(This was first posted in 2010)
According to my Oxford Concise a manifesto is ‘a public declaration of a policy and aims’.
I’m currently planning a tour in October for 3 teen/tween writers – 3 days, 3 cities, 3 remarkable writers – title yet to be decided, but we have some pretty nifty names already. The writers involved are Judi Curtin, writer of the fab Alice and Megan series, Sophia Bennett, writer of the equally fab Threads series set in the London fashion world, and moi!
And I came up with a tongue in cheek manifesto:
No vampires
No werewolves
No boys that go bump in the night
Real girls
Real drama
Really amazing stories straight from the heart
We all write books for age 9/10+ with characters who are in their early teens. We all deal with real life issues – family drama, friendship problems, bullying – hence the no vampires, no werewolves bit.
So it got me thinking – maybe I should have my own writing manifesto, a Writer’s Manifesto. A ‘public declaration’ of my writing intentions.
So here goes:
I guess my most important aim is to entertain.
The first commandment of popular fiction of any kind or for any age is (as the lovely Claudia Carroll once said): Thou shalt not bore. Quite right too.
Second aim – to say something.
I know this sounds a little vague but sometimes I read books that don’t actually say anything. They just potter along, telling a nice story, but don’t really going anywhere. I think books should have something solid rooted at the heart of them – a theme if you like.
Sometimes that theme doesn’t make itself fully known until you finish the 1st or 2nd or even the 3rd draft, but it’s often bubbling away under the surface of your words, slowly rising to the surface.
For example in the first Amy Green book I wanted to tell readers that it’s OK to be yourself. In fact it’s pretty darn cool to be yourself. It’s a theme that runs through all the Amy Green books.
My third aim is to write with passion and with confidence.
I’ve been writing for many years now and I’ve started to understand what both of these things really mean and how important they are. Write without passion and you’re doomed. The confidence bit – that can be learned over time. But if you can write with both passion and confidence – then you might just have a pretty good book on your hands.
So there you have it – three aims for my own personal manifesto.
What are your aims when you write?
Do you have a writing manifesto?
Yours in writing,
Sarah XXX
My Latest Book (Sept UK)
Welcome to week seven of Write That Book. If you’ve just stumbled upon this blog, weeks one to six, covering getting started, characters, plot and editing may also be of use to you.
Once you’ve finished your manuscript and have rewritten it many, many times and copy-edited it meticulously, you will need to find an agent or a publisher. I’ll deal with why you need an agent below (and in some cases you don’t), but first, titles.
Book Titles
Book titles are very important. They say a lot about a book. Some writers find titles easy, for others it’s like pulling teeth. And it can differ with every book.
In the world of popular fiction/romantic comedy, I’ve always liked Katie Fforde’s titles: Thyme Out, Practically Perfect, Highland Fling. Maeve Binchy’s titles are also excellent – simple and catchy – Tara Road, Nights of Rain and Stars, Circle of Friends.
On the children’s side, I’ve always loved the quirky Are You There, God? It’s Me, Margaret as a title. It shouldn’t work, but it does. How to Train Your Dragon, The Boy in the Striped Pyjamas, Under the Hawthorne Tree, Ballet Shoes, Skulduggery Pleasant, Artemis Fowl – all fantastic, memorable titles. It’s hard to define what makes a good title. It must be simple and catchy, but it must also say something about the book.
So spend time getting your title right.
Writing a Proposal for an Agent
So you’ve finished your book, made it as perfect as you can (after many, many edits and rewrites) and you’re finally ready for the journey to publication. Some publishers will accept unsolicited manuscripts, but many of the larger publishers only accept submissions from agents.
If your book is a local history of Dublin, you can send it directly to an Irish publisher, and we’ll talk more about this, along with self-publishing, next week. If your book is a novel, and you’d like to see it published in the UK, all over Europe and the US, as well as in Ireland, you will need an agent.
Preparing your manuscript
Presentation is so important. Your manuscript must look professional. Make sure the pages are freshly printed out and look pristine. Make sure your covering letter is clear and polite. Include any personal details that you think are relevant and interesting – your experience living in an exotic country where the book is set from for example, working in the circus in your teens, your years as a ballerina/ballet teacher – but keep it brief and succinct.
Make sure your manuscript is neatly printed on plain white A4 paper, using double spaces and easy to read (eg Times New Roman) 12 point type; and make sure every page is numbered. Put your name, address and telephone number clearly on the title page, as well as the title of the book, and place a large elastic band around the pages. Don’t staple the pages together and don’t bind your manuscript – agents like to be able to read manuscripts on the train and in bed.
Some agents prefer a synopsis and a few sample chapters first, check with each agent for details before sending anything to them. Place the whole lot in a jiffy bag, and cross your fingers.
