Tag Archives: COGO2014 Guest Interviews

An Interview with Shannon Hassan, Literary Agent with Marsal Lyon Literary Agency

shannonhassan“Shannon Hassan, an agent at the Marsal Lyon Literary Agency, brings a depth of business and editorial experience to her role, having worked in publishing and law for more than a decade. She represents authors of upmarket and literary fiction, young adult and middle grade fiction, and select nonfiction. She is drawn to fresh voices, compelling characters, and crisp prose, and she enjoys both contemporary and historical settings. Based in Boulder, Colorado, she is also eager to hear from authors with a unique perspective on the New West. She does not generally represent genre fiction in the areas of horror, sci fi, or epic fantasy for adults. Before becoming an agent, Shannon was the Acquisitions Editor at Fulcrum Publishing, and prior to that a corporate attorney at Arnold and Porter in New York. She received her JD from Harvard and her BA from George Washington University.”

Pat: Shannon, thank you so much for allowing us to ask you a few questions. We’re hoping conference attendees will benefit from these interviews and that potential attendees will click that “Register here” button.

You’ve had a varied career, not only in publishing but also in corporate law. What lured you away from the legal field and led you to becoming a literary agent?

Shannon: I followed my passion into publishing, and couldn’t be happier working with authors and helping them achieve their publishing goals. Becoming an agent was good a fit for me because it combines the editorial skills and business experience I’ve gained over the years.

Pat: You joined the Marsal Lyon Agency in late 2013, but it looks as though you’ve jumped into your new position with great energy and enthusiasm. You have at least five conferences or major book events scheduled this year. What do you like most about attending conferences?

Shannon: The best part about conferences is the chance to get to know so many great people who share a love for books and publishing– authors, editors, and other agents alike. Not only have I found terrific new authors, I have also made new (or deeper) connections with others in the industry. I also love the relaxed environment that conferences offer. I just went hiking with an editor at my last conference—what a fun way to get to know someone!

Pat: Writers get a lot of advice about how to deliver elevator pitches, but I’m not sure agents enjoy that process very much. When a writer meets you on the elevator (and gets past the initial shock of suddenly being face-to-face with the very agent she wants to meet), should she avoid mentioning her novel and offer to buy you a drink instead? Could you talk a bit about those accidental meetings and how a writer can be professional but still get your attention?

Shannon: I don’t mind accidental/unscheduled meetings at all, as I enjoy getting to know new writers. I would just recommend that a writer try to read the situation before diving in. In other words, does the agent seem open to chatting? Maybe introduce yourself and start a conversation. Or is the agent rushing to an event, or on the way to the bathroom? Maybe not the best time!

Pat: When you participate in those 8 to 12 minute pitch sessions at conferences, what do you consider a great—and hopefully for the author, successful—session? What makes you uncomfortable? Do you have a “worst pitch appointment ever” anecdote for us?

Shannon: Be able to describe your book succinctly. Know your genre and target audience and have some similar “comp” titles in mind. Also, have a few general questions about your work and/or the publishing process prepared in advance. That way, in case your project isn’t sounding like a fit for the agent for whatever reason, at least you are making good use of your time together.

In terms of what NOT to do—well, don’t start off by comparing yourself to Shakespeare or other luminaries (This has actually happened to me). And I personally don’t like to receive pitches for multiple projects—choose your strongest idea.

Overall I’d say just try to relax and make it a conversation– it’s about trying to connect with the agent, not about delivering the most perfect pitch since the dawn of time.

Pat: If an author has successfully pitched his project to you at Colorado Gold, and you’ve requested at least a synopsis and three chapters, how soon would you expect to receive the submission? Can you pin down the top three qualities in that submission that would prompt you to ask for the full manuscript?

Shannon: I don’t have an expected timeline and would hate to see someone rush to send me a submission that is not ready. It is an opportunity—take your time, and do it right. And then when you do send it, make sure to remind me in the subject line that we met at Colorado Gold and I requested these pages.

As to the top three qualities that I look for: (1) exceptional writing, (2) compelling characters, (3) a strong hook.

Pat: Would you tell us about a few of the authors’ books you represent and those you expect to see released in the next few months? We’d love to hear about the projects that get you most excited.

Shannon: I’m excited about a lot of things! I just saw the cover mock-up (always fun!) of THE AFTERLIFE ACADEMY, a funny, imaginative middle grade novel by Frank Cole, coming out by Penguin Random House next year. I’m also looking forward to the September launch of VISION, a gripping YA suspense by critically acclaimed YA author Lisa Amowitz. On the adult side, I am excited about the recent sales of MOON IN THE PALACE, a page-turning historical series by debut author Weina Randel, and ALMOST ANYWHERE, an exquisite memoir by award-winning conservationist and photographer Krista Schlyer.

Pat: What genres do you represent? What genres do you read for fun (assuming you do occasionally have time to read for fun)?

Shannon: I am looking for upmarket and literary fiction, and fresh-voiced YA and MG fiction. I am most interested in smart, character-driven stories that straddle the line between literary and commercial, and enjoy both contemporary and historical settings. You can read more about my background and interests at the agency website.

Pat: You are based in Boulder, Colorado. That seems very logical to me because we have an amazing number of outstanding writers in this state. Others wonder if that puts you at a disadvantage when trying to place your authors’ books with New York Publishers. How do you deal with that distance issue? Do you miss living in the big city?

Shannon: No, I don’t find the distance to be an issue. I used to live in NYC and I go there quite often (I went twice last month!) and stay in good touch with editors there. Not to mention that there are also terrific publishers that aren’t based in New York. I do occasionally miss the energy of living in a big city and my friends there, but after a few days of getting my “city fix,” I am ready for a long bike ride or hike in the foothills.

Pat: Finally, and way off the subject of writing and getting published, would you tell us something fun about yourself that most people don’t know?

Shannon: I love to travel. My family (husband and ten-year-old twins) have been all over South America, including Patagonia and Easter Island, and to parts of Asia. More on the horizon I hope!

Thank you so much for taking the time to respond to our questions, Shannon. We’ll be looking forward to meeting you at Colorado Gold.

Thanks for the interview Pat. I have heard such great things about Colorado Gold and I am really looking forward to it!

An Interview with Literary Associate Elizabeth Copps

Interview by Janet Fogg (We’re simul-publishing Janet’s interview with Chiseled in Rock blog)

Elizabeth CoppsToday, I have the pleasure of interviewing Elizabeth Copps, Literary Associate with the Maria Carvainis Agency, Inc.

