Tag Archives: editors

2014 OWFI Agents, Editors, Publishers Appointments

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If you’re attending OWFI 2014 and are interested in booking an agent/editor/publisher pitch session, Natasha Hanova is your gal.  Feel free to repost and/or tweet if you or someone you know might be interested in this writer’s conference. Thanks!

Please email her at NatashaHanovaOWFI (at) gmail (dot) com with your top two choices to request an appointment or if you have any questions.

Sign up DEADLINE is Monday, April 28.

NOTE: These appointments are only for people who have registered for OWFI 2014. Click here for online registration or download registration.

See you in May!

Here’s a list of attending agents, editors, and publishers. Please be sure to check their websites for current wish lists.

Agents

Susan Brower from the Natasha Kern Literary Agency

I love finding and developing authors and connecting them with the reader.  Book publishing has changed dramatically over the past several years and it’s no secret that the novels that create buzz through their unique writing or concepts are the ones that become bestsellers.  Over the past 25 years in publishing, I have done marketing, editing, story development and acquisitions for Zondervan, a division of Harper Collins Publishers. Most recently, I was Executive Editor and had the privilege of working with New York Times bestselling authors Karen Kingsbury, Tim LaHaye, Stephen L. Carter, and Terri Blackstock and was named ACFW’s Editor of the Year in 2010. And now I am fortunate to partner with Natasha Kern at the Natasha Kern Literary Agency.

I’ve been an avid fiction fan since childhood and love the way stories are able to change lives, heal hearts, and bring joy to readers.   Today, I want to read and acquire women’s contemporary, any kind of romance, suspense, mystery and historical novels.  I would love to discover the next breakaway author in any of these genres.

I am originally from Arizona and now live in Michigan with my hubby, and three furry “kids,” Shep, Ollie, and Pepper.

Susan Bower Agency Website     •     Susan’s Website   

Dawn Michelle Hardy from Serendipity Literary Agency

Dawn Michelle Hardy has been called a “literary lobbyist” by Ebony magazine for her ability to help authors reach their readership using strategic promotions, win awards and garner national and local media attention.

She began her career in publishing in 2002, first as a assistant to a self published turned New York Times Bestselling author, then as an award-winning publicist and author consultant and now as an associate agent with Serendipity Literary Agency led by Regina Brooks.

While actively building her client list, she likes memoirists who can capture a larger narrative through their personal story and strong hook, best-in-class professionals in a variety of fields, the relatively unknown that has unique and incomparable life experiences, and the music, sports and pop culture enthusiasts with a ‘hip’ idea from an untold vantage point.

Her client list is diverse ranging from a veteran entertainment writer, to a single mother, to a Washington Post award winning sports journalist. Her first acquisitions as agent included a biography on the Grammy winning pop-star Nicki Minaj (Hip-Pop Moments for Life by Isoul Harris), a previously self published memoir that garned SyFy Channel docu-series fame (Forgotten Burial: A Restless Spirit’s Plea from Beyond the Grave by Jodi Foster) and a forthcoming narrative inspired by the #2 most shared news story in 2013 on NBA 16-time Allstar Allen Iverson.

As an agent she is continuously seeking acquisitions for platform driven general interest narratives that can spark debate and heavy conversation. She welcomes the process of collaborating with editors and authors on topics in the area of sports, pop culture, blog and trend, music, lifestyle and social science.

Dawn on Twitter  

Amanda Luedeke  from the Chip MacGregor Literary Agency

Amanda was a 2006 graduate of the acclaimed Professional Writing program at Taylor University Fort Wayne. Since college, she’s made her living as a writer, working as a freelancer for local newspapers and marketing companies, while operating her own writing business.

Her love for writing and her ability to think strategically landed her a full time job in marketing at an agency in Fort Wayne, Indiana. Since starting there in 2008, Amanda has written web and print copy for Vera Bradley, Baekgaard, Brecks and Peg Perego. She’s also assisted in marketing strategy for these companies, conducting research, launching social media sites and proposing and working on major projects targeted at the online consumer.

Yes, she knows … she’s one of those people.

She met Chip at an author signing in Barnes and Noble in 2008. After realizing they had a commonality in Taylor University, one thing led to another, and before she knew it, she was helping him with projects, research, and all the little stuff she now assumes he just didn’t feel like doing. Shortly after, Amanda was hired on as Chip’s Assistant.

