the pitch winter 2018

The Newsletter for the Association of Authors' Representatives

CONTENTS LETTER FROM THE PRESIDENT 1. LETTER FROM THE PRESIDENT AS I REALIZE THAT, once again, 2. COMMITTEE REPORT: CHILDREN'S COMMITTEE it is time to order my holiday cards and arrange my holiday gifts, it 3. IN RESPONSE TO COURSE PACK SUIT, AAR FORMS seems that I was doing these same COPYRIGHT COMMITTEE jobs just a few weeks ago. Can it UPCOMING AAR PROGRAMS have been a whole year already? 5. BECOME AN AAR AMBASSADOR The older I get, the faster these COMMITTE REPORT: years seem to fl y. It seems like just INTERNATIONAL last week we were having lunch at 6. TRUMP DEFEATS LIBEL CLAIM Mary Elizabeth’s, a little British- ON FIRST AMMENDMENT GROUNDS style teahouse across the street 7. AAR ETHICS COMMITTEE from G. P. Putnam’s Sons, in the years when it was still a family- 8. AAR BOARD REVISES CANON OF ETHICS ON PAYMENTS FROM owned fi rm, and when the wildly WRITERS' CONFERENCES underpaid assistants could fi nd COMMITTE REPORT: DIGITAL a full lunch for under $4. I have INNOVATIONS been in this business long enough 9. KEEPING TRACK OF MONEY IS ESSENTIAL FOR AGENCIES to have seen revolutionary new glorious it would have been if I technologies change the face of could have known in my twenties 10. MY AAR FELLOWSHIP WAS 'MY GREATEST ACCOMPLISHMENT' our work world—from Telex to all these wise things I know now, fax to email to virtual bookstores in my, well, more-than-twenties. I 11. BOOKS, BAGELS AND MY SUMMER AT CURTIS BROWN to ebooks to blogs to Twitter. And try to be a good mentor—which, maybe beyond Twitter! (I am a in my mind, involves helping my 12. ASK AN AGENT COMMITTEE REPORT: ROYALTIES little slow to follow the trends.) And mentees think for themselves, how much wiser we’ve all become, and make sense of issues before 13. THE RISE AND FALL OF THE MASS MARKET PAPERBACK as we continue to do what we do taking some (hopefully) wise next through the decades: read our piles step. I inherited this 110 year 15. COMMITTEE REPORT: CONTRACTS of manuscripts, nimbly negotiate old offi ce, and I think about its new contract terms, manage our next generation, as they are being 17. RARE BIRD BRINGS BOOKSELLER INSIGHTS TO WEST clients’ outsized hopes and their groomed for the future. COAST PUBLISHING even larger fears. I am afraid to move (either my 19. COMMITTEE REPORT: SMALL I think I am almost at the age house or my offi ce) because I BUSINESS where writers for the Association am a little afraid of what stuff I 20. DESIGNING A PARENT-CHILD of Authors’ Representatives will fi nd behind the thousands of BOOK CLUB INCREASES FAMILY TIME Newsletter will be asking me books on the shelves, in the backs secrets of my century-long career. of overstuffed drawers (probably 21. WHAT ARE AGENTS READING? The assorted aches and pains not a long lost royalty check or 22. NEW MEMBERS earned by carrying 25 pounds of a misplaced piece of jewelry, 24. CANON OF ETHICS manuscripts back and forth each though), and I don’t know if I have 26. BOARD OF DIRECTORS day for 40 years have taken a toll. the energy to do the big culling job CONTRIBUTORS (Gabapentin is the drug of the era.) that would be necessary to pack up I fi nd myself thinking how and move on. continued on page 2 page 2 the pitch winter 2018

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All around me the people I and for big new concepts in have come up with in publishing nonfiction. I still believe it is good are talking about retirement. to invest time in children’s books, RETIREMENT?! That is not as the child readers of today will really a word in my vocabulary. be the adult readers of tomorrow. RETIRE?! What would I do with There is nothing like watching those 16 waking hours, if there young children realizing for the were no piles of manuscripts first time, suddenly, that they can screaming to be read, or editorial actually read a short book on their notes waiting to be written? What very own. I have come to enjoy do you mean, “more time to the ins and outs of contracts and travel”? I think I travel quite a bit- the intricate grades of problem -any more would strain my U.S. solving. I even relish figuring out a Customs allotments. weird royalty statement problem, And I could take more time to and am no longer surprised when I relax, and reflect on life? Well, I am receive a manuscript (not a bottle of not the relaxing sort, and reflecting Champagne) on Christmas day from on life is a full-fledged hobby as a relentless and aggravating client. it is. I confess, it seems that I can This career we have all chosen there is usually no one right and focus better on a novel that is in may not buy all of us luxurious one wrong, and hoping to be right manuscript, rather than book form. country houses, but it is a career all the time is like trying to push a I think of legendary editors, and rooted in life-affirming principles, huge boulder up the side of a huge legendary agents who, it is said, culture, ideas, escapism and mountain. “died at their desks,” and I always analyzing important issues (the For the holiday season, I firmly figured something like that would opposite of escapism). In a believe that BOOKS MAKE someday happen to me. small way, and with the best of GREAT GIFTS and so I have spent BUT, I am actually still going intentions, I feel it is a microcosm time in my local independent, strong. of our larger world. Looking back— browsing and ordering books for I am still an enthusiast for life, and looking ahead—I would not numerous people on my lists. Over for new voices in fiction or memoir want to be in any different field. the Christmas break, you will find I confess, I have never read me at home, in front of the fire, MOBY DICK to the end, nor a hot mulled cider by my side, COMMITTEE WAR AND PEACE. My favorite red pencil in my fist, Schubert REPORT: CHILDREN'S book is still LITTLE WOMEN. on the stereo and a pile of letters COMMITTEE My own long-ago ambition to to answer at the ready when the write a volume that would change manuscript in front of me seems CHAIR & BOARD LIAISON: the world has long been set just not “fresh.” ELIZABETH HARDING aside. Committed as I am, I still I might gaze into space, wondering occasionally fall asleep late at what the new year will bring…. The Children’s Books Committee night with a pile of manuscript So: My best New Year’s wishes to is working on a future program pages in my hands, pages found in all, hoping for joy and success and a about the YA and Teen market. a tangled pile on the floor the next better sort of balance in 2019! Stay tuned for further news this morning. I have passed on books – Gail Hochman spring. If anyone is interested that became best-sellers or award- President, AAR in joining, please reach out to winners, and I still keep striving Elizabeth at [email protected]. to perfect my imperfections. But in this apprenticeship business, page 3 the pitch winter 2018