These days, some agents read most of their submissions on their Kindle or iPad, make sure to ring or email and ask how they like submissions before you send anything off. Be warned – sometimes you will ring an agent’s office and they will answer the phone themselves. And they may ask you to tell them about your book right then and there. Be prepared! This happened to me once and I was caught completely on the hop. I didn’t have my notes in front of me and I was hideously tongue tied. (In my case it didn’t actually matter – but it could have!)
This is what you will need to send an agent:
A brief, polite and informative covering letter
A brief biog – especially anything exciting or book related. Are you a librarian, bookseller, teacher, bee keeper, lion tamer?
A brief blurb (like you’d find on the back of a book – sell your book to the agent in 3 or 4 lines)
A synopsis of the whole novel – 2 to 3 pages
Character biographies of your main characters – to show you know who they are (I’m not sure if this is standard, but I always do it)
The first few chapters depending on their length – about 30 to 50 pages – ask how many chapters/pages the agent would like to see.
Most agents ask for the first few chapters; if they like them, they will request the entire manuscript. So you’d better make those first few chapters REALLY, REALLY GOOD. Never say in your letter ‘These aren’t the strongest chapters, it does get much better later on’. Never send an extract from the middle of the book.
And finally all agents want career writers, people who want to write lots of books, not just one book. So it’s a good idea to tell them what other book ideas you have, or what other books you have also written.
They want writers they feel they can work with, who are professional, hard working and in control of their work. They want writers who know what they are doing and have confidence in their own work, writers who aren’t afraid of rewrites, who take the business of writing seriously. Is that you?
Why Do I Need an Agent?
People often me ask this and I tell them the following:
The Irish publishing world is quite small and very few writers could survive writing only for the home market. This is where agents come in – to find international publishers for Irish writers, and to sell foreign rights.
There are many reasons why agents are useful:
1/ An agent can advise you on your manuscript and on how to make it more attractive to a publisher. Some of them, like my wonderful agents (I have two agents – in the same agency – one for my children’s books, another for my books for grown-ups) will act as unofficial ‘editors’ to their clients, or can, at the very least, suggest changes or improvements. Many are in fact ex-editors and are highly qualified for this work.
2/ An agent can find the right publisher for your work. Good agents will know what kind of areas particular publishers are looking to publish in at the moment. And they can sell your UK, US and other foreign rights.
3/ Agents deal with the difficult and technical area of contracts. They are also experts in digital rights and ebooks, which is an area that is becoming more and more important for writers.
4/ Money – they can chase up your royalties and talk to your publishers about outstanding monies owed to you.
5/ Good agents make you want to up your game – they make you want to write better books. Which is always a good thing! Ditto good editors – more on that next week.
Agents can be found in the Writers and Artists’ Yearbook. It can take a while for them to get back to you (up to 3 months). It used to be good practice to approach them one at a time, but these days it is perfectly acceptable to approach several at the same time. Of course, if you get an agent, do let other agents you have sent submissions to know, it’s only good manners and you don’t want to waste their time.
There are only a few literary agents in Ireland, the main ones being Jonathan Williams, Faith O’Grady and Marianne Gunn O’Connor (Details below or in the Writers and Artists’ Yearbook as above – or google them). Many Irish authors are with UK agents.
Contact the chosen agent and find out what they would like to see – for some it’s a few chapters, for others it’s the whole manuscript, plus news cuttings, reviews, biog, photo – anything relevant. Even the top agencies are always looking for new talent so don’t be put off by the fact that they represent Cecelia Ahern, JK Rowling or Marian Keyes.
See below for a list of recommended children’s agents and popular fiction agents. And finally I will leave you with some tips from the experienced Irish agent, Faith O’Grady:
Top Tips from Faith O’Grady, Literary Agent at the Lisa Richards Agency
1. Do some research on the literary agency before submitting your work to
find out if they handle your particular genre. It is worth making a brief
phone call or looking up the agency website to find out what their
requirements for submission are. Agencies have different submission policies
so it is worth finding out what they are looking for.
2. Write a cover letter which is clear and concise, giving a brief
description of your book and of yourself. Don’t exaggerate or oversell yourself or the book as this is quite off-putting.
3. Include an sae if you would like your work returned. And don’t expect an
immediate response as most agencies are inundated with unsolicited
manuscripts.
And next week - the final week – we will deal with publishers and self publishing . . .
Who Represents Who?
The Agents Who Represent the Most Successful Irish Children’s Writers (with Contact Details)
Remember to check each agent’s website for submission guidelines before you send anything out. Or ring the agency for details – I know it’s daunting but they are always happy to advise you on how (or if) to submit. Be warned – you may get the agent herself/himself on the phone. Be prepared!