Elizabeth began her publishing career in 2010 as an MCA intern after graduating from Florida State University with a BA in English Literature. She was thrilled to join the agency full-time in 2011 as the new literary assistant. Two years later, she was offered the position of literary associate and is incredibly excited to build her own list of authors.

Elizabeth considers herself an eclectic reader, but she is particularly interested in literary, multicultural and contemporary fiction, women’s fiction, young adult and young adult crossover, gritty thrillers and mysteries, memoir and romantic suspense. She appreciates rich and believable characters who immediately draw readers into their world, and she is always captivated by a startling plot twist. Her favorite authors include, John Boyne, Chris Cleave, Gillian Flynn, John Green, Joanne Harris, Jhumpa Lahiri, Dennis Lehane, Stephen King, Daphne du Maurier, David Sedaris, Jeanette Walls, and Carlos Ruiz Zafón.

MCA’s clients include Mary Balogh, Sandra Brown, Candace Camp, Cindy Gerard, Kristan Higgins, Will Thomas, and Laura Wright among others.

Thank you for joining us, Elizabeth!

JF: Please tell us about your typical work day (and how many manuscripts you usually have waiting in your inbox).

EC: Our solicited manuscript log is ongoing, so I have a lot to sift through every day. I usually read between 5 and 10 manuscripts a week depending on whether I am reading partial or full projects. Regarding query letters—the agency usually receives between 20 and 25 letters a day. We try our best to respond to every query within 10 business days of receipt.

JF: What gets you excited in a query letter? Do you have any pet peeves when it comes to submissions?

EC: Queries that read similarly to a blurb on the back of a book always make me sit up and take notice. I love tight, witty language. Additionally, I want to be hooked by a story’s concept from the first sentence or two of the pitch—but fascinating and unusual characters appeal to me as equally as an intriguing plot.

As far as pet peeves are concerned, I have three biggies:
1. Failing to research our agency’s submission guidelines. It’s clear to me when authors have not done their due diligence. Query letters that are not personalized, or queries with 30 other agents copied on the same email are giveaways.

2. Providing biographical information before describing the writing project. I’m very interested in hearing about a writer’s credentials or reading a short biography, but a writer’s first job is to sell me on their book.

3. Starting with an excerpt of the novel instead of a formal pitch. I appreciate receiving 10-15 sample pages in a separate attachment so I can get a sense of the writing, but it is disorienting to begin reading a sample without any context.

JF: Certain agents edit a manuscript prior to shopping it to editors. Others don’t. How would you describe your process?

EC: Providing our authors strong editorial feedback is a service we pride ourselves on at MCA. We want the best, most polished version of our client’s work to land on an editor’s desk.

JF: What do you enjoy most about representing authors to the publishing industry? Least?

EC: In publishing, I really do feel like I get to have my cake and eat it too. I have the privilege of working with highly creative minds as well as impressively business-savvy men and women. I love that I’m in a position where the two sides of the industry merge.

The most unenjoyable aspect of the business has to be sending rejection letters. It’s a necessity, but it can be really difficult. Agents receive rejection letters too, so I know that it is never a good feeling to see one pop up in your inbox.

JF: Which social media venues do you consider most important for authors: a website, a blog, Twitter, Facebook, or Goodreads? Are there others you recommend?

EC: Knowing their way around all types of social media platforms can only benefit authors, especially those who are hybrid or self-published writers. I will say that I believe having a strong website is a necessary foundation for any writer. A website should contain links to an author’s Facebook, Twitter, blog etc. as well as the option to sign up for a weekly or monthly newsletter. Play to your strengths. For example, if you know you can keep up a Twitter account, do so. If you know you hate Facebook and will rarely post, you won’t do yourself or your readers any favors by starting up an account.

JF: What one piece of advice would you offer to authors who plan to pitch their novel to you at Colorado Gold?

EC: Have fun with it! Tell me why you’re passionate about the book you wrote. If I can see how enthusiastic you are about the characters and the plot, chances are I’ll be excited to read your work too.

JF: What do you do for fun when you’re not working?

EC: I’m a big foodie, and I should probably make my motto something along the lines of, “no cookie left behind.” I also have a serious travel bug. This year I am lucky enough to be doing quite a bit of domestic travel for business. Louisiana, Texas, Tennessee and of course Colorado are on the docket thus far for 2014.

JF: Now I would like to ask an off-track question. What did you dream of doing when you were twelve years old?

EC: I was convinced that I was going to be a famous painter. The best afterschool class my mom ever enrolled me in was called “Art Safari.” The classroom was in a converted warehouse, and the teacher filled it floor to ceiling with every art supply imaginable. The first day I walked in she looked at me and said, “Create!” It was pretty magical.

Thank you, Elizabeth!