IN RESPONSE protections significantly. Because composed of excerpts of copyrighted of this, the AAR has formed a works, publishers have been TO COURSE Copyright Committee, co-chaired collecting royalties for those uses. PACK SUIT, by Pamela Malpass and Wendy The judge in the Kinko’s case found Strothman, to monitor developments that the reproduction of significant AAR FORMS in the law. excerpts for course pack use did not COPYRIGHT An example of the way quality as “fair use” and therefore assumptions about copyright required permission and payment. COMMITTEE law are being challenged can The Copyright Clearance Center LOIS F. WASOFF be found in the long-running, (CCC), a nonprofit organization, ongoing dispute between a group took on the responsibility of MOST AGENTS UNDERSTAND of publishers and Georgia State collecting and distributing royalties that the fact that their clients’ University (GSU). The October on those types of uses, among works are protected by copyright 19, 2018 appellate court decision others, and developed mechanisms is what makes them valuable. The in that case (the latest in a series of for collecting fees on behalf of right of the author to control the lower and appellate court decisions) authors and publishers based on reproduction and other uses of a is an encouraging indication that algorithms or estimates of which work is the principle that underlies at least some long-held underlying works were being reproduced. every publishing agreement. Most assumptions about copyright In the early 2000s, CCC noticed agents take copyright for granted continue and remain relevant in our that income from course packs had and, until recently, that was a increasingly digital world. plummeted. It became apparent that luxury they could afford. But recent The dispute concerned GSU’s use course packs were being replaced developments, in particular the of excerpts from copyrighted works by new digital tools. Universities growth of technologies that make in its electronic reserve (e-reserve) had discovered e-reserves. Students reproduction and distribution system. Since at least 1991, when were not buying paper course of copyrighted works easy and a federal judge ruled in favor of a packs. Instead, e-reserve systems inexpensive, have increased group of publishers who had sued maintained by university libraries let attention to copyright and generated Kinko’s for copyright infringement students log-in and read the same pressure to change the law in because the company was providing materials that had formerly been ways that can weaken copyright photocopied college course packs included in course packs. From the

MARK YOUR CALENDARS FOR THESE UPCOMING AAR PROGRAMS Toolboxes at the Dramatists Guild, 1501 Broadway, 7th Floor (12:30 – 2 PM): TUESDAY, JANUARY 15: Foreign tax forms, with the International Committee WEDNESDAY, FEBRUARY 20: Contracts 101, with the Contracts Committee

Evening programs at the Society of Illustrators, 128 East 63rd Street (5:45 – 7 PM): THURSDAY, JANUARY 31: Meet the Publisher – Harlequin (Harlequin, Graydon House, Mira, Hanover Square, Park Row) WEDNESDAY, FEBRUARY 27: Program led by Oren Teicher of the ABA about how your authors can productively interact with independent bookstores

continued on page 4 page 4 the pitch winter 2018 continued from page 3 authors’ point of view, there is no books that might be excerpted in difference whether their material course packs. They suggested a per- is reproduced by photocopying or student fee of $3.85. (GSU’s student through scanning and inclusion in activities fees at the time were $90/ a digital archive. Although royalties student-- plus extra for football.) were being paid on course pack uses, GSU argued that the e-reserve universities initially took the position uses, even those that involved that e-reserve uses did not require substantial excerpts and repeated permission or payment. use of the same material from CCC approached a number of semester to semester, qualified as private and public universities to “fair use” under copyright. Although remind them of these copyright the publishers produced evidence it. But the court does the analysis, principles. Private universities, that the challenged uses were an weighs all the factors, then makes a concerned about possible claims of exact substitution for the course determination. copyright infringement, adopted packs that had for years been The analysis done by the Georgia policies and procedures for understood to go beyond fair use district court judge in 2012 looked e-reserves that acknowledged that and to therefore require permission like a usual “four factor” analysis, those uses could and often did and payment, the district court but the court’s interpretation of the implicate copyright. But public judge in Georgia found in favor of individual factors was inconsistent universities, taking advantage of the University. In a long, convoluted with almost all the copyright cases case law that protects them from decision issued in 2012, the judge that preceded it. For example, liability for money damages for conducted a “fair use” analysis that she considered the uses (which copyright infringement, did not. in fact distorted the entire concept. were verbatim copying, with no additions of text or interpretation) to be “transformative” because they “The latest decision is definitely progress, would be used for teaching and the copied works were mostly scholarly but there is more work to be done.” works rather than textbooks. She derided the literary value and “originality” of those scholarly In 2008, with the support of CCC, In determining whether the use works, finding against the publishers Oxford University Press, Cambridge of a copyrighted work is “fair” under on the second “nature of the work” University Press and Sage section 107 of the Copyright Act, factor. She created an arbitrary Publishing sued GSU for copyright a court weighs four factors: (i) and unprecedented percentage- infringement, noting that GSU had the character of the use (is it for based “safe harbor” for the amount done extensive copying of excerpts, commercial gain or educational?; is that could be taken that permitted some as long as six chapters, from the use “transformative”?); (ii) the substantial percentages of the more than 6,000 works. CCC and nature of the work being copied; underlying works to be used without its partners didn’t want to prohibit (iii) the amount and substantiality of permission and refused to consider access to these works, they just the portion taken in relation to the that the taking of substantial wanted universities to acknowledge work as a whole; and (iv) the effect excerpts might result in “market copyright and the need to pay for of the use on the potential market substitution.” She found there was the reproduction of work, in some for or value of the work. All of the no “market harm”, and she refused way. Although this particular case factors have to be considered. It’s to consider potential impact of involved excerpts from scholarly not unusual for some of the factors these types of uses (even though the books, the principles established to come down on different sides for words “potential market” appear have broad implications for any the same use; one factor may weigh verbatim in the law). And because authors of novels or nonfiction in favor of fair use, another against she found the University to be the continued on page 5 page 5 the pitch winter 2018 continued from page 4