Eoin Colfer is represented by Sophie Hicks.
sophie@edvictor.com
0044 (0) 2073044100
Derek Landy is represented by Michelle Kass
(Who also represents the wonderful Patrick Ness)
office@michellekass.co.uk
0044 (0) 207 74391624
Darren Shan is represented by Christopher Little
Christopher Little Literary Agency
10 Eel Brook Studios
125 Moore Park Road
London SW6 4PS
Tel: +44 (0) 207 736 4455
Fax: +44 (0) 207 736 4490
For general enquiries please email: info@christopherlittle.net
Sarah Webb (moi!) is represented by Philippa Milnes Smith at LAW
Contact: All submissions should be sent, in hard copy, by post to:
LAW, 14 Vernon Street, London, W14 0RJ
www.lawagency.co.uk
Cathy Cassidy is represented by Darley Anderson (Spends a lot of time in Ireland and a lovely woman so I’ve included her!)
Contact: Darley Anderson Literary, TV and Film Agency
Estelle House
11 Eustace Road
London SW6 1JB
Tel: 00 44 (0)20 7385 6652
Fax:00 44 (0)20 7386 5571
Email: enquiries@darleyanderson.com
Judi Curtin and Marita Conlon McKenna are represented by Caroline Sheldon
Contact via:
www.carolinesheldon.co.uk
71 Hillgate Place, London W8 7SS
Other Recommended Children’s Agents:
Julia Churchill
Greenhouse Literary Agency
If you want to make a submission, we take e-queries only, please.
To Julia at submissions@greenhouseliterary.com. Check our submission guidelines on this site for full information before querying. Please note, we no longer accept snail-mail queries or email attachments.
We are sorry that we cannot take (or return) phone queries regarding submissions.
Eve White, Eve White Literary Agency
(represents Andy ‘Mr Gum’ Stanton)
eve@evewhite.co.uk
00 44 (0) 207 6301155
Veronique Baxter at David Higham
Contact: David Higham Associates
5–8 Lower John Street
Golden Square
London W1F 9HA
Switchboard: 00 44 (0)20 7434 5900
Fax: 044 (0)20 7437 1072
E-mail: dha@davidhigham.co.uk
Who Represents Who?
Irish Popular Fiction Writers and Their Agents with Contact Details
Remember to check each agent’s website before you send anything out for submission guidelines.
Maeve Binchy is represented by Christine Green
Contact: 0044 (0) 20 7401 8844
info@christinegreen.co.uk
Christine Green Authors’ Agent
6 Whitehorse Mews
Westminster Bridge Road
London SE1 7QD
Marian Keyes, Cathy Kelly and Monica McInerney are all represented by Jonathan Lloyd (also CEO of Curtis Brown)
Contact: 0044 (0)20 7393 4418
lucia@curtisbrown.co.uk
www.curtisbrown.co.uk
Sheila O’Flanagan is represented by Carole Blake
Contact: Blake Friedmann Literary, Film & TV Agency
122 Arlington Road
London NW1 7HP
Telephone: 00 44 (0)20 7284 0408
Fax: 00 44 (0) 20 7284 0442
email: info@blakefriedmann.co.uk
Cecelia Ahern is represented by Marianne Gunn O’Connor
Marianne also represents Claudia Carroll, Anita Notaro and Sinead Moriarty
Contact: Marianne Gunn O’Connor Literary Agency
Morrison Chambers, Suite 17
32 Nassau Street, Dublin 2
mgoclitagency@eircom.net
Melissa Hill is represented by Sheila Crowley
Sheila also represents Colette Caddle, Emma Hannigan and Sarah Harte
Contact: 00 44 (0)20 7393 4492
crowleyoffice@curtisbrown.co.uk
Sarah Webb is represented by Peta Nightingale at LAW
(LAW also represent Sophie Kinsella – Irish name, but not actually Irish!)
Contact: All submissions should be sent, in hard copy, by post to:
LAW, 14 Vernon Street, London, W14 0RJ
www.lawagency.co.uk
Clare Dowling is represented by Darley Anderson
Contact: Darley Anderson Literary, TV and Film Agency
Estelle House
11 Eustace Road
London SW6 1JB
Tel: 00 44 (0)20 7385 6652
Fax:00 44 (0)20 7386 5571
Email: enquiries@darleyanderson.com
Marita Conlon McKenna is represented by Caroline Sheldon
Contact via:
www.carolinesheldon.co.uk
71 Hillgate Place, London W8 7SS
Patricia Scanlan is represented by Lutyens & Rubenstein Literary Agency
Contact via: www.lutyensrubinstein.co.uk
21 Kensington Park Road, London W11 2EU
Other Recommended Popular Fiction Agents:
Madeleine Buston at Darley Anderson
Contact: Darley Anderson Literary, TV and Film Agency
Estelle House
11 Eustace Road
London SW6 1JB
Tel: 0 44 (0)20 7385 6652
Fax: 0 44 (0)20 7386 5571
Email: enquiries@darleyanderson.com
Lizzie Kremer at David Higham
Contact: David Higham Associates
5–8 Lower John Street
Golden Square
London W1F 9HA
Switchboard: 00 44 (0)20 7434 5900
Fax: 044 (0)20 7437 1072
E-mail: dha@davidhigham.co.uk
Books I’m Looking Forward to in 2012:
Picture Books
Oliver Jeffers has not one but two new titles in 2012 – The New Jumper in the spring, and another picture book in the autumn
Chris Haughton’s Oh, No George is brilliant (out in March) – I’ve seen a proof and loved it. Fantastic vibrant colours and very funny.
