movie) producers or are producers the ones who would contact you (if they hear you sold a manuscript to a publishing house)?

My bottom line is, do you have any tips on, how I can get
my manuscript up to par for the auctioning table and get it right
for a movie deal?

Earlier I answered an e-mail (under the heading of
Sex and the City regarding adaptation) which tells a bit about
how books are made into films (i.e., the movie deal).

With respect your second question: I'm not sure if a literary agent
typically contacts producers. That's usually the job of the
manager. I say I'm not sure because I deal mostly with
screenwriter's agents and they typically do not solicit producers.

Certainly a producer looking for specific material would try to
contact the writer if he or she knew of the project and if the
project fit his or her criteria.

As for getting the manuscript up to par for the auctioning table
that is not something I can answer without reading the material
and then I would really only know how to guide you in converting
the material to a screenplay form.

I would be happy to discuss this process with you further.

Thanks.

Regards,

Taylor


Hello, how do you go about promoting a book into a movie based on the real life of someone? I am writing a non-fiction book that was originally 'fiction' because no one believed the story, then the news media promoted the story, and now I turned it into a non fiction.

This is not an easy answer because I unfortunately do not have enough information from your e-mail.

First – is the story your story or is it the story of someone else's life? If it is not your personal story, then you need to deal with acquiring the rights to the story.

I would suggest you to speak to an entertainment attorney who could provide you with insight on how to acquire life rights, costs involved, etc. This is a very complicated and complex issue.

I have personally witnessed acquaintances put their heart and soul into a script when the rights did not belong to them. A third party (who legally owns the life rights) subsequently makes the project(s) into a film and the writer is left without any monetary compensation or credit.

If it's your own story you have no worries, the network will soon be knocking at your door.

Best Regards,

Taylor

I'd like to ask you what type of books (if any) would you be interested in turning into a screenplay? (Literary? Commercial? Mystery?)

Ah. A tough question. Tough because I enjoy so many genres. To write/adapt I prefer Sci-Fi, True Life, Murder-Mystery and Women-In-Jeopardy projects. I seem to be good at those, although I love action-adventures, westerns and the epic dramas and have worked on quite a few of those as well. All this being said, I really look to quality material regardless of the genre and if I'm working for hire, I never take on a project unless I find a connection in the material otherwise my heart won't be in it.

Thanks for the question.

Best Regards,

Taylor

What are the common act foibles? How can we make the first act as powerful and attention grabbing? Does there have to be lots of action?

How about if it's a drama? Or a comedy?

Thank you for your question. I think the most common first act foible is not using set up and pay off.

In a screenplay you have about 20 minutes to set up all the elements you will later pay off in the 2nd and 3rd acts.If you don't introduce these elements early on (these elements can be a combination the following: characters, a catalyst for change, ancillary characters, the villain, character conflict, etc.) they will lack impact when they are finally revealed.

Here's a brief example of the Murder/Mystery genre with a first act foible:

First act, a murder takes place and Carl our protagonist arrives on the scene.

Second act, Carl is in a room with Ben (the Killer). Carl sees a letter opener on the table.

Third Act: Ben attacks Carl.Example of Foibles fixed: First act, a murder takes place and Carl arrives on the scene.

To Carl, it appears there is no one there, but in the shadows we see a figure. It is a man named Ben, and he holds a letter opener. He slips away unnoticed.

Second act, Carl is in a room with Ben. (Note: now when we see Ben there is more tension/anticipation on the part of the audience because the audience knows Carl is in the room with the killer). We also see the letter opener on the table.

Third Act: Ben attacks Carl.I realize this is a rather sophomoric example, but you can see the difference in the set up (of the murderer and the weapon) and the pay off, later on.

To make your first act grab your readers you must include many elements: character reveal, scene layering in addition to set up & pay off.

For the best examples, look to scripts of movies or shows that you find funny, or moving or scary.

These scripts were produced for a reason. The writing is usually strong.

Hope this information is helpful. Please feel free to contact me if you'd like a more in depth answer.

Best,



Taylor





***For Taylor's contact info:

http://tailfish.net and it's on:

http://shalladeguzman.blogspot.com/2005/09/latest-invite-qa-with-producer-writer.html