On board as an Agent since 2010, Amanda brings unique interests to the MacGregor Literary team. She represents general market and CBA projects, and her areas of interest include nonfiction, literary fiction, women’s fiction (all types except historical romance), paranormal and speculative fiction (including steampunk, fantasy, etc), YA, middle grade fiction, and twenty-something/post college-aged hip lit (think Joe Meno, Brett McCracken, Brad Land, JD Salinger).

Having lived all over the Midwest, from Iowa to Minnesota to Illinois, Amanda considers the Chicago suburbs to be ‘home’, though she’s currently settled in Fort Wayne, Indiana, with her husband, Tad.

Amanda on Facebook     •     Amanda on Twitter

 Maria Vicente from the P.S. Literary Agency

Maria Vicente is an associate agent at P.S. Literary Agency. She is a creative and editorial agent, providing support to her clients through all stages of the writing and publication process. Maria is dedicated to managing authors’ literary brands for the duration of their careers.

Her reading preferences vary across categories and genres, which is reflected in her client list. She is actively looking for literary and commercial fiction, young adult, middle grade, illustrated picture books, and nonfiction projects in the pop culture, pop psychology, design, and lifestyle categories. She has affinities for literary writing, strong character development, and original storytelling formats.

Maria’s publishing career began as an intern with Bree Ogden at D4EO Literary Agency. She also interned at P.S. Literary before joining the agency as an associate agent. Maria has a B.A. in English Literature from Carleton University, a Bachelor of Education from The University of Western Ontario, and many years of experience editing and designing literary magazines. She is currently an editor for Underneath the Juniper Tree, a literary/art horror magazine for children.

Her blog, I Believe in Story (ibelieveinstory.com), features book reviews, advice for writers, publishing industry articles, and lifestyle posts inspired by literature. You can find Maria on Twitter at @MsMariaVicente.

Editors

Mari Farthing

Mari Farthing is a writer and editor with over 20 years of practical experience in private industry, government, media and publishing. Mari has worked with writers on technical documentation, procedural manuals, memoir, children’s fiction (middle grade, young adult), women’s fiction, suspense and horror.

Mari on Twitter     •     Mari on Facebook

Mary-Theresa Hussey

Mary-Theresa has been at Harlequin for nearly a quarter century—but it certainly doesn’t feel that way.

As an executive editor for Harlequin Books, she is surrounded by fantastic stories, terrific colleagues and has had the pleasure of working on thousands of entertaining, enlightening and exciting novels.

Mary-Theresa—sometimes known as Matrice—works with authors on both series and single title imprints, and is always eager to talk about books.

Publishers

Rhonda PendersRhonda Penders from Wild Rose Press

Rhonda Pender is President and co-founder of The Wild Rose Press, a publishing company that publishes books electronically and in print.  The company began in May 2006 and is home to over 1600 titles and 500 authors. The Wild Rose Press began as a romance only publishing house but in 2013 opened its submissions to other genres of fiction including erotica, women’s fiction, mystery and suspense including thrillers, and historical fiction.

TWRP prides itself on never issuing form rejection letters and on being a kinder and gentler publishing house.  Their web site, which is referred to as “the garden”, is truly a community garden where everyone feels as if they have a part in its growth.  Writers, authors, readers and editors come together in chats, loops, blogs, and email to discuss ideas, thoughts, concerns and plans for growing the company.  The editors and the owners are completely accessible to their writers. Currently they are accepting submissions in all lines and all lengths.  All submissions should be made electronically and specific guidelines can be found on their website at http://www.thewildrosepress.com.

Vivian Zabel from 4RV Publishing

Vivian Zabel has a degree in English and speech. She taught in public schools for 27 years, covering such subjects as English, composition, writing, yearbook newspaper, literary magazine, drama, debate adn speech. Vivian has published short stories, articles and poetry until she retired from teaching, and now has 7 published books. Vivian is the founder and president of 4RV publishing, a traditional, royalties-paying publishing house with over 75 authors, including many OWFI members.

Vivian’s Blog     •     Vivian’s Website

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Friends Don’t Let Friends Write Under the Influence

IMG_0870A young friend of mine is in one of life’s worst situations through no fault of her own. She must make a heart wrenching decision, and it is her’s to make. If you’ve lived long enough, you know that people scurry out of the woodwork to tell you what to do. Often well-meaning, but not always, these ‘it’s the best thing’ advice givers serve only to wreak havoc unnecessarily. This is no ones  business and no one else can or should help her. The words “butt out” come to mind.

While I was in grad school, we had a professor who ranted against this same mind-set in writing, only it is in our heads, set in place by a society full of rules and judgments. I can’t write this or say that because it might offend this group or that group. What if it lands my book on a banned book list? By the way, have you seen those lists? Some impressive books are on it. We would be hard pressed to find our books in better company.