BECOMEBECOME AN “prevailing party” she ordered the first sued GSU, the application AN AAR publishers to pay substantial costs of copyright law to the use of AARAMBASSADOR! AMBASSADOR and legal fees. excerpts in college classrooms The publishers appealed and won seemed well-established. Ten years a partial victory in 2014, sending and four court decisions later, Help diversify and increase our the case back to the district judge the publishers seem to be getting membership by spreading the who, again, ruled against them. A closer to confirming a principle that word about the AAR. second appeal followed and this wasn’t thought to be particularly The next time you’re presenting time the 11th Circuit Court of controversial. The GSU case is one at a writer’s conference or Appeals agreed with the publishers of many examples of why copyright speaking on a publishing panel, on important points, finding – as publishers, authors and agents use it as an opportunity to talk that the e-reserve uses are not have always understood it and relied about what it is we do, and the “transformative” uses, that there is on it – cannot be taken for granted. significance of our Canon of a risk of market substitution and a Lois F. Wasoff is an agent and Ethics. market exists for digital permissions an attorney with many years fees and that the award of legal of experience in copyright and Include “member of the AAR” fees to the University should be publishing law. She is a member of in your individual or agency bio. reversed. The case will return, the AAR Contracts Committee and When being interviewed about again, to the district court for the Copyright Committee. Pamela being a literary agent, mention further proceedings, 10 years after Malpass and Wendy Strothman the role the AAR has played in it was originally filed. The latest co-chair the Copyright Committee. decision is definitely progress, but Ginger Clark is also a member. The your career.­ there is more work to be done. committee will report in our next In 2008, when the publishers issue about their findings.

COMMITTEE REPORT: INTERNATIONAL CHAIR: DIANA FINCH | BOARD LIAISON: GINGER CLARK The International Committee is reprising the popular “Tax Exemption Toolbox”, possibly for as early as December 2018. (Reminder: The tax chart is now easy to find on the members-only section of the AAR website.)

We successfully began a lottery for the Bologna Children’s Book Fair, which culminated in a drawing at this fall’s annual AAR party. We are continuing work on a project to gather information on the major international rights fairs beyond the “Big Three” of Frankfurt, London, and Bologna, including information on the availability of fellowships for US agents.

We are planning a program for a general meeting on Spanish-language publishing in the US, focusing on programs at Penguin Random House and HarperCollins. We continue to monitor and discuss the current and difficult situation in Brazil, trends in translation rights in general and in subscription models, specifically, as well as the new world-rights publishing programs that include conditions for sister companies to publish translation editions of the work under contract in the main agreement.

We have welcomed new member Lara Allen of The Lotts Agency and will have additional new members to announce soon. Members also include Christopher Lotts, Katie Kotchman, Tamar Rydzinski, Sandy Hodgman, Kent Wolf and Jennifer Weltz. page 6 the pitch winter 2018

TRUMP DEFEATS LIBEL CLAIM ON FIRST AMENDMENT GROUNDS KEN NORWICK, AAR GENERAL COUNSEL

THE LAST ISSUE of this To which a federal district judge circumstances and based upon how newsletter contained my piece in Los Angeles has now responded, a person of ordinary intelligence titled, “Can Denying an Accusation to loosely paraphrase: Easy case; would perceive it.” Get You Sued? Ask President no libel here; Daniels’ claims Trump,” and it discussed a libel are trumped (sorry) by the First And then the judge wrote: case brought against him by Stormy Amendment. The judge not only Daniels. There’s now been an dismissed the case outright, he also Mr. Trump's tweet constitutes important decision in that case. ordered Daniels to pay Trump’s “rhetorical hyperbole,” which is We’ll assume the players need lawyers’ fees on the case, amounting “extravagant exaggeration [that is] no introduction. The case involved to almost $340,000. (In the employed for rhetorical effect,” a public claim by Daniels that a American legal system, parties who . . . Specifically, Mr. Trump's man approached and threatened lose are not normally required to pay tweet displays an incredulous her after she agreed to speak to a the fees of the winner, but specific tone, suggesting that the content magazine about her relationship laws in most states -- called anti- of his tweet was not meant to be with Trump. To quote the court SLAPP -- provide that in free speech understood as a literal statement decision, “The man purportedly cases such awards can be made.) about Plaintiff. Instead, Mr. Trump approached Ms. Clifford, The judge’s essential holding sought to use language to challenge threatened Ms. Clifford's daughter, concerned the nature of Plaintiff's account of her affair and and told her to ‘Leave Trump the allegedly libelous tweet. the threat that she purportedly alone. Forget the story.’” She Addressing the legal requirement received in 2011. As the United States Supreme Court has held, a published statement that is “Any strongly-worded response by a president “pointed, exaggerated, and heavily laden with emotional rhetoric and to another politician or public figure could moral outrage” cannot constitute constitute an action for defamation.” a defamatory statement. . . . Mr. Trump also issued the tweet in the context of Plaintiff presenting “worked with a sketch artist to that a viable libel claim must assert herself as a political adversary to render a sketch of the person who “actual facts” that are “provably the President. had purportedly threatened her” false,” the judge declared: and then released the sketch. The judge continued: To which Trump responded by It is well settled that “the tweet: "A sketch years later about meaning of a publication, and thus Mr. Trump, as President, a nonexistent man. A total con whether it is false and defamatory, made a hyperbolic statement job, playing the Fake News Media depends on a reasonable person's against a person who has sought for Fools (but they know it)!" To perception of the entirety of to publicly present herself as a which Daniels (through her lawyer a publication and not merely political adversary to him. In filings Michael Avenatti) sued for libel, on individual statements.” . . . before this Court, Ms. Clifford claiming Trump had, in effect, To assess whether a statement has challenged the legitimacy of called her a liar. (Daniels recently is “rhetorical hyperbole,” this Mr. Trump's victory in the 2016 said that Avenatti brought the case Court looks to the statement “as a Presidential election. Mr. Trump's against her wishes.) whole in light of the surrounding tweet served as a public rejoinder continued on page 7 page 7 the pitch winter 2018 continued from page 6 to allegations made by Plaintiff. President without giving him the “rhetorical hyperbole” prevails. So, If this Court were to prevent Mr. opportunity to respond. Such a careful (including legal) review of Trump from engaging in this type holding would violate the First the full context of such expression of “rhetorical hyperbole” against Amendment. may be not only desirable but a political adversary, it would And then, the judge added: essential, especially if the subject is significantly hamper the office of “Mr. Trump also made a one-off -- or is likely to be -- litigious. the President. Any strongly-worded rhetorical comment, not a sustained Two further observations: First, response by a president to another attack on the veracity of Plaintiff's Daniels was clearly right when she politician or public figure could claims.” (assertedly) did not want this case constitute an action for defamation. On the merits, the judge’s to be filed. (It remains to be seen This would deprive this country application of the First Amendment how the award of attorneys’ fees of the “discourse” common to the to this claim of libel seems both – technically against her and not political process. In short, should right and welcome. To the extent Avenatti – plays out.) And second, Plaintiff publicly voice her opinions our authors -- not to mention the assuming he means what he says about Mr. Trump, Mr. Trump is rest of us -- engage in “rhetorical on this subject, it could be deemed entitled to publicly voice non- hyperbole,” the decision will ironic that President Trump has actionable opinions about Plaintiff. provide support for such expression directly benefited – indeed, was To allow Plaintiff to proceed with and the resistance to self-censor protected and will be rewarded her defamation action would, in it. At the same time, it must also – from very speech-protective effect, permit Plaintiff to make be emphasized that this is only one libel laws which he has repeatedly public allegations against the decision and that not every claim of vowed to dismantle.