Chris Judge also has a new title out – based on a young explorer which is also fantastic. Arthur’s Boat by Polly Dunbar also looks great, and Irish newbie Sheena Dempsey’s debut picture book, Ruby and Oliver looks wonderful.
And finally, The Frank Show by David Mackintosh is also coming in the spring – I love his work and I’m REALLY looking forward to this one.
Younger Readers
More Penny Dreadful by Jo Nadin – Penny is a very, very funny character!
And more Marco the Bear – Marco: Master of Disguise from Gerry Boland – very touching and well written tales about a boy and his friend, a grizzly bear.
Age 9+
More Skulduggery Pleasant of course! Can the Landy do no wrong?
Zom-B by Darren Shan – a brand new series that sounds fantastic
Two more from Judi Curtin – book 2 in her time travel series, Friends Forever and also a brand new Eva book in the autumn I hope. Eva’s Holiday was so funny and warm and sweet.
Summer’s Dream by Cathy Cassidy – out in July – it’s about ballet and I love ballet books. My next Amy Green is called Dancing Daze (out autumn 2012) and is also about dance. Go the ballet girls!
And Soonchild by Russel Hoban is so lyrical and magical - with fantastic illustrations by Alexis Deacon – a really special book.
YA Novels
and from this list, 2012 is an ultra-strong YA year already!
New for 2012
The Hunger Games movie is out in March, so prepare for the onslaught of all things Hunger. And do read the books first – they are fantastic.
I’m not reading any more dystopian novels unless they are highly recommended by a friend in books. Enough with the dystopia already!
A book that I certainly will be reading is The Fault in Our Stars by John Green. He’s a remarkable writer and this sounds wonderful – very punchy and honest – about a teenage girl with cancer. And if you haven’t read it yet, Will Grayson, Will Grayson is amazing too (out and available on Amazon through the US – no Irish or UK edition as yet – I live in hope!).
Wonder by R J Palacino – I’ve heard Wonder-ful things about this one too! It’s about a boy with a disfigured face and is fantastic apparently.
Someone Else’s Life by Katie Dale – how can you face your future when your past is a lie? Sounds great.
Saving Daisy by Phil Earle – more grit and greatness from the super newish writer of Being Billy.
The Catastrophic History of You and Me by Jess Rothenberg – a clever book about a teenage girl who has just died and is looking back over the relationship that literally broke her heart. Nicely written.
Fever by Dee Shulman – I’m reading this at the moment and it’s very clever and readable. It features a modern teenage girl and a teen Roman gladiator. Time travelling historical romance – and it works really well!
The Look by Sophia Bennett – Sophia is the author of the Threads books and this looks smashing – about a teen model and her sister. She writes wonderfully.
Eighteen Kisses by Laura Jane Cassidy – her last one was excellent.
Team Human by Sarah Rees Brennan & Justine Larbalestier – Sounds brilliant – very twisty and cool.
The Treachery of Beautiful Things by Ruth Frances Long – Debut fantasy novel by another Irish author with a fantastic cover.
Cinder by Marissa Meyer – a new series of fairy tales set in the future with feisty female lead roles.
Adult Books (I do read some adult fiction!)
Smart Popular Fiction by Some of My Favourite Authors
Mercy Close by Marian Keyes – another book about the brilliant Walsh sisters, Helen this time. Can’t wait! I’m a huge fan.
And Saved by Cake: Over 80 Ways to Bake Yourself Happy, also by Marian which is coming in February and is all about baking – sounds fantastic too.
I’ve Got Your Number by Sophie Kinsella – I love her writing voice, funny, funny, funny!
The Shoestring Club by Sarah Webb – Yes, my book! I really can’t wait for this one to be published. I’m at that nail biting pre-publication stage at the moment. Out in February in Ireland and September in the UK.
Out Feb 2012
Nine Uses for an Ex-Boyfriend by Sarra Manning – a very witty writer indeed.