The problem is we allow societal standards and norms to dictate to us as we write. This is what I call writing under the influence. It’s the worst for a writer. Beyond hindering creativity, it skews reality. If you want your fiction to reflect our daily lives, then it better be messy and chaotic and yes, offensive to others. Because that’s what life in a free country is all about.

This guy smokes and it offends me, I can cuss like a sailor and it offends this lady, a woman over here prays and it offends the atheist, who offends the Muslim, who offends the…you get the point. Life here is not pretty and dainty. If your writing is, no one will buy it except maybe someone who lives in a bubble. Our fiction must have some basis in reality. Therefore, you must write with all your flaws exposed, unfettered by that judging muse on the shoulder telling you to stop.

It’s important never to fall victim to the ‘what if this offends’ question. This is where your writer friends come in. Friends, don’t let friends write under the influence. Ever. If that nasty judgmental muse is sitting on your shoulder telling you that you can’t have a gay character because the Bible Belt won’t read your book, call your friends for an intervention. And let me know when your book comes out. I live in the Bible Belt. I’ll help you promote it.

That professor? Pope Brock. If you haven’t read his books, you should.

Have you ever written under the influence? How do you handle it?

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The Sweet Hereafter

A conference brings this storm swell of creative juices, and you’ll return home convinced that you are ready to conquer anything publishing throws your way. That glow will last if you’re lucky, 24 hours. A part of every conference prep should include planning for a return from the wonderful world of nothing but writers and writing to that world of diapers, bottles, teenage drivers and angst, or cranky hubbies. Whatever your daily world encompasses, it’s all waiting for you when you leave that sheltered world of the “conference”.

The first thing you need to do is prepare yourself emotionally for this return to your ‘normal world’ as Christopher Vogler describes it in The Writer’s Journey. My critique group has done this and we’ve learned new things every time. Here are suggestions for returning from the conference:

1. Hit the ground running when you get home by making time to email the contacts you made at the conference. Don’t wait. Don’t give them or yourself time to forget. If you followed advice, you wrote something memorable on the back of the business cards you collected.

2. Share what you learned. If you have a local group of writers you work with, share what you learned with them. If not, use your blog or website as a host for educating others about Oklahoma Writer’s Federation, Inc. (or your conference) and writing. If your entire group attended (as our group does), it is always a good idea to debrief after conferences. Go over what went well, what didn’t, what inspired you, what frustrated you, etc. As a group, we attend different sessions to maximize our attendance, then we share what we learned with each other.

3. When you enjoy a conference and find it worthwhile, spread the word! Let others in on what’s worthwhile about it. Give them publicity. We’re all in this together so help each other out.

4. We have a new goal for this conference. Since this is our third year, we wanted to do something special. Stay tuned to the Novel Clique blog for interviews with writer attendees at OWFI 2012.

5. Final evaluation: upon returning you need to do a final run down of the experience. Was the conference a good one for you? Just as you did when selecting a conference return to those important questions:

a. Location: Was the location good for you? Price certainly feeds into this these days because of the price of gas.

b. Genre: Did you find the things you needed for what you write? Were there agents who represent what you write?

c. Price: Consider the costs of everything from travel to hotel to food to cost of the conference. Was it cost-effective for you?

d. Presenters: Were the presenters good? Were they speaking about things of importance to you as a writer? Did you return with more than you left home with?

Once you’ve answered those questions you’ll know whether you want to attend that conference again or not. For us, after attending OWFI, all those answers were good ones.

What do you want to return from a conference having accomplished?

Be sure to check out Natasha’s post on what to do before the conference and Leatrice’s upcoming post on what to do during.

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Retreat Activity on Steroids

My critique group took a short retreat last weekend to a casino. No, we didn’t gamble. We didn’t even drink. Our full focus was on writing. We gathered in our (gratis) room and buckled down. I had purchased The First Five Pages by Noah Lukeman, and he made me an instant fan. Eventually everyone bought the book so we decided when we took this excursion, we’d bring the book and work on the exercises he provides.

Everyone brought the first five pages of a WIP and Lukeman’s book, and we set to work. Our group is highly disciplined, but in this setting I didn’t expect that we would accomplish as much as we hoped. So much for low expectations. We nearly completed the book selecting the exercises possible in the limited time we had. (One exercise called for four hours which we knew would need to wait for another time.)