AAR ETHICS COMMITTEE

What is the AAR’s Ethics Committee and how does it work? The Ethics Committee, unlike most other AAR committees, does not have a regular schedule of meetings. It convenes only when there is a need for the whole committee, which consists of seven agent members as well as the AAR President, to discuss a complaint that’s been made about an AAR member. When the committee meets it considers the complaint in light of the AAR Canon of Ethics and the Bylaws. If the Committee concludes that a violation has been established, or that further action is warranted, it will make a recommendation to the AAR Board. Per the AAR Bylaws, the Ethics Committee can recommend to the Board that a member be reprimanded, censured, suspended or expelled. Any AAR member who has been charged with a violation of the Canon has a right to appear before the Board. The Ethics Committee hears mostly from writers, but occasionally we receive communications from agents as well. People write not only with complaints, but also with questions about the Canon and with requests for clarification of how agents operate. The Ethics Committee is very limited in the kind of issues it can respond to. The AAR website recently added a link on the Contact Information page that says, “If you have a question about the AAR Canon of Ethics or wish to make a complaint against an AAR member, please email: [email protected].” page 8 the pitch winter 2018

AAR BOARD REVISES CANON OF ETHICS ON PAYMENTS FROM WRITERS' CONFERENCES

AFTER YEARS OF study and from the charging for such services conferences, it submitted its consultations with interested by any other person or entity findings and recommendations to parties, the AAR Board at its the Board. The Board concluded November meeting adopted an That prohibition has been widely that a practice of the conference addition to the AAR Canon of accepted and followed by the AAR making payments to agents did not Ethics to address the activities membership and is frequently violate the “reading fee” ban, but of AAR members at writers’ cited by third parties as a worthy that the practice of writers making conferences. The text of the example of the AAR’s commitment payments directly did. Thus, the addition is set forth below, following to high ethical standards and the new provision of the Canon states: this brief explanation of the protection of potential victims of an background. often-abused practice. Payments received by members From its inception, the Canon has The “conference” issue addressed from entities that operate prohibited members from charging by the Board involves the practice professional writers’ conferences as “reading fees.” The current of many conferences to have compensation for their good faith provision states in relevant part: agent-participants meet separately participation in such conferences, with writers to discuss their work which participation may include The AAR believes that the and to have the agents separately the evaluation of literary works, practice of literary agents charging compensated for those meetings. including payments that specifically clients or potential clients for Sometimes, the conference will pay apply to such evaluations, shall not reading and evaluating literary that compensation to the agents be a violation of this paragraph works (including outlines, and sometimes the writers will 8. The provisions of the previous proposals, and partial or complete make the payment directly. The sentence do not apply to payments manuscripts) is subject to serious question became: To what extent made by writers directly to abuse that reflects adversely on does that practice implicate the members. our profession. For that reason, “reading fee” ban and how, if at all, members may not charge clients should the AAR address it? The special committee was or potential clients for reading and After a specially-created AAR chaired by Victoria Wells Arms. evaluating literary works and may committee conducted an extensive The AAR Ethics Committee is not benefit, directly or indirectly, review of the practices of numerous chaired by Vicky Bijur.

COMMITTEE REPORT: DIGITAL INNOVATIONS

CHAIR: BRIAN DEFIORE | BOARD LIAISON: WILLIAM CLARK

The Digital Innovations Committee has changed its name to the Media & Digital Innovations Committee, with a revised mission to "explore and report to the membership the key players, strategies, and opportunities for digital and dramatic licensing in the ever-changing worlds of film, tv, online streaming, electronic and audio publishing, and other forms of content development and distribution.” Upcoming panels developed by the Committee include one about working with film co-agents and another about the analytics of book packaging.

Digital Innovations members also include Laura Nolan, Katie Kotchman, Grace Ross, Dan Berkowitz, Heather Jackson and Jeff Kleinman. page 9 the pitch winter 2018