You can visit http://mariacarvainisagency.com/ for submission guidelines, or meet with Elizabeth in Denver when she joins us at the Rocky Mountain Fiction Writer’s Colorado Gold Conference, September 5-7, 2014.

~~~~~~~~~~~~~~~~~~~~~~~~~

Janet Fogg by Aspen copyJanet Fogg’s focus on novel-length fiction began when she was CFO and Managing Principal of OZ Architecture, one of Colorado’s largest (and coolest!) architectural firms. Fifteen writing awards later Janet resigned from OZ to follow the yellow brick road, and Soliloquy, a HOLT Medallion Award of Merit winner, was released by The Wild Rose Press in 2009. Fogg in the Cockpit, co-authored by Janet and her husband Richard, was released worldwide in 2011 by Casemate Publishing. This Military Book Club best seller received a 2013 Air Force Historical Foundation nomination for best WWII book reviewed in Air Power History. Janet served on RMFW’s 2010 Board of Directors as PAL Liaison. You can visit Janet at her website.

Look Who’s Coming to Colorado Gold: Matthew Martz, Crooked Lane Books

MattMartzMatt Martz began his publishing career in 2004 and joined Crooked Lane Books / Quick Brown Fox & Company in 2014 after 8 years on the editorial staff at St. Martin’s Press and Minotaur Books. He publishes crime fiction ranging from traditional mysteries to high concept thrillers. The authors with whom he has worked include Los Angeles Times Book Prize finalist Kelli Stanley and Barry Award nominee Tim O’Mara.

Pat: Matt, thank you so much taking the time to answer a few questions for us prior to the Colorado Gold Conference. Hopefully these interviews will help conference attendees select the best agent or editor for their pitches or critique workshops (and persuade a lot of potential attendees to join us in September).

Will this be the first time you’ve attended Colorado Gold? What’s your favorite part of the conference experience?

Matt: Happy to. This will be my first time attending Colorado Gold, and I’m really looking forward to it. My favorite part of the conference experience is meeting with new authors and helping them both in terms of their writing as well as their understanding of the publishing industry, which can be a little less than intuitive at times. I also enjoy hearing ideas from other professionals. There are number of talented people out there, and getting their insights on the business can be invaluable.

Pat: Would you tell us all about Quick Brown Fox & Company? Is it a new venture? Is it part of St. Martin’s Press or a completely separate company? With no specific website presence, how does The Quick Brown Fox find great authors and crime novels?

Matt: Quick Brown Fox & Co. is a new venture. It is a publishing startup with a terrific marketing affiliation with Bookspan. Bookspan is the owner of the country’s premier book clubs, including Book-of-the-Month, Doubleday, Literary Guild, and, of course, Mystery Guild, among others. We have tremendous resources to help readers discover new authors and launch careers. The focus of our first imprint Crooked Lane Books will be on crime fiction. The titles we will publish range from high concept thrillers to traditional mysteries and domestic suspense. While our website is not up as I’m writing, it will be up by mid-July (2014). In fact, I’ll be working on that this afternoon.

Pat: Please tell us a little about your background and what led you to join the world of publishing.

Matt: Whenever I’m asked how I came to a publishing career, I normally say that it was a combination of a misspent youth followed by an over-education in a field with questionable employment prospects. You’ll be amazed how well this summary covers most publishing professionals… or at least editors. My misspent youth was spent reading too many books, which led to a graduate program in creative writing. From there I took a job with Minotaur Books where I fell for crime fiction. The combination of top-notch writing and gripping plots made it the perfect home for me, not to mention plenty of readers.

Pat: What do you think of the whole concept of authors pitching to an agent or editor in ten minutes or less? Is there anything a writer can do during one of these sessions to make you more interested in seeing his work? Anything that’s an immediate turnoff?

Matt: The concept of trying to pitch a book in 10 minutes or less is hard, and it seems a little silly at this stage, but is important and necessary. In many ways, the publishing industry works like a game of telephone. The author tells the agent about a book. The agent passes the message onto the editor. The editor passes the message onto marketing, publicity, subrights, and sales who then pass it on to reviewers, bookstores, foreign publishers, and readers. Having a succinct and engaging message is very important.

When presenting a book, writers want to make sure that the editor understands why the book is worth reading, that writer is the right person to write the book, and the writer is the right person to present the book.

Less is more. Let the editors and agents know how you open the book, give them some idea whom the characters are, and give them a surprising twist or conflict. Stay away from running down the whole plot. And if you’re fortunate enough to have an agent or editor ask to see more of your work, give them whatever they want and then get heck out of there. Don’t sell past the close.

Pat: The conference schedule says you’ll be conducting one of the Agent/Editor Morning Critique Workshops. Many of our members have found their agent or publisher this way, so they’re very popular. What do you hope to see among the writing submissions (any particular sub-genre, a story line you’ve been hoping for, historical time period, or even a specific type of character)?

Matt: My focus is on crime fiction. That is a very broad genre, which is one of the main reasons why I love working in it. While I want to see terrific writing and a plot that moves, I also want to see manuscripts that fit into a recognizable subgenre. If a writer is working on a traditional, I want to see that charm, wit or puzzle on every page. If it’s a thriller, I want a fast opening and a high concept worth thinking about. If it’s a suspense novel, then I want to see that family under siege, and I want the book to tug on my heartstrings. More than anything else, I want to see writers who understand the genre they’re writing in and the readers that they’re trying to reach. Writers who can do that would find a very happy home with us.

Pat: How does a writer submit queries or partials to The Quick Brown Fox & Company? Are you open to unagented submissions from writers you haven’t met at conference?

Matt: Unfortunately, due to the quantity of submissions that we receive from agents, referred by writers we know, or manuscripts we solicit, we do not accept unsolicited manuscripts at this time. My advice is to find me during the conference and hit me with a pitch. That’s what I’m there for, so please don’t be shy.

Pat: Crime fiction covers a very broad range from cozy mystery to international thriller. What specific sub-genres do you prefer, both for personal reading and for potential publication?

Matt: My personal reading is broad, and I make a conscious effort to make sure that my tastes do not get in the way of what readers are looking for. Sometimes what an editor likes can blind them to what others like. We read a lot more books than the vast majority of the audience. For the most part, that’s a good thing but not always.

I may have answered this question to a certain extent a little earlier in this interview. I’m not interested in particular subgenre so much as I’m interested in writers who clearly understand the rules of their subgenre. Crime fiction has quite a few rules, which makes for some excellent writing. Authors who know how to give the readers the type of experience that they’re looking for are authors who will have long careers.

Pat: You keep a very low profile online, Matt. As a consolation prize for doing a lot of research with no good results, would you reveal something about yourself that will make us laugh?

Matt: I wish I could, but it’s against the rules of the witness protection program.

Pat:  That works! I laughed.