A Message to Your Heart by Niamh Greene – This one sounds fantastic – a literary agent’s life goes crazy!
And Finally – Other Novels
The Art of Fielding by Chad Harbach – I adore books about sport, which is odd as I don’t watch or play sport. I sail and kayak, I guess. Does that count? But any sport movie or book, I’m in there! This one is about a college baseball player and sounds fantastic.
There was an interesting conference today in Dublin all about writing classes/workshops which I’ve been following on Twitter. A question came up – why do writers teach creative writing? Is it for the money? Book sales? To find material.
And it got me thinking. Why do I teach?
In fact I was teaching only last night – Writing for Children at the Irish Writer’s Centre. We talked about what makes a good children’s book – unforgettable characters, beautiful writing, a cracking plot, emotion, drama . . . ? We talked about memory and using our past to shape fictional characters. And above all, it was fun. I learned a lot and I hope the other writers did too!
And that’s the main reason I teach: because it’s fun. Writing is a lonely old business, and now and again it’s very healthy to step out from behind the desk and meet ‘real people’. I also teach because I believe in passing things on. I’ve been very lucky in my writing life, many, many people have been very kind and helpful to me. And if I can help someone else, even in a small way, I believe it’s my duty to do so.
I’ve been involved in the book world as a writer and a bookseller for nearly twenty years now, and I like passing on what I know about the business to people who are interested. Plus I adore talking about books, and as most writers are also huge readers, the book chat in workshops is always fascinating.
To answer the question posed on Twitter (and above): I genuinely don’t do it for the money. Depending on the organisation, I don’t always charge for workshops or talks. I don’t do it for book sales – I’m not sure 15 sales (the max number I like to take in a class) would make the slightest bit of difference overall. To find material? If this means being wowed by the amazing people in the class and their life stories, then yes, often they do inspire me. I love meeting new people and, like most writers, I’m always curious about what makes or made them who they are. But their writing doesn’t give me material as such, no. Writers have to find their own obsessions to write about, and my passion for Hungarian ballet probably isn’t your passion for example!
For me the answer really is: I teach because 1/ I have something to share with other writers, and 2/ it’s fun. Teaching children can be the most fun of all, but that’s a blog for another day. Young writers can teach us oldies so much about writing.
Yours in writing,
Sarah XXX
PS The best writing talk I’ve ever heard was given by Patrick Ness who told the audience to ‘write with joy’. If he’s in Dublin again soon, check him out! He’s a remarkable speaker.
Who represents Eoin Colfer? Who is Darren Shan’s agent? Who helped Derek Landy climb to the top?
As this month I have two new children’s books out – Ask Amy Green: Love and Other Drama-ramas (Walker Books) and Sally Go Round the Stars (O’Brien Press), I thought I’d focus on writing for children.
You’ve written a book for children (or teenagers) and you’d like to get it published, so what’s next?
If you are interested in reaching the widest readership possible and giving your work the best possible chance to be successful, you’ll need to find a good agent.
Why do you need an agent? Can’t you just go it alone?
In Ireland we are lucky to have the O’Brien Press where the editors are happy to read unsolicited manuscripts. You can send your book directly to one of their editors. Details of how to do this are here. But most UK publishers do not accept unsolicited manuscripts so you will need to submit your work through an agent.
What does an agent do exactly?
1/ An agent can advise you on your manuscript and on how to make it more attractive to a publisher. Some of them will act as unofficial ‘editors’ to their clients or at the very least can suggest changes or improvements.
2/ An agent can find the right editor or publisher for your work – like a book matchmaker. And they can sell your UK, US, digital and foreign rights. They can also look after any film or television rights.
3/ Agents deal with the difficult and technical area of contracts. This is particularly important at the moment, with ebooks coming to the fore.
4/ Financial back up – they can chase up your royalties and talk to your publishers about outstanding monies owed to you.
One of the biggest mistakes people make when writing for children is not paying enough attention to the age range. Who is your book for? An early reader of 5 to7? A confident reader of 8 to 10? A strong reader of 10 to 13? Your characters/language/themes must be appropriate for and also interest the age you are writing for. Read award winning and bestselling books in the age group you are writing for to get a clear idea of what works best. I’ll come back to this again in another post as it’s so important – you must write for children for the love of it – not because you want to make your fortune. Write because you can’t not write.
And be very aware that these days writing for children means schools visits and events – and a lot of them! If you are not good with children you might need to reconsider.
The very best children’s writers have a child like quality and also remember what it feels like to be a child or teen – to be 4, or 13, or 17.
So back to finding an agent:
My own children’s agent is called Philippa Milnes-Smith from the LAW Agency (details below). She used to be the MD of Puffin, which gives her a brilliant insight into the market and a great eye for what works and doesn’t work in books. I have a different, equally brilliant agent for my adult books (also in LAW).