KEEPING TRACK OF MONEY IS ESSENTIAL FOR AGENCIES SUSANNA EINSTEIN

MANY AAR MEMBERS were essential thing an agent can do you use a standard software like shocked at the recent news reports when it comes to payments!” Quickbooks, there are usually about serious embezzlement at a Everyone that she works with in-program tutorials. The respected small literary agency. handles bookkeeping and oversight subscription service Lynda.com The awful incident should serve as slightly differently, says Sally is another how-to resource for a necessary reminder that integrity Jacobson Taylor, E.A., CPA, of SJ financial software. and transparency in regard to client Tax Associates NYC, LLC. She Many agents use both a earnings are an elementary part of and her associate Lisa M. Lee proprietary rights management the agent's responsibility to their Lum, CPA, who work with several software, like BAITS or Atlas, to clients. As stated in the AAR Canon literary agencies of different sizes, process payments, and the three of Ethics, clause 2: have several recommendations of agency owners queried for this “Members shall take responsible essential practices: article all maintain some sort of measures to protect the security • Have a bookkeeping software additional oversight, either via and integrity of clients’ funds. [...] A of some sort and make sure you financial software like Quickbooks member’s books of account must be compare the royalty statements or through an outside bookkeeper. open to the client at all times with you receive to what is in the Brian DeFiore, owner of mid- respect to transactions concerning statements you’re generating. sized DeFiore and Company, says, the client.” • Set up regular meetings with “We have an outside bookkeeper While the recent case was a your bookkeeper to go over who checks our work, but we terrible and criminal extreme (and statements on either a weekly or do the bulk of the accounting in- what we hope was an isolated a monthly basis. house. The actual processing of example), year-end is still a good • You might not feel confident about payments is done by one person time to remind ourselves about numbers, but you know what your using the Atlas database system, agency best practices for accounting clients should be earning. Trust which is a very thorough system and bookkeeping. To quote Vicky your gut and double-check if that makes it very easy to confirm Bijur, owner of the Vicky Bijur something looks off. that every payment that has come in Literary Agency: “The intense • If possible, set up shared is accounted for and has been paid pursuit of accuracy is the most workbooks with your bookkeeper accurately to the clients.” so that you can check up on your Ayesha Pande, owner of boutique books and bank reconciliations agency Ayesha Pande Literary, uses whenever you want. BAITS and Quickbooks and does • For literary agents who receive her bookkeeping in-house: “My 1099s from publishers, a good colleague does the bookkeeping, yearly practice is to check the which consists of checking entries 1099 against your records of in Quickbooks and is attached to monies received from each my accounts, including credit card publisher. If you don’t receive accounts, so all transactions are 1099s, you can always ask automatically uploaded. She goes publishers for a year-end through and makes sure they're all summary of what they’ve paid to categorized correctly. She also does your agency. bi-monthly commission transfers, • If you’d like to learn an accounting and I go over those print-outs pretty software product or learn more carefully. I also go into my bank about what’s possible should accounts online, every few days, continued on page 10 page 10 the pitch winter 2018 continued from page 9 and look over all of the transactions. monies coming in and going out not having a comprehensive Then, my accountant goes through on Quicken. We find that between knowledge of our clients’ earnings is everything and sends me a P&L these two systems we catch any doing them—and ourselves—a great once a month.” errors that may occur.” disservice. Some of us may find it Vicky Bijur uses Quicken and It’s not unusual to hear an editor easier to turn financial matters over BAITS in conjunction, saying, “We or agent claim that they went into to a bookkeeper or an accountant, handle our bookkeeping in-house. publishing so they wouldn’t have to and we hope they are honest, but My assistant inputs all relevant deal with numbers, but for those of it’s up to us, as our clients’ best data into BAITS. I keep track of us who make a living by percentage, advocates, to make sure.

Editor’s note: The AAR is dedicated to diversity and productive intern experiences. This is the second year the AAR has supported with financial assistance this internship experience to local college students. Please donate to the AAR Diversity Internship Initiative here: http://www.aaronline.org/page-1795315

MY AAR FELLOWSHIP WAS 'MY GREATEST ACCOMPLISHMENT' JAZMIA YOUNG

BEING AWARDED THE Association of Authors’ Representatives Fellowship is my greatest accomplishment-- one that I hold near and dear to my heart. With the support of the AAR, I was able to financially provide for myself while working an unpaid internship. When I was selected as a finalist for the AAR Fellowship, there was an influx of agencies that asked to interview me for their summer internship programs. I met and spoke with so many talented and educated individuals, all in different levels of their careers. This allowed me to build connections and I was even able Fellowship boosted my confidence I would have never known about to work with another agency apart in knowing that this path to Curtis Brown were it not for the from the AAR Fellowship, which publishing was right for me, while AAR Fellowship. Having graduated helped me gain more working also sharpening my interview in June of 2018 from City College, experience. skills. Most of all, the Fellowship searching for work immediately I would not have been afforded helped me obtain one of the best became a huge aspect of my life. these opportunities without internships I’ve ever had-- my I was grateful to receive the AAR the AAR’s support. The AAR internship with Curtis Brown, Ltd. Fellowship when I did because it continued on page 11 page 11 the pitch winter 2018

continued from page 10 lifted a financial burden from my BOOKS, shoulders, and I was able to provide for myself and my household while BAGELS AND working as an unpaid intern. MY SUMMER AT At Curtis Brown, I worked under literary agents Kerry D’Agostino CURTIS BROWN and Monika Woods. They had very MUMTAHINAH AHMED different tastes and interests, so I had many different manuscripts WHEN I WAS SELECTED to read and review. Kerry and as a 2018 Association of Authors’ Monika are two of the most Representatives Fellowship professional, unique and talented recipient, one thing stuck in my individuals I have ever met, so mind that I couldn’t stop thinking offering my opinions to them and about: Finally! I would learn the their receptiveness to my ideas secret to how literary agencies was the highlight of my experience found the best books for the at Curtis Brown. I felt that my market. opinions mattered, I felt valued and I had an amazing opportunity I especially felt welcomed. to be on the side of publishing Before Curtis Brown, my opposite publishing houses, and publishing experiences didn’t to see the process right from the I also admired the time and match my expectations of the beginning. During my internship dedication required to read every industry. I didn’t dislike my other experience at Penguin Random single manuscript, even if some internships, but they were unlike House, I learned how a book was of the manuscripts weren't that that of Curtis Brown’s. With Kerry made. From editors providing great. They would sit for hours and and Monika’s guidance, I was factsheets to publicists promoting hours, searching to find the most able to thoroughly evaluate a text, new books to graphic designers precious pearl in the deep, dark articulate my thoughts and then creating colorful covers, I’d seen it trenches of the sea. Oftentimes, it prepare reports that ultimately all. The only thing that was missing would take days to find the right aided in their decisions on whether was seeing where it all started-- the manuscript and sometimes weeks or not to work with an author. query email. for publishing houses to respond I didn’t want my time at Curtis I wanted the big picture on how after the agent’s submission. I saw Brown to end. The atmosphere of the publishing industry worked, that they could get frustrated, but the company along with the kind and I'm thankful to The Association I also saw the determination on all nature of the agents I worked for of Authors’ Representatives for of their faces. It was their deep love made me feel incredibly grateful to offering me this opportunity. for books and their drive for being have been there. When the end of This summer, I worked as an part of the publishing industry that my internship approached, I asked intern at Curtis Brown, LTD. made them push harder. to stay on for a bit longer, to extend Every Friday was “Bagel Friday” at During my time at Curtis Brown, that comfort, care, and inclusivity I Curtis Brown. While I waited for the it was fun creating digital content felt. I’m glad I did. By the revised bagels to crisp in the toaster, I had on Curtis Brown’s Instagram and end of my internship, I was offered the chance to talk to agents about reading through hundreds of query a position that I accepted. their roles in the publishing industry. emails. When my internship with I am immensely happy that the I was surrounded by colleagues who Curtis Brown came to an end, I people at Curtis Brown took a were as passionate about publishing felt like I had played a role in the chance on me and allowed me to as I was. If I had any questions about publishing industry. I felt like I was work with them. This all started contracts or qualities to look for in part of something. Even if my tasks with the AAR’s support and for a writer, the agents were able and were small, I know I made an impact that, I am forever grateful. happy to answer. on Curtis Brown and the industry. continued on page 12 page 12 the pitch winter 2018 continued from page 11