Thanks again, Matt. We appreciate your participation in our Colorado Gold Interview Project. We’re looking forward to meeting you in September.

How to find all those Colorado Gold agent/editor/speaker interviews

Our regular blog contributors and guests have been busy interviewing the agents, editors, and speakers who will attend the Colorado Gold Conference in Westminster September 5-7.

We’re trying to make it as easy as possible for you to find and read those interviews. On the day they post, we put the link on the Rocky Mountain Fiction Writers Facebook page and the RMFW Google+ page. The link usually gets tweeted a couple of times as well.

On the home page of the RMFW website, there’s a link to the interview list. The link is called 2014 Conference Guest Interviews. That link takes you to a concise list of the published posts with an individual link to each.

Additional interviews scheduled so far include Elizabeth Copps on Tuesday, July 15th. We’ll have more on the schedule soon.

Meanwhile, you can go to the 2014 Conference Guest Interview page to view the ten interviews published so far.

Interview with Jessica Renheim, Associate Editor of Dutton/Penguin Group

Interview originally published at Chiseled in Rock blog by Dave Jackson on June 4, 2014.

Rocky Mountain Fiction Writers is pleased to welcome Jessica Renheim to the Colorado Gold Conference September 5th through the 7th.

jessicarenheimJess joined Dutton in 2007 and has been there ever since. She edits both fiction and nonfiction at Dutton, including speculative and paranormal fiction, mystery/crime, thrillers, narrative nonfiction, and memoir. Among the bestselling and critically acclaimed writers she has worked with are the #1 New York Times bestselling authors Richelle Mead and Kelley Armstrong, as well as New York Times bestselling and award-winning writers Mark Adams, Dan Savage, Stephen White, Meg Gardiner, Brian D’Amato, Jennifer Lee Carrell, Raymond Khoury, and David Rich.

We are particularly pleased to interview Jessica because she apparently makes rare appearances on blogs!

CIR: How important is it for an author to be flexible with edits? By the way, I’m so flexible my leg is curled around my head as I write this.

JR: Flexibility with edits is always very welcome, but ultimately it’s the author’s book so he/she is going have the final say on most things. The editor’s primary job is to provide guidance where we think it’s needed. Is a certain character feeling too one-dimensional or predictable? Is it too easy to guess the mystery at the heart of the novel? Or is there some inconsistency between the start of the story and the climactic showdown at the end? These are the kind of editorial questions and concerns that may need to be addressed to make the book better, and I’ve been very fortunate to work with talented writers who can step back from their work and assess what’s clicking and what needs to be reconsidered.

CIR: In just the past few years the major publishing houses have become very active with electronic publishing. Can and or will this open the door for more experimental stories to be published in New York from unknown authors since costs can be saved on printing?

JR: I think so. There are quite a few digital original or digital only imprints publishing new authors across different genres these days. One recent example is Tor.com announcing the launch of a new imprint devoted to publishing original novellas, shorter novels and serializations. This seems like a natural area of growth for science fiction and fantasy, and a great way for aspiring writers to get stories published that wouldn’t have been the right fit for more traditional formats due to length or other considerations.

CIR: Have you had the chance to meet any celebrities and if so, who was the coolest?

JR: Dutton publishes the occasional celebrity book, but I have yet to work on one. There have been few brief encounters. Nick Offerman has come by our office to work with his editor. John Hodgman gathered a sizeable group of his (well-known) friend to shoot a scene for his book trailer at the office once. If you watch the trailer here http://www.funnyordie.com/videos/4cc168ca62/that-is-all it’s the scene in the conference room. I also worked on It Gets Better and American Savage with Dan Savage, who is so lovely and down to earth that I sometimes forget he’s a celebrity.

CIR: Did you always know that you wanted to be in the publishing business, an editor?

JR: I think by senior year of college I realized that I wanted to pursue a job in book publishing. I was lucky enough to attend the Columbia Publishing Course, which not only led directly to my job at Dutton, but also helped me to decide that becoming an editor would be the best fit for me. It’s incredibly fun and rewarding to work with an author through the entire process, from acquisition to well after his/her book hits stores and online retailers.

CIR: Because we strive to be unique, I must ask a bizarre question. How do you think Charles Dickens would have felt about E publishing?

JR: Well, Dickens was a prolific writer whose novels were mostly published in monthly or weekly installments, a format that allowed him to evaluate his audience’s reaction and use that feedback to shape his stories. Serializing his novels also made them cheaper and more accessible, so my guess is that Dickens would have loved the greater flexibility and access digital publishing affords to readers.

CIR: I have to ask this one because many friends and I have experienced it a couple of times. If an editor had very encouraging things to say about a manuscript, but rejected it stating that it would be better as a…we’ll say a YA, or any number of other succinct suggestions…and the author revamps it as such, do you think the writer is out of bounds to try a resubmission?

JR: It’s a good question. I think if an editor feels strongly enough about a manuscript to provide very encouraging and specific feedback before ultimately rejecting it, then it’s fair game to resubmit the manuscript if it’s been substantially reworded. There’s always an exception to the rule, of course, but in general editors are looking to fall in love with a project and champion it. As long as you’re not submitting a newly revised YA novel to Dutton—where we only do adult books—chances are the editor will take another look!

Thanks Jessica!

We look forward to seeing you at the Gold!

Interview conducted by Gusto Dave

Interview with Raelene Gorlinsky, Publisher, Ellora’s Cave

raelenegorlinskyRaelene Gorlinsky, Publisher of Ellora’s Cave, will be presenting at the Colorado Gold Conference and taking pitch appointments.  Here’s a sneak peek at what she’s looking for and some great advice on writing and submitting:

1. What genres does Ellora’s Cave publish and how many books per year in each genre?

EC publishes erotic romance, erotica fiction, and romance (about 10% overall are the non-erotic romances). We publish 500 ebooks a year, of length from 7000 to 125,000 words. (About 250 to 300 stories go into print each year.) We do all genres within romance – paranormal, futuristic/scifi, fantasy and urban fantasy, BDSM, contemporary, historical, Western…

2. As an acquiring editor, what plot and/or character do you never want to see again? What would you love to see in the next manuscript you read?

ABSOLUTELY NO:
~ Billionaires. There are only 104 billionaires in the U.K., the country with one of the highest percentages of people at that wealth level — and I bet 103 of the 104 are *not* young, handsome and single.
~ Clones of the plots or characters of Fifty Shades, Twilight or Hunger Games. It’s been done, people; come up with your own blockbuster.
~ TSTL heroines, or weak heroines who let the hero or events control them rather than developing their own strength and taking charge of their own life.
~ Secret babies or amnesia plots, or anything else that’s a decades-old Harlequin cliche.
~ Bad or nonexistent research: I can’t stand stories that show the writer just followed cliches or what she’d read in other books, rather than do thorough research and fact-checking herself.
~ If you write erotica, no stories that tell me the hero’s penis size in inches, especially male-ego inches (It’s the swing of the stick, not the size of the bat, that makes the game exciting. Fact: the average size of an erect penis is around six inches.) or that misplace the heroine’s hymen (It’s at the vaginal opening, not inches deep inside).