These days having potential isn’t enough, your manuscript must be as perfect as you can make it before it goes anywhere near an editor – this especially goes for children’s and YA fiction. A good agent can play a vital role in this process.
So to the Good Bit – The Agents Who Represent the Most Successful Irish Children’s Writers (with Contact Details)
Remember to check each agent’s website for submission guidelines before you send anything out. Or ring the agency for details first – I know it’s daunting but they are always happy to advise you on how (or if) to submit. Be warned – you may get the agent herself/himself on the phone. Be prepared!
Eoin Colfer is represented by Sophie Hicks
sophie@edvictor.com
0044 (0) 2073044100
Derek Landy is represented by Michelle
(Who also represents Patrick Ness)
office@michellekass.co.uk
0044 (0) 207 74391624
Darren Shan is represented by Christopher Little
Christopher Little Literary Agency
10 Eel Brook Studios
125 Moore Park Road
London SW6 4PS
Tel: +44 (0) 207 736 4455
Fax: +44 (0) 207 736 4490
For general enquiries please email: info@christopherlittle.net
Sarah Webb is represented by Philippa Milnes Smith at LAW
Contact: All submissions should be sent, in hard copy, by post to:
LAW, 14 Vernon Street, London, W14 0RJ
www.lawagency.co.uk
Cathy Cassidy is represented by Darley Anderson (Spends a lot of time in Ireland and a lovely woman so I’ve included her!)
Contact: Darley Anderson Literary, TV and Film Agency
Estelle House
11 Eustace Road
London SW6 1JB
Tel: 00 44 (0)20 7385 6652
Fax:00 44 (0)20 7386 5571
Email: enquiries@darleyanderson.com
Judi Curtin and Marita Conlon McKenna are both represented by Caroline Sheldon
Contact via:
www.carolinesheldon.co.uk
71 Hillgate Place, London W8 7SS
And finally John Boyne is represented by Simon Trewin
See www.simontrewin.com for details
Other Recommended Children’s Agents:
Julia Churchill
Greenhouse Literary Agency
submissions@greenhouseliterary.com
And note this – Check our submission guidelines on this site for full information before querying. Please note, we no longer accept snail-mail queries or email attachments.
We are sorry that we cannot take (or return) phone queries regarding submissions.
Eve White, Eve White Literary Agency
(represents Andy ‘Mr Gum’ Stanton)
eve@evewhite.co.uk
00 44 (0) 207 6301155
Veronique Baxter at David Higham
Contact: David Higham Associates
5–8 Lower John Street
Golden Square
London W1F 9HA
Switchboard: 00 44 (0)20 7434 5900
Fax: 044 (0)20 7437 1072
E-mail: dha@davidhigham.co.uk
The Mountains to Sea Book Festival has just finished – phew – and I’m back to my desk. I programmed the children’s events this year and had such fun watching the authors in action and helping at their mammoth signings.
Three authors in particular really impressed me. Cathy Cassidy, Darren Shan and Derek Landy. They have such huge respect for their readers and do everything they can to send every reader home with a big smile on her or his face.
My own nephew isn’t a big reader but after Darren’s inspiring event went home and started writing a zombie story. My sister was astonished. Darren read two extracts from his work – one so spooky it made everyone jump in their seats and scream. Then he talked about his life as a writer and took questions from the floor. And then – then! – he signed for 3 hours solid, greeting each young reader with warmth and interest, chatting away to their parents and grandparents. It was a joy to watch.
Cathy Cassidy was equally charming to her long line of fans. She posed for photos, gave out sweets and chocolate, chatted to the girls and asked them questions about Dublin and what…
The Mountains to Sea Book Festival has just finished – phew – and I’m back to my desk. I programmed the children’s events this year and had such fun watching the authors in action and helping at their mammoth signings.
Three authors in particular really impressed me. Cathy Cassidy, Darren Shan and Derek Landy. They have such huge respect for their readers and do everything they can to send every reader home with a big smile on her or his face.
My own nephew isn’t a big reader but after Darren’s inspiring event went home and started writing a zombie story. My sister was astonished. Darren read two extracts from his work – one so spooky it made everyone jump in their seats and scream. Then he talked about his life as a writer and took questions from the floor. And then – then! – he signed for 3 hours solid, greeting each young reader with warmth and interest, chatting away to their parents and grandparents. It was a joy to watch.
Cathy Cassidy was equally charming to her long line of fans. She posed for photos, gave out sweets and chocolate, chatted to the girls and asked them questions about Dublin and what they liked to read. She basically made them all feel really special.