I am thankful to the Association of Authors’ Representatives Ask An Agent because, through the internship, I was able to see what happens What do you do when an option book gets turned down? Switch genres! at a literary agency. My goal this summer was to fully understand About a half-dozen years back, I made a six-figure deal with a Big Five how the publishing industry works, publisher for a debut YA author. Unfortunately, the book did not come and I’m happy to say that I was able anywhere near earning out. (Don't the Big Five put a little more marketing to accomplish this goal. push behind the launch of a new author they've just invested six figures in? People didn’t always believe in This experience showed me that no, that is never a given.) The publisher what I did, and they sometimes politely declined to make an offer on the author's next book. became skeptical that out of all places or industries, I would go However, my author also turned out to have a talent for adult historical into publishing. But, for a very fiction. She went to work on a new novel, an adult thriller set in the early long time I’ve known this is where Twentieth Century, and that one got snatched up by a different publisher- I wanted to be. The Association -a major one. The author is now one of that publisher's top sellers--she has of Authors’ Representatives gained a bigger following than she ever had in YA, and I just signed her up for introduced me to many another two-book deal with them. opportunities and I’m glad this was one of them. She is now one of my star clients! I’m currently on the lookout for my next opportunity in publishing, ­—Eric Myers, Myers Literary Management but I know it doesn’t stop here.

COMMITTEE REPORT: ROYALTIES CHAIR: LAURA DAIL | BOARD LIAISON: SALLY WOFFORD-GIRAND Members of the Royalty Committee met with Macmillan to discuss the design of its new royalty statement. Macmillan is changing all its systems, at last, from Vista (its current accounting software) to a statement that incorporates our requests for more information, clearer presentation and improved readability, across all imprints. Macmillan will also be developing a portal where authors and agents can access their sales information digitally. We should see these changes in effect by February 2020.

We also talked to HarperCollins, among other publishers, about their portals and how they can improve for more direct access to statements. Other topics that were discussed included improving site navigation and statement names. HarperCollins is in the process of making some significant changes.

We’ve been made aware that some major publishers seem to have a huge percentage of sales listed at high discounts, so we ask the membership to keep an eye on this and be prepared to challenge them.

We are gathering information about the many ways audio sales are accounted for, and the committee will share any helpful information in the near future.

Royalty Committee members aslo include Deborah Schneider, Gina Maccoby, Jeff Gerecke, Karen Kenyon, Denise Marcil, Maria Carvainis and Vicky Bijur. page 13 the pitch winter 2018

THE RISE AND FALL OF THE MASS MARKET PAPERBACK RICHARD CURTIS (FIRST PUBLISHED IN BACKSPACE, 2004, WWW.BKSP.ORG) Editor’s note: Part of the importance of the AAR is that it encompasses several generations of literary agents who have seen all kinds of trends and changes within the industry. Richard Curtis detailed the changing role of the literal office space last spring. Here, we are reprinting an article he penned for Backspace over ten years ago that looks at the rise and fall of the mass market paperback, as we attempt to illuminate where we are now in terms of physical books versus electronic by looking back to another uncertain time in publishing’s history.