I WILL TOTALLY FALL FOR:
~ Great world-building – it’s the most important part of a story for me.
~ Intelligent, realistic and emotional characters I can believe in.
~ I love urban fantasy romance. I personally have a thing for fantasy wings – dragons, angels, pegasuses, any paranormal/fantasy creature that flies.

3. As a professional editor, what’s the best advice you can give to writers submitting their first novels.

Have every submission brutally critiqued by experienced authors, and then proofread by several skilled proofreaders. If you don’t respect your work enough to make it as perfect as you can, why should an editor respect you or your story?

Writing for publication is a skilled trade, treat it as such and be a professional in your field. Learn about the publishing industry, read the industry news. Join writing organizations. Take classes to develop your skills. Attend conferences to network with other professionals in the field. Learn the promotion and marketing element of the business.

4. Do you recommend that authors have their manuscripts professionally edited before submitting, or is content and copy editing part of your normal process?

All accepted books go through our full editing process. But the better and cleaner a submission is, the more likely it will be accepted and the quicker it will get through edits.

5. What gets you excited in a query letter? What makes you hit the delete button?

I love a great, grabbing – and brief – blurb about the book. That’s what makes me eager to look at the manuscript.

Delete – Personal info about the author, babbling about why they write, things that indicate they know nothing about the publishing industry or the profession of writing. The things that matter are that the story is great and the author behaves professionally.

6. Tell us about your typical work day (and especially how many manuscripts you usually have waiting in your e-mail Inbox).

All submissions from authors not already contracted to EC go to our Submissions email address, not to individual editors. They get a pre-review to determine whether they may be of interest to us and fit our guidelines. If so, they go in the queue for editors who are acquiring. We get about 800 external submissions a year; our acceptance rate is around 4 to 5%.

My day? My “day” job is publisher – I deal with contracts and rights, vendors, sub rights deals (translation, audio, etc), plan ebook sales and promotions, plan our print books, supervise the cover art department and our ebook production department, provide guidance to the editorial department…

I edit on weekends – because I started as an editor, love editing and don’t want to ever stop doing it. I edit about 30-ish stories a year.

7. Writers are often advised to have a web presence before even selling their first manuscript. Of the following web and social media opportunities, which do you consider most important for the debut author: a website, a blog, Twitter, Facebook, or Goodreads? Are there any others you recommend to your authors?

Website and/or blog. The aspiring author should certainly be on Goodreads as a READER, posting comments and participating in discussions, building contacts toward the day when she will be published.

8. What do you do for fun when you’re not working? Any unusual hobbies?

Hmm. I read, read, read. I love to discuss books and the publishing industry. I have two adored and adorable Pembroke Welsh Corgis that add love and liveliness to every day. I collect Tarot decks and children’s picture books with lovely art. I aspire to being an author of children’s picture books. I love hats and pearls. I really, really wish I could afford a Can-Am Spyder RT motorcycle.

9. How have changes in the world of publishing impacted your job (or company name) in the last year?

Every week is a new challenge (either opportunity or crisis, depending on how one views it). The industry is changing so rapidly that it’s a constant effort to keep up with what’s going on with sales channels, digital formats, changing international opportunities.

10. What advice would you like to give authors who plan to pitch their novel to you at Colorado Gold?

Make sure your story fits what EC publishes. And that your pitch starts off with a bang! Be able to tell me genre, length, and what makes your story special and “different”. If I have time, I’m happy to listen to “practice pitches” from nervous aspiring authors.

Looking Who is Coming to the Colorado Gold Conference: Meet Super Agent Lucienne Diver

Interview by Kerry Schafer

luciennediverMeet Lucienne Diver, agent extraordinaire at The Knight Agency. I’ve had the pleasure of meeting her in person, and I’m here to tell you that besides being a highly successful agent, she’s also very lovely and approachable in person. Before we begin with the questions and answers, here’s her bio so you can start by already knowing all sorts of wonderful things about her.

Lucienne Diver joined The Knight Agency in 2008, after spending fifteen years with Spectrum Literary Agency in New York. Over the course of her dynamic career she has sold over seven hundred titles to every major publisher, and has built a client list of more than forty authors spanning the commercial fiction genres, primarily in the areas of fantasy, science fiction, romance, mystery, and young adult fiction. Her authors have been honored with the RITA, National Readers’ Choice, Golden Heart, Romantic Times and Colorado Book Awards, and have appeared on the New York Times and USA Today bestseller lists. Clients include such bestsellers as Rachel Caine, Chloe Neill, Faith Hunter, Susan Krinard, Rob Thurman and many others.

She’s also an author in her own right with her Vamped young adult series for Flux Books and the Latter-Day Olympians urban fantasy series for Samhain (Bad Blood, Crazy in the Blood, Rise of the Blood, and Battle for the Blood, which is forthcoming. Her short stories and essays have appeared in the Strip-Mauled and Fangs for the Mammaries anthologies (Baen Books), in Dear Bully: 70 Authors Tell Their Stories (HarperTeen) and the anthology Kicking It (Roc Books). Further information is available on The Knight Agency website and her author site.

Kerry: Lucienne, thank you so much for taking the time to answer my gazillion questions! I know from experience that a lot of writers are nervous about talking to agents, and sometimes it feels like a hopeless proposition to ever find the right agent match. You have an impressive list of clients and I know you’re a very busy lady. So what are the really truly chances of a newbie author having the good fortune to sign with you?

Lucienne: I think I’ve signed at least one debut author every year I’ve been in the business—and that’s 21 years now! Some years I’ve signed more than one, of course. I don’t have a quota. It’s all about how much I love the work and how successful I’ll be in marketing it. My blog has a sampling up, since just last year I did a shout out to new voices, and I’ve sold at least one debut since then (but I have to wait for the ink to dry on that contract before I can do a big announcement…and it will be big!)

Kerry:  Very cool, and good news for debut authors looking for an agent. Just to clarify what you’re looking for, your bio says you’re primarily interested in commercial fiction in the areas of fantasy, science fiction, romance, mystery, and YA. Could you tell us what really gets you excited about these genres?

Lucienne: I love three things—psychology, suspense and the paranormal. The books I represent don’t have to have all three, but as the song goes, “Two out of three ain’t bad.” I love voice—truly unique characters dealing with real issues and feelings that are as authentic for the reader as for the person living the story. And that’s the important thing: the character should be living the story, not telling it to us. Readers want to live vicariously—travel the world, love, take risks, become action heroes, sacrifice ourselves or have someone sacrifice for us. In order to do that, we need to be swept along for the ride.

Kerry:  Just to clarify your taste a little more, what was the last book you read just for fun and loved?