The last event of the festival was a hilarious delve into Derek Landy’s weird and wonderful mind. His fans are something – I spotted lots of Skulduggery T-shirts, several hand-made Skulduggery bags and even a pair of Skulduggery runners. Again, he signed with patience and a big grin, making all his young readers laugh with him.
If a reader arrived with a pile of books, they all signed each and every book. If a child arrived with a grubby piece of paper, that was signed too. Nothing was too much trouble.
It was utterly inspiring and reminded me exactly why I love the children’s book world so much – the writers are just so darned decent and lovely. To a man or woman – the picture book gang, the Irish writers, the UK writers, the Americans (Meg Rosoff and Patrick Ness) – all exceptional people. I’m sure they have their grumpy days like we all do, but they give everything they have to their readers and for that I salute them.
I’m so grateful to them all for making our festival so successful and giving so many readers an experience they will never forget.
We can all learn a lot about how to treat our readers from Cathy, Darren and Derek!
Yours in writing,
Sarah XXX
‘What’s that?’ Charlie says.
We’re taking the short cut home from school, through the wood. It’s dark in here and the mouldy, damp leaves smell like rotten meat.
‘What’s what?’ I ask, stepping over a muddy patch and trying not to get my new white runners even filthier. Mum’s going to have enough of a fit already. It’s not my fault – you can’t play footie with the boys without getting your shoes a bit scuffed.
He lowers his voice. ‘The rustling. I think there’s someone following us.’
A stick breaks and something moves in the bushes behind us. He’s right. There’s someone, or something there. I take a deep breath and swing around. And then I get the shock of my life . . .
I wrote these opening lines for a Bord Gais Writing Competition for children of age 7+. I said yes to doing it because I knew it was something I could do quickly. I don’t know about you, but life’s moving pretty fast these days and I’m struggling a bit to keep up with all my various commitments. But I do everything I can to supporting anything to do with young readers or writers.
The young writers entering this particular competition will be both boys and girls, so I made the two main characters one of each. I gave it a forest setting to make it a little unsettling/different, and ended it abruptly to get them instantly involved in the story, instantly thinking ‘who’s in the bushes? A monster, an alien, a girl from school . . .’.
The young writers can add to the story and make of it what they will – a ghost story, a horror blood fest, a sci fi alien invasion, a unicorn fantasy tale – whatever genre or mash-up of genres they like. It took me roughly five minutes to think up and write, and a future ten minutes to edit and play around with it until I was happy. But here’s the thing – it took me fifteen minutes in total because my mind is trained to think of stories, characters and ‘what ifs’. My writing muscles are reasonably fit and healthy at the moment (wish I could say the same about the rest of me!).
As a writer you have a huge advantage if you are writing fit. When I visit schools I always tell the children – ‘If you want to win the X Factor, you have to practice. If you want to run or hurdle in the Olympics, you have to practice; if you want to be a published writer, you have to . . . practice.’ And it’s true. It amazes me how many people think they can just pick up a pen, scribble down a first draft, and boom, they will be the next Marian Keyes or Jon Banville. I don’t think the average person has any idea how the writing process really works. The hundreds of hours that go into thinking, making notes, writing, rewriting (x 8/10/12 times in the case of most of my books), editing, copy editing.
In The Right to Write, Julia Cameron says ‘Over the long term, writing is a lot like marathon running and, just as a runner suffers withdrawal when unable to run for a day or two, so, too, does a working writer miss his writing work. A certain amount of writing, like a certain amount of miles, keeps the artistic athlete happy and fit. Without this regular regime, tensions build up. Irritability sets in, life becomes somehow far less hospitable. A good writing day rights this again.’
Julia is bang on. Regular writers get very twitchy if they haven’t been at the page enough. The page is their lodestar.
I’ve been a published writer for over fifteen years now, full time for eight. And it has taken me a long time to find a writing routine that suits me, a balance between sitting long hours at my desk, and doing other things that I enjoy – like organising festivals, doing school visits and talks, touring – all which send me back to my desk happy and glad to be writing again. I’m a very sociable person, I like company, and I’m prone to feeling down and alone, so I have to be careful to pepper my writing week with solid, fun human interaction. But I miss my desk if I’m away from it for too long – it’s all about balance.
Each writer has to find their own writing routine. But routine is the key. No practice without routine. No publication without practice and damn hard work, and as Patrick Ness always says ‘writing with joy’ – turning up to the page every day (or as often as you can), and writing as if it’s your last day on earth. And that’s the ‘secret’ of getting published in a nutshell – routine, practice, hard work, joy . . .
So it’s back to the page for me to unleash some of that joy.