FOR MANY PUBLISHING annually. Whatever the reality may PEOPLE, the world as they had be, the theory is that they will have known it ended in the summer of a decent shelf life and, if popular, 1996. On a warm brilliant day I remain on display for months or sat down at a table in an Italian longer. This business model has not restaurant for what I thought would changed fundamentally from the last be a typical lunch with the publisher century to the present time. of a mass-market paperback Mass-market paperbacks (as company. I found him slumped opposed to the larger trade head in hands over a seriously stiff paperback format) are a very is how they came to be released on a drink. “What’s the matter?” different matter. Introduced in monthly schedule. After 1956, when He looked up, miserable. “You 1939, “pocket books” took hold in the leading magazine wholesaler haven’t heard? The wholesale the ‘50s and ‘60s, but publishers went out of business, a number independent distribution business is soon realized that the hardcover of entrepreneurs set up shop as imploding. Hundreds and hundreds distribution approach didn’t work. independent wholesale distributors of drivers have been let go.” They needed a different sales model (“ID’s” or “rack jobbers”), handling I groaned, beckoned to the waiter and turned to the one used for mostly books. and pointed to my friend’s glass. “I’ll magazines. Because they were a monthly have what he’s having.” Every month, magazines were phenomenon, paperbacks did not The collapse of the distribution shipped to depots – “agencies” – enjoy a long shelf life; the exigencies system that fueled the mass-market around the country. Drivers picked of returning paperbacks, when the paperback revolution was a trauma up the magazines at the agencies distributor cleared the racks to make from which the book industry and visited stores on pre-assigned room for the next month’s releases, has not recovered to this day. To routes in towns and cities. Most of made for an ephemeral existence. appreciate its impact requires a brief the stores were not bookshops but What is more, the unsold copies description of the way books were rather supermarkets, candy stores, were usually not redistributed or distributed after the post-World War newspaper stands, and bus, train remaindered. Because paperback II paperback revolution that swept or airport terminals. Each month, publishers had to pay freight for the U.S. publishing industry. these salaried employees collected returned copies, many of which By long tradition, trade or general the previous month’s unsold were dirty or damaged, the stores interest hardcover books have been publications and replaced them on found it more efficient simply to offered to bookstore buyers by the store’s racks and shelves with strip the covers off the unsold books, publishers’ sales representatives. new stock. send the insides to be pulped, The store buyers select which To paperback book publishers, and return only the covers to the titles they order and the number this existing distribution network publishers for credit when settling of copies they will stock in their was the perfect vehicle for accounts. stores. Though released year-round, delivering their product to a far- Since paperbacks were returnable, hardcovers are offered on a seasonal flung readership. Thus it came to distributors delayed paying basis in publishers’ catalogues, pass that paperbacks began hitching publishers until unsold stock was which are issued several times rides with magazines. And that too returned. To account to authors for continued on page 14 page 14 the pitch winter 2018 continued from page 13 the gap between copies sold and initiative or sponsored by their from, spent profligately and ended royalties released, the paperback publishers, began visiting the up taking a bath on books and publishers took a page from the wholesale agencies and pitching authors that flopped miserably. creative accounting systems devised their books at executives and Or they simply acquired whatever by the hardcover industry, holding ingratiating themselves with they pleased without giving much large amounts of royalties for long the jobbers. Some of the more thought to the bottom line, failing periods until returns were finalized. energetic writers went so far as to to realize that they were indulging Royalty reports to authors were drop in on drivers as they loaded in a luxury largely subsidized by deliberately fashioned to omit their vehicles, bringing coffee and paperback book revenue. Many information about the number donuts and promotional material to lived in denial that their beloved of copies printed, shipped, and inspire them. This technique was first novels, short story collections, returned, or about the amounts of particularly successful with romance poetry anthologies and other royalty reserved pending finalization fiction, which sold most abundantly elevated forms of literary endeavor of returns. This suppressing of in the supermarkets that women were financed by romances, vital sales data gave publishers visited two or three times every westerns, thrillers, horror novels and carte blanche to retain royalties week. It did not hurt if the authors space operas. that might have been remitted to were attractive. Many a lovestruck authors. Some publishers got too driver stocked extra copies of a title Efficiency Strikes the Distribution creative and held royalties forever. after a pretty novelist shared a pre- Business Until the 1990s, when pressure dawn breakfast with him on the from agents and from writers’ tailgate of his station wagon. Meanwhile, the infrastructure of organizations forced publishers Although a growing number paperback book distribution was to reveal significant details, mass- of traditional bookstores stocked undergoing significant changes. market houses reported only net mass-market paperbacks, it was The dramatic rise and expansion sales with no information as to how the wholesale distribution network of bookstore chains like Barnes they arrived at those net figures. that fueled the huge growth of the & Noble siphoned business away As I wrote at the time, it was like book business in the last quarter of from wholesalers’ franchises, reporting batting averages to the twentieth century, spawning a both in cities and suburban malls. baseball fans without revealing how thriving industry and a generation Computerized sales information many at-bats or hits the players had of bestselling authors. Even enabled publishers, wholesalers had. when those authors graduated to and retailers to better track the hardbacks, paperback reprints of performance of categories and The Paperback Industry Blossoms their books drove sales overall. In identify winners and losers among the late 1980s and early ‘90s, mass- specific books and authors. And the Unlike retailers of hardcover market paperback revenue made stunning advent of Amazon.com books, paperback booksellers the difference between feast and leveraged the awesome power of the seldom had much say over which famine for hardcover publishers. Internet to link supply and demand. titles were stocked on their racks. Income from romance fiction alone Assessing these patterns, They passively received the current contributed 25% of the cash flowing paperback distributors began month’s selection and passively into the trade book industry. asking themselves why they needed watched the unsold stock loaded Smart publishing executives to employ human labor when into the distributor’s vehicle a recognized how heavily they they could more efficiently and month later. The authors of those depended on mass-market income economically service bookstores books watched the process too, for their profits. But that message and other outlets by shipping books but some of them figured out ways did not always filter down to their directly to the retailers. Yes, it would to influence the wholesalers to editors. Many of them, possessing mean that the human element -- promote their books. A number only a hazy idea of where the the guy in the station wagon who of leading authors, on their own money for their acquisitions came knew which towns loved historical continued on page 15 page 15 the pitch winter 2018 continued from page 14 romances and which preferred contemporary ones, which adored COMMITTEE REPORT: CONTRACTS westerns and which were big on science fiction – would be removed CHAIR: GINGER CLARK | BOARD LIAISON: WENDY STROTHMAN from the equation. But -- well, that The Contracts Committee released an alert regarding the new “morals was progress! clauses” that various large publishers are including in new contracts. The The big agencies pulled the plug Committee will also be hosting two toolboxes in early 2019 about current in that summer of 1996 when whole fraught topics in contracts, along with an event about audio, high discount, fleets of drivers were discharged, and territory issues intended for agents wishing to brush up on their and in the following years the contract knowledge. wholesale distribution workforce was reduced to a fraction of what it The Committee would also like to remind the membership that we would had been in its heyday. love to hear any questions regarding contractual issues for a column in the newsletter. The identity of the askers will be kept completely confidential and not revealed to the membership at large. The Bottom Drops Out Please submit your questions to [email protected]. Most publishing executives were slow to recognize the implications Contracts Committee members also include Miriam Altshuler, Tess Callero, of the nosedive in the wholesale Leigh Eisenman, Mary Evans, Jenni Ferrari-Adler, Gina Maccoby, Adam Schear and Lois F. Wasoff. paperback distribution business, dismissing it as one of those occasional and inevitable shifts to which the industry had always streamlining of the way retailers lowering of the bar in a limbo dance. adapted. What was the big deal? ordered books from publishers. Limbo indeed: authors who had Fewer romances and other genre Why pick and choose among made a living for years from sales novels would be published, wasn’t thousands of titles that might sell of ten or fifteen thousand copies of that all there was to it? only a handful of copies? Wasn’t their paperbacks were now being In fact, the consequences were it better to follow the formula dropped by their publishers as the nothing short of calamitous. The that worked so well at airports, minimum sales quota increased to impact was felt in every sector of ordering only the top fifteen twenty or thirty thousand copies or the publishing business, from what or twenty bestselling books by more. got written to what got published to branded authors like Nora Roberts, Like the men and women who what got read. It wasn’t long before Robert Ludlum, John Grisham and distributed their books, a lot of customers in west Texas or Nebraska Stephen King? authors were thrown out of work, or South Carolina discovered that As paperback publishers awoke and the grim truth finally dawned on many books by their favorite authors to the new buying patterns, they publishing executives. It wasn’t just were no longer being stocked in were forced to choose between genre titles that were affected by the their local stores. When customers star authors and those whose seismic shift in book distribution; or store owners complained, they sales performance fell below a paperbacks of every kind were being were told to take it up with the minimum level. At first the triaging hit by the pullback. distributor – in Vancouver or some was restricted to marginal genres other far-flung location reachable like westerns, but as the last “What’s the Author’s Platform?” only by an 800 phone number. decade of the twentieth century progressed the definition of As the publishing industry The Rise of the Airport Model “marginal” broadened to embrace entered the twenty-first century, every category of book that fell book industry executives began A key result of the shift in below an ever-stricter definition of requiring editors to produce distribution patterns was the commerciality, a process akin to the elaborate profit and loss projections continued on page 16 page 16 the pitch winter 2018 continued from page 15 and other corporate-style analyses or her franchise? successful dealmakers. Self- of the potential viability of books More and more, the importance publication has soared now that and authors. What was the sales of traditional literary criteria has electronic and print technology and performance of previous books? taken a back seat to “The Numbers” Internet promotion have brought Did they “sell through” satisfactorily and “The Platform.” Promising but the costs of vanity books down to or did returns cross the threshold modestly successful novelists have proletarian levels. of unprofitability according to the discovered they cannot get their As much as authors would dearly latest formulas devised by bookstore second or third books published, love to bring back the robust chain number-crunchers? The and aspiring newcomers find that mass-market paperback era, it’s mantra of “The Bottom Line” they cannot sell their books at all. no likelier than a return to steam was invoked ad nauseam at every As for nonfiction, no matter how locomotives. More and more, the editorial committee, and editors compelling a memoir or business mass-market paperback is becoming were constantly reminded, “We can guide or social commentary might a manifestation of blockbuster only afford to publish hits. If you be, publishers are disposed to publishing, where economies of can’t project a big profit on a book, reject it because the author was not scale enable publishers to make turn it down.” “branded.” a profit on immense shipments Editorial financial projections Faced with these grim options, despite high returns. Because retail were aided by an Orwellian authors have resorted to increasingly sales have shifted from racks to innovation called BookScan, frenzied measures to get published. bookstores and the Internet, new and midlist works are increasingly being released in trade paperback. “The shift to trade paperbacks may help The shift to trade paperbacks may help save midlist books. A major save midlist books.” advantage of the trade paperback format is that it is the preferred instituted early in 2001 by Nielsen Established novelists are writing size for print on demand reprints. Broadcast Data Systems, the world's under pen names to disguise “POD” takes all the guesswork out leading provider of airplay tracking the poor performance of their of bookselling, and the publishing information for the entertainment earlier books, or strive to produce industry can no longer afford to industry. BookScan offered blockbuster “breakout” novels guess who will buy its products. subscribing publishers weekly long on sex, violence, and plot but Dismaying though it may be for old analyses of sales by most major book short on craft and characterization. publishing hands to contemplate, retailers. Within moments, editors Without supportive publishers to the future of book distribution could access vital sales statistics carry them while they developed belongs to print on demand. on previously published books and their talents over four or five books, The end of the old mass-market authors, elevating performance new novelists resort to gimmicky paperback distribution system parameters over traditional but less concepts with “log lines” that can coincided with the birth of a new quantifiable values like compelling be pitched like movie scripts. method of delivering books to storytelling or stirring prose. Nonfiction authors plump up their readers. Though e-book technology And what about the author? Was credentials or hire public relations has encountered innumerable he or she attractive and mediagenic? specialists to burnish their images obstacles, its potential to reach Did he or she have a “platform” and enhance their media exposure. a vast readership is no longer – an organizational base such as Others subsidize the purchase seriously disputed. What sort a hit television series or chain of of large quantities of their own of literature this new medium fitness centers capable of promoting books to drive up their “numbers.” produces, and how it will make the sale of books? Was the author Literary agents are besieged by money for authors and publishers, willing to buy large quantities of writers frantically seeking the are fascinating sources for books for giveaway or resale by his advantage of representation by speculation. page 17 the pitch winter 2018