Lucienne: In a way that’s two different questions. The last book I read for fun was THE KILLING WOODS by Lucy Christopher. It’s a wonderful, dark, intense, suspenseful novel. Loved, though…that’s a difficult thing to say here because I did live it, and I felt changed by the experience as the characters were. In some ways, it reminded me of THE SECRET HISTORY by Donna Tartt. I was impressed; I was absorbed. Time ceased to have meaning while I read it, but for love I might want a little more light with my dark. (Not to take away from the book in any way, shape or form.) Barry Lyga’s IN HUNT KILLERS is a perfect example of that—very dark, but with some comic relief to break things up from time to time. This is also something I love about Joshilyn Jackson’s work.

Kerry: So if a project catches your interest but doesn’t immediately shout “pick me, pick me” – what tips the balance toward acceptance? Away?

Lucienne: I find that if I’m on the fence, usually it’s best for me not to offer representation because I won’t be enthusiastic enough to keep on believing even when the rejections mount. I want to believe in something so wholeheartedly that I’m in abject disbelief when anyone doesn’t love a novel the way I do and I want to work three times as hard to sell the book and “show them.” What usually tips the balance for me is voice and the originality of it.

Kerry: You bring a special mix of experiences to agenting, being a professional writer as well. Do you think this makes for a different relationship between you and your clients? Does it create any special challenges?

Lucienne: Being a professional writer as well as an agent gives me special insight into the frustrations and feelings behind the process, which makes me better able to understand and plead my author’s cases to publishers. But since I’m the agent and not the author in the situation, I’m also able to take emotion out of the equation and shoot right to how best to present things to the publishers and to focus on the solutions rather than the problems. Challenges? The biggest challenge is finding the time to write. It’s so much easier to read or critique than to write. Some days it’s so much easier to do anything besides write. But it’s harder to give up the writing entirely. Any day I don’t write feels wasted, no matter what else I’ve accomplished.

Kerry: I asked the writer community on Twitter and Facebook what they would like to ask an agent, given the opportunity. There were a lot of questions about the shifting landscape in publishing and how agents fit in to that. What do you see as your role as an agent, what with Amazon and self publishing?

Lucienne: Wow, talk about an essay question! Luckily, I tackled it in a post just recently, so I’ve got the full answer here.

Kerry: What are your thoughts on the agent/client relationship? Is it a long term partnership or do you provide sort of menu of services?

Lucienne: Generally when an agent takes a client on, they’re doing it for that author’s career. It’s a long term partnership geared toward building the author’s brand, momentum, readership and all that good stuff. We do provide a variety of services, but it’s all toward the goal of boosting the author to success; it’s not a la carte.

Kerry: How do you feel about writers pitching you if they catch you in the bar or the hallway at the conference? Do you prefer that they stick to scheduled pitch times or are the random moments okay?

Lucienne: I love impromptu conversations. That said, I don’t love impromptu pitches. If you see an agent in a line or in the bar, striking up a conversation is a great thing. That’s part of why you’re there —to network, to learn. Often the agent will ask, “What do you write?” which is an invitation for you to do a short (elevator) pitch. But without the invitation, it probably means the pro has been pitch overloaded and you’re best keeping the conversation more casual.

Kerry: Last and possibly most important question: If we do catch you in the bar, what will you probably be drinking?

Lucienne: Oh, that depends on my mood. Wine, rum and diet coke, margarita, sometimes whiskey or bourbon… Not all at once, of course!

Kerry:  Thanks again for taking the time to chat! I’m looking forward to seeing you again in Colorado!

An Interview with Terri Bischoff, Midnight Ink Acquisitions Editor … by Linda Joffe Hull

Linda Hull_Terri BischoffTerri Bischoff  (@TerriBischoff), is not only my editor and close friend, but a perennial favorite at our annual Colorado Gold Conference. She joined Midnight Ink as an Acquiring Editor in October 2009. She leads all editorial directions and creates the seasonal lists. She has dramatically increased the number of titles per season, publishing 36-38 titles per year, as well as expanded the type of crime fiction Midnight Ink now publishes. Before signing on at Midnight Ink, she worked at Kramer Books in Washington, DC, and owned Booked For Murder Mystery Bookstore in Madison, Wisconsin. Several other Colorado authors have books coming out by Midnight Ink, including Mark Stevens, Shannon Baker Maggie Sefton, and Laura DiSilverio. Terri is looking forward to hearing pitches from potential new voices this September.

Welcome to the Rocky Mountain Fiction Writers blog, Terri. Thank you for agreeing to this interview.

1. Midnight Ink is known for publishing cozies, but I’ve noticed the list is diversifying with some really interesting upcoming titles. What else are you looking for these days and how many books per year are you acquiring in each sub-genre?

I am looking for a good story that I fall in love with. The one where I have to stay late or take home over the weekend because I need to finish the manuscript. I tend toward books that have strong characters. I am currently pubbing books ranging from traditional cozy to serial killer dark.

2. As an acquiring editor, what plot and/or character do you never want to see again? What would you love to see in the next manuscript you read?

I don’t ever need to see another baby kidnapping/smuggling ring. What would I love to see? Hmmm… There are some holes in my line, for example, I don’t have a historical series or a police procedural. A female assassin would be cool. It really doesn’t matter, as long as I fall in love with the book.

3. What’s the best advice you can give to writers submitting their first novels?

To go through a critique or professional edit before submitting. I no longer have time to work on manuscripts. In the past I have done up to three rounds of revisions with an author before I put the book into production. I can’t do that now. The book needs to be solid from page one.

4. So you recommend that authors pay to have their manuscripts professionally edited before submitting?

I don’t think it’s mandatory, but the advice of a solid critique group or that of a professional editor can give you an advantage over other submissions, especially if you do not have an agent. At Midnight Ink, after I have acquired a manuscript, both the production editor and I make a list of revision requests. This is generally for content, but occasionally we will point out some copy edit issues. After the revisions are sent back in to me, I put the book into production, where the production editor will do line edits with the author. At other publishing houses, the acquiring editor does both the content and copy edit – but they also don’t acquire as many books as I do. But as I mentioned above, a polished ms will put you ahead in the submission process.

5. What is the easiest and hardest part about your job as an editor?

That is a hard question. The hardest is breaking up with an author. I don’t think there is a part of my job that is consistently easy. But the best part of my job is getting to know my authors.

6. How have changes in the world of publishing impacted your job in the last year?

To me it feels like the last year has been holding the status quo. Ebook sales have leveled out. The loss of Borders has been absorbed. Specific to my job, I do feel like I am getting a higher caliber of submissions. I have picked up a few more authors who have published with the big five (new series or stand alones.) But I am still committed to finding debut authors to balance out our line.

7. You’ve been to the RMFW conference a number of times. What keeps you coming back? (Besides your adoring authors, of course.)