Until next week, yours in writing,
Sarah XXX
I was prompted by a feature by Catherine Heaney in today’s The Gloss (The Irish Times magazine) to write about agents. The piece is mainly about Irish agents and I’ve often been asked why I don’t have an Irish agent. I’m represented by Lucas Alexander Whitley, LAW, and in particular Philippa Milnes-Smith and Peta Nightingale. They are based in central London.
Catherine’s piece mentions the Irish agents Faith O’Grady, Marianne Gunn O’Connor and Jonathan Williams who was the first agent in Ireland (he set up in 1986) and last year received over 2,800 submissions. He says ‘the standard hasn’t necessarily improved. I think the sad fact is that there are more people writing than reading.’
Claire Kilroy is also interviewed. She said she went to London to meet with several agents before deciding on Simon Trewin at United Agents. She says ‘I went with the one I felt I could speak most openly to, and who spoke most openly back.’ Simon also represents John Boyne.
Also mentioned are agents Peter Straus (who represents Colm Toibin and Hugo Hamilton), Ivan Mulcahy (Hugo Arnold and Domini Kemp), Ed Victor (Edna O’Brien and John Banville) and Derek Johns (Sebastian Barry and Paul Murray), all based in London.
So why, like many other Irish authors, did I chose an agent based in London?
1/ They represent authors who write for children and for adults (and who write for both). As I write across the age groups, this was important to me.
2/ They have an amazing stable of authors – Sophie Kinsella on the adult side, Chris Riddell and Paul Stewart on the children’s. Not to mention Justin Somper, Linda Chapman, Steve Cole and . . . you get the drift.
3/ Philippa used to be the MD of Puffin Books, London. She knows her stuff. As does Peta.
4/ They were recommended to be by an author I know well and trust. And he very kindly gave me an email intro to Philippa.
5/ They are based in London. My publishers are based in London. A lot of launches, meetings, and book fairs take place in London. It makes sense to have an agent also based in London if you want to make writing your career.
6/ I met Philippa and Peta in person before signing with them and really liked them both. And they keep me on my toes writing-wise. I’m working harder on my writing than I’ve ever worked before. Which is great.
What you need in an agent:
1/ Someone who knows what they are doing in Ireland, the UK and internationally.
2/ Someone who does not gush about your work and your ideas (unless they really are brilliant of course!). You need honesty. You need to be able to rely on their opinion and their opinion needs to be consistent.
3/ Someone you can trust. They will be dealing with your financial affairs after all.
4/ Someone who is in London a lot for business or is based in London. Or if your main market is New York, is based New York. Or someone who is willing to travel to all the major book fairs to sell your work and keep in touch with the larger publishing world.
5/ Someone with a track record of getting good deals for authors. Ask an agent who they represent. This will tell you a lot.
6/ Someone with proven experience in contract law – book contract law – this is a must.
But here’s the thing – it’s very, very hard to find a good agent. They already have a lot of writers on their books. They only take on people they know they can work with and are serious about writing as a career.
The good new is this – if you book is good enough and if you are dedicated to writing in the long term, and if an agent thinks there is a market for your book/books – you will find a good agent. And agents do take on writers who show great potential but haven’t quite got to the publishable stage yet.
So take heart – there is someone out there to represent you.
How to find a good agent:
1/ Ask any authors you know for a recommendation. A caveat – never use their name on a letter to an agent unless they have given you the go ahead to do so.
2/ If you write popular fiction, there are generally acknowledgements at the front or back of the book. This will tell you who the writer’s agent is – as most people thank their agent. Make a list of these agents, find out where they work – what agency – and approach them.
3/ Any up to date Writers and Artists’ Handbook will list agents – check out the websites and they will tell you how to submit. Only submit to agents who deal with your genre/age group. Otherwise you are wasting your time.
4/ Go to How to Get Published talks that agents are speaking at and approach them. Politely of course. Introduce yourself. Ask can you send them your manuscript. If you join Irish Pen (google it), they hold twice yearly getting published events for writers.
5/ Try some newer or up and coming agents. Find this info in The Bookseller magazine – you can find it in your local library – or google it – it has a website and news pages. If you write for children join Children’s Books Ireland and go to some of their events. Ditto Irish Pen. Talk to other writers – find out a little about the publishing world and new agents that way. (As always, the writers who do their homework win in the end!)
And do meet an agent in person if possible before you sign with them. And don’t be afraid to ask them questions. Be yourself but your best self when you meet them! (And yes, it’s nerve wracking – I was very nervous when I met Philippa and Peta for the first time – it’s natural to be nervous!). You need to know you can work together. You don’t have to be best friends, but you do have to get on and like each other!
15% is the standard rate agents charge. And yes, it is worth it. I often hear quibbles about this from (funnily enough) unpublished writers. Good agents earn their money many times over – believe me.
Best of luck finding a good agent!
Yours in writing,
Sarah XXX
