by Matthew Broberg-Moffitt Part 1 of this series focused on the importance of #OwnVoices stories and the representation of neurodiversity […]
by Eva Scalzo
There are things you want to be sure you’re asking beginning on that first call, when you’re trying to see if an agent will be a good fit for you
by Alice Speilburg
At the pre-publication stage, as you’re drafting queries and sending off sample pages, an editor at a publishing house and a literary agent seem to serve the same purpose: to legitimize your claim as a professional author, and to set you on the path to publication.
For those interested in breaking into genre television writing, an agent is paramount. They are the gatekeepers into a very exclusive world with a limited number of buyers. Here are some useful tips to garner representation.
by Russell Galen
Have an agent. If you feel you don’t need one, find another human being to whom you have no emotional attachments, who knows a lot about the IP business, will tell you the truth, will be a sounding board for your literary and business questions, and will speak to the buyers of your work so that you can keep some distance from them.
I never thought I’d be re-visiting the issue of literary agents charging reading fees. After all, the problems inherent in the charging of reading fees are recognized by all four literary agents’ profession…
Article by Chuck Rothman on (almost) everything you need to know about agents, including how to avoid scams.
First off, definition: an exclusive means just what it sounds like. You are giving an agent the opportunity to consider your work exclusively and you are agreeing that you will not submit to another agent until you’ve heard “yea” or “nay” from that agent. Sometimes exclusives are open-ended, sometimes there’s a time period attached.
Author John E. Stith describes the process by which an author might acquire an agent.