The sense of community is amazing – it doesn’t matter if you have published 25 books or if you just started writing last week. The conference itself is very well run and informative.

8. What advice would you give authors who plan to pitch their novel to you at Colorado Gold?

Keep your presentation short, but include all the important info – if the ms is complete, word count, sub-genre, comparable authors. And give me the first five pages of your ms. That will tell me more than your presentation.

9. Conferences can be expensive and daunting, while querying agents and editors these days is really only a matter of sending off an email from the safety of your own home. How much of an advantage do you think there is for writers to attend conferences and meet and/or pitch you personally?

I am only taking unagented manuscripts from people who have pitched to me at a conference. Otherwise the only way for me to see it is if the author has an agent. Beyond that, I am more likely to take on a borderline project if I have met the author and feel good about the working relationship. And if I reject a manuscript, I may give the author feedback rather than a form rejection.

10. Are you coming into town early to allow extra time for some shopping and a mani-pedi with me while you’re here?

Maybe shopping, but no mani-pedi. I think I am still a bit traumatized from my first pedicure with you, thank you very much.

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Linda Joffe Hull is the author of The Big Bang (Tyrus Books) and Eternally 21 (Midnight Ink) the first title in the Mrs. Frugalicious mystery series. Linda is a longtime member and former board member of Rocky Mountain Fiction Writers and currently serves on the national board of Mystery Writers of America. She is the 2013 RMFW Writer of the Year. Her next mystery, Black Thursday, will be released in October 2014. To watch a recent interview with Linda please go to Off the Page on You Tube  or visit her website. You can also find her on Twitter.

J. Ellen Smith; Pioneer in Modern Times

By Liesa Malik

JEllenSmith“I’m so excited that people want to hear what I have to say,” said J. Ellen Smith, publisher and owner of the Champagne Book Group, as we talked together about our upcoming Colorado Gold conference and other writing thoughts.

Champagne Book Group publishes both electronically and in paperback formats, and Ellen will be coming from their offices in High River, near Calgary, Alberta to speak about the publishing process, meet new talented writers, and accept pitches at the Gold Pitch Sessions. She expressed a small concern, however, that writers use a professional attitude during the conference time.

“I’ve always prided myself on being approachable,” said Ellen, “but please treat us smaller publishers with the same courtesy as the large press. Don’t shove a book at me and demand that I read it.”

A few other signs that shout out “newbie writer” to Ellen include:

  • Submissions with a copyright symbol on them. “I don’t need to be told this work isn’t mine,” said Ellen. “Why copyright something that hasn’t even been edited yet?”
  • Interrupting. Getting interrupted, especially when Ellen and another editor are in conversation, is a real put-off. There are ways to find more appropriate opportunities during the few days we have together. She chuckled on this thought. “Once, at my very first conference, some woman followed me into the bathroom and kept shoving her manuscript under the door. I didn’t know what to do, so I kept shoving it back.”
  • Inebriation. “It’s a red flag to me when I see someone who has had a few too many.” Ellen says she understands that the conference is a celebration of writing and writers, but makes a point to remember that she’s out representing her business at these affairs, and wants to be prepared to conduct business with a clear head always.

Still, Ellen has sympathy for new authors and will be looking forward to meeting them. “As a guest, they like to work you to death at these conferences,” said Ellen, “but that’s okay. It’s an honor to be invited.”

She said if she sees 30 people in her pitch sessions, it’s likely she’ll ask for full reads from about five, sometimes a little more. Her role in these sessions is to help a person feel confident and get rid of their 3 x 5 cards. “‘Now,’ I say, ‘just tell me about your book.’ I want to see the passion of the author in the pitch.” She says that she knows the journey to publishing is difficult, having been a writer herself, and she’s anxious to find and encourage fresh new voices.

The path to publishing and publisher started for Ellen in her early school years, when she would write stories that she and a few friends would act out for others. “Skits and plays, really,” said Ellen. “As a little girl, I had a vivid imagination. My stories always had humor in them. It was fun to make our friends laugh.”

Later, Ellen became a nurse, but continued to write in her spare time. She had some success, but disappointment with contracts, quality of production, and publishing houses that were disappearing as fast as they went up, stole motivation from her.

One day at a coffee shop, Ellen’s friend, Penelope, said, “You’ve been complaining for years about this. Why don’t you get going and publish yourself?” They talked over the idea for a while, and Ellen continued to mull it over.

She found a small publisher in Calgary and apprenticed for a year with them, learning the ins and outs of the publishing business.

Finally, in December of 2004, with a website and $20 in the bank, Champagne Books started work. By April 2005, they were ready for a cyber-launch of their first four titles. “I totally believe in the old saying that you don’t run before you’re ready,” said Ellen. So, for six years, she kept working as a nurse as well as a publisher. The company grew and became a leader in e-book publishing.

Today, proudly loan and debt-free, Champagne Books has ten categories of e-book fiction posted and several more titles in printed form. The company believes that eBooks are the future of publishing, and Ellen and her team are ready to lead the way.

Interview With Literary Agent Margaret Bail

MargaretBail

Margaret Bail, Inklings Literary

I recently had the good fortune of chatting with literary agent Margaret Bail (@MKDB) of Inklings Literary. She’ll be one of the agents attending the 2014 Colorado Gold Conference.

KD: How and when did you become a literary agent?

MB: I’ve been an agent for a couple of years, now. I started out by doing an internship with an agency and when that was over, I signed on with another agency as a junior agent and started the learning process. I ended up at Inklings because I’d met Michelle and Jamie during my internship (they were interns too), and when they opened Inklings and Michelle invited me to join them, I jumped at the chance.

KD: What fiction genres are you looking for this year? Is there anything special you’d love to see?

MB: I’m always looking for romance in all subgenres except Christian/inspirational. I also like science fiction, fantasy (though I’m really picky about this genre), historical fiction, western, mystery, thriller.

I’d like to see a fresh take on cozy mystery; a time travel romance; a good epic fantasy that doesn’t include a dozen (or even half dozen) points of view, or names I can’t pronounce, or every mythical creature ever imagined, or magic (think Dark Tower, which admittedly has a few of those elements but is so awesome it doesn’t matter).

KD: Is it harder these days to place authors/novels with the larger publishers? How does the increase in smaller and/or regional publishers, especially those who also take unagented submissions, impact your job?

MB: I don’t know if it’s harder per se to place with larger publishers, but the increase in mid-sized and small publishers, especially digital-only presses, means that advances from larger publishers are lower, and often publishers will acquire to their digital imprint before or rather than print imprints because there’s less cost and risk involved. They can offer even lower advances, and in many cases no advance at all, for digital-only or digital-first acquisitions.