Noah’s book offers some advice that will strike the experienced writer as, “Well, duh.” However, even experienced writers make beginner mistakes in first drafts. It never hurts to remind yourself what you’re looking for when you go to revise. It also offers advice that writers wouldn’t know because they aren’t privy to the mindset of editors and agents.

Lukeman walks the walk in his book by keeping it short and concise. He makes his points and moves on. He covers everything from submission problems like presentation to big picture problems like characterization and pacing. He addresses common problems with language like clichés and excessive reliance on adjectives and adverbs. Through it all the tone is that of a professor who wants his student to succeed but won’t tolerate any skating on the important things. And, he reminds us, it’s all important.

For anyone on the submission track this is a must read. Take it seriously by keeping it close at hand when you’re working on your manuscript. Your future agent will thank you.

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One Stop Shopping

Ask anyone who knows me, and they’ll tell you I defy the female stereotype. I HATE shopping. I’ll schedule doctor and dental visits to avoid shopping trips. Because of this I have made an art of efficiency with shopping just so I have to do it less.

Research can be a little like shopping. It can take over your writing time and before you know it you’ve lost hours to the internet. This site might help with that. It’s a one stop shopping trip for writer’s. This blogger has put together blogs on just about every topic you could possibly want. So, check it out. Maybe the time you save will allow you a little shopping  trip of your own. If you’re so inclined, that is. 🙂

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Hooked, Chpt. 2

By Les Edgerton

“The opening scene should be relatively short – a good working length would be one to four pages – so it’s important to be concise and make the language work in more than one way”(36). I read this with confidence. After all, I began my writing career writing short (50 minute plays) pieces. I cut my teeth on concision so surely I had done this well. Of course, along with this we need to include those ten components also. Hmm. I printed out my first chapter of the YA. It’s a short 2.5 pages. Let’s see how I did.

Ten components:

Inciting incident: Thanks to Les, I think this is good.

Story-worthy problem: Yup, feeling good about this, too.

Initial Surface Problem: Oh, yeah. It’s there. I’m on a roll.

The Set up: Think this is in place also.

It’s looking good, right? We’ll ignore that, other shoe’s about to drop feeling I’m having.

Backstory: A personal bugaboo of mine. I’ve done well on this. Included just a hint of backstory that is essential to the plot and foreshadowing. Oops, that’s later.

The Opening line: Thud. That’s the other shoe. I have short stories with great opening lines. But my novel does not have a great opening line. And I’m not really sure how to fix it given that she opens in the middle of present tense action. I’ve boxed myself in a corner on that one. Ugh. Les offered great suggestions on this one. So, I’m off to fix it.

Language: I’ve spent more time on the first chapter than I have on any other one chapter. It’s truly gotten the work out. It’s not perfect, but it’s getting there.

Character Introduction: I introduce Ginny, the main character,  but not the antagonist. However, there is the suggestion of one. In the first chapter Ginny refers to the kidnappings so we know there is a bad guy out there somewhere…possibly enough? Hmm. Think on that one.

Setting: In grad school they referred to me as a minimalist. I think some considered it an insult, but I didn’t take it that way. I like to read minimalist fiction so it makes sense I’d write that way. I don’t like fluff in life, and I don’t want it in my writing. However, the other side of that coin, is being too minimalist. I have to ground the reader in this place called Layton. It doesn’t happen in the first scene, but I do ground them in Ginny’s house…well, maybe that could use some work, too.

Foreshadowing: See Backstory above. I love the foreshadowing thing.

I can see that in spite of my repeated work on the first chapter, it’s still  not ready. Sigh. Back to the keyboard for me.

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Hooked, Again

By Les Edgerton

End of the quarter is behind me, and I’m back to Les’ book, Hooked. I’ve been struggling with the rewrites of my young adult novel, On the Run. I’m confident I’ve started it in the right place (in the middle of the action). I’ve gotten good feed back on that. However, Les said something that I think may be part of my tweaking of this early part of my book. “When the opening scene ends (in disaster), the sequel begins with the character’s emotional reaction, going from that emotion to the intellectual portion of the mind, where a new action is formulated. A new scene begins as soon as the character begins to implement that action” (Edgerton 19).

Epiphany! Ginny, my protagonist, definitely has the emotional reaction – although, I think I can do that better also – but I don’t have her formulate a plan of action. She needs to do that before I place the next obstacle in her path. I’ve been stymied with my rewrites for about six weeks. I’ve blamed it on workload, family crises, and a host of other things. Deep down I knew I just needed to reload. That’s why I picked up this book which I’d read a lot about. It’s exciting to have it paying off this quickly into revising my key opening scene.

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