As far as my job is concerned, this means often I’ll receive offers for digital-only with no advance when what we really wanted was print. However, were it not for their digital imprint, the publisher may have rejected outright, so at least the digital imprint gets an author’s foot in the door and gets them a publishing credit.

I don’t think that publishers who take unagented submissions affect my job at all. Generally, those publishers have laxer guidelines (than the larger publishers) as far as the quality of the work they accept and publish, so often they end up taking work I would have rejected, so it saves me the time of going through those queries. I know that sounds insensitive, maybe even brutal, but that’s the truth of it for most agents.

KD: Has the increase in self-published books had an effect on your agency? If so, what?

MB: With regard to self-published books, publishing companies are wary about taking those on unless they’ve had phenomenal sales. Once something is published – even self-published – it’s ALREADY BEEN PUBLISHED, so a publisher doesn’t want it unless they can make oodles of cash off something that’s really taken off.

This affects our agency because authors don’t understand that publishing requires infinite patience. If you self-publish and your sales are bleak, or not what you expected, and then you go back to querying agents in hope of still going the traditional publishing route, you’re crippled yourself with the self-publishing. Most agents won’t touch a self-published book unless it’s had outstanding sales, which doesn’t happen often. I get many, many, many queries from authors who have self-published, but are still querying agents. I can’t sell those books, so I have to reject.

KD: What gets you excited in a query letter? What makes you hit the delete button?

MB: Excited:  Concise, well organized, outstanding voice, great story and characters.

Delete: If you don’t follow submission guidelines; if you attach information instead of pasting it into the email; if the query letter is long, rambling, incoherent; if you’re querying a genre I don’t represent; if you spend paragraphs tooting your own horn and then the writing is atrocious; an incomplete manuscript; work that isn’t fully edited and polished.

KD: Writers are often advised to have a web presence before even selling their first manuscript. Of the following web and social media opportunities, which do you consider most important for the debut author: a website, a blog, Twitter, Facebook, or Goodreads? Are there any others you recommend to your authors?

MB: “Platform” is more important for non-fiction than fiction, but a “presence” is always valuable. However, I don’t think that having an active web presence is absolutely necessary for fiction authors. I’ve sold authors who barely have any presence at all. In my opinion that whole presence thing is over-hyped for fiction. But that’s just my opinion. Other agents will likely tell you otherwise.

KD: How closely do you work with the authors you represent? Are you editorially involved, or do you prefer only to handle the business side of things?

MB: I work very closely with my authors. I tend to be laid back and casual, and end up developing great working relationships with my clients. Communication is very important to me.

As far as editing, I try to take on work that requires as little editing as possible because I just don’t have oodles of time to be an editor. It’s the author’s job to do all that before they query. That being said, I do a thorough developmental and copyedit for everything I take on. I probably do more than I should, actually, but the English professor in me just can’t help it.  And I have taken on a couple of projects that needed significant work, but were so outstanding I couldn’t turn them away. I try to stay away from those, though, because they’re so time consuming.

KD: If a manuscript piques your interest, what’s your next step? How often do you request revisions on a manuscript you want to represent? Do you offer representation before or after revisions are made?

MB: If something piques my interest and it needs very little editing, I’ll just offer representation. If it’s something I like but needs some work, I’ll ask for revisions. I don’t do that often, and if I do I wait to read the revisions before (and if) I offer representation. Just because an agent asks for a revision, doesn’t automatically mean you’ll get an offer to represent, though.

KD: When reading the beginning pages of a manuscript, what’s an immediate turn off? Consequently, what gets you excited about those first few pages?

MB: Immediate turn offs to me are:

1. Badly copyedited writing – word clutter, passive or incomplete sentences, grammar/spelling/punctuation issues.
2. Cliché openings like characters waking up, descriptions of weather, long exposition, back story, flashbacks, etc.
3. I really don’t like prologues and I don’t even read them. In pre-published work I’ve found that 99% of prologues are unnecessary.

Immediate turns offs don’t mean I stop reading immediately, but often they end up meaning rejections.

What gets me excited in first few pages:

1. Strong voice which is, admittedly, difficult to define.

2. Action with necessary exposition/back story woven in sparsely.

3. Clean, concise writing.

4. Clear setup of the story and characters.

KD: What are your thoughts on the current market for fantasy romance and paranormal romance? What areas of this genre do you think editors consider over done?

MB: Unfortunately both urban fantasy and paranormal romance are really glutted markets right now, and editors at big houses aren’t buying those genres as furiously as they were not so long ago. Stories in these genres now need to be very unique and stand out against everything else in the genre. Frankly, I’m sick to death of vampires and werewolves. I don’t know that anything new can be said about them anymore.

I think there’s still room in the market for both genres, but there’s got to be really unique angles and/or twists on it.

KD: What are your thoughts on New Adult? It’s very hot right now. Do you think it’s a fading trend like chick-lit was? 

MB: I think NA is definitely hot and on the upswing. It started out as what Michelle (my co-agent at Inklings) calls “college f**k fiction” meaning that it was just stories about college girls getting laid. But it’s developing into a genre similar to YA in that it’s all about people in this age group finding themselves, learning how to live in an adult world, and dealing with adult issues, and it’s spreading into all genres. Personally, I don’t like the college student stories, but I would like to see NA stories in any genre that deal with people that age. I don’t think it’s fading at all, and I don’t think it will.

In fact, I just talked to an editor not too long ago at St. Martins who said that although paranormal is kind of dying now, she sees NA paranormal as a growing market, which kind of ties both your questions together!

KD: How often do you communicate with your clients?

MB: Like I said earlier, I’m very laid back and often end up chatting with clients frequently either by email or social media.

KD: What do you do for fun when you’re not working? Any unusual hobbies?

MB: Not working? There are people who actually do that????

KD: What advice would you like to give authors who plan to pitch their novel to you at Colorado Gold?

MB: Relax.

Make sure the novel is complete and polished – then polish it some more. Get help if you need it, but not from your mom/brother/uncle/cousin/BFF.

Be sure it’s a genre I represent!

Relax some more – I’m a person just like you, and I write, too, so I know how you feel.

I hate the term “elevator pitch” but be able to describe the essence of your story in a few short sentences.

Relax and enjoy yourself!

Thanks so much, Margaret! We’re all very excited to see you at conference in September. Counting the days!

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Karen Duvall

Karen Duvall is an award-winning author with 4 published novels and 2 novellas. Harlequin Luna published her Knight’s Curse series in 2011 and 2012, and her post apocalyptic novella, Sun Storm, was released in Luna’s ‘Til The World Ends anthology in January 2013. She released a romantic suspense novel, Desert Guardian, that she published herself in June of 2013.