RARE BIRD owner, Glenn Goldman, had died just as all of this was happening, unexpectedly from pancreatic and he asked what we were going BRINGS cancer, and I spent the better part to be publishing next. Things were BOOKSELLER of 2009 assisting with the store’s moving quickly, and he suggested transition into new ownership a project that I’d initially proposed INSIGHTS TO while separately exploring what to him, a porn industry memoir by WEST COAST it would look like to pursue some Oriana Small, aka Ashley Blue. That of the things Glenn, myself, and was book two, which is still one of PUBLISHING select staff had put together idea- our bestsellers. NOAH BALLARD wise before he was diagnosed— publishing books under a Book TP: What were you trying to The Pitch strives to educate Soup imprint, not unlike City accomplish with the ethos of the our readership about new and Lights; expanding the Book Soup imprint? Has that evolved? independent presses that could marketing brand more outside TC: We’ve been publishing fifty fit our clients’ work. In the past, of Los Angeles and Southern books each year steadily for almost we’ve covered presses in the Twin California; continuing to grow a decade. The ethos has always Cities, Ohio and New York City. the events part of the business been to push limits and to be In the spring, we turned to the by moving into larger venues and adventurous. That hasn’t really West Coast, and profiled Unnamed other areas of the West Coast changed. We still look for new ways Press. This time, The Pitch reached and beyond. The first publishing to approach books, authors, designs, out to Tyson Cornell of Rare Bird opportunity appeared in early formats and content, but I think we Books. Founded in 2010 by former 2009 when I was approached by feel less obligated to reinvent the independent booksellers, Rare Bird Book Soup’s graphic designer, wheel with every release now more is a Los Angeles–based independent Joseph Mattson, to co-publish his than we did early on. publisher of fifty books a year, debut novel, Empty the Sun, with specializing in fiction, nonfiction, Drag City in Chicago. Drag City TP: Tell us about your staff. Who’s memoir, entertainment, humor, was primarily a record label that on the team and what do they bring politics and current events. Rare occasionally published books. The to the books you publish? Bird authors and books have won novel was released in November TC: Rare Bird currently has a the PEN Center USA Fiction of that year, and by February 2010 core staff of five and we work Award, the Pulitzer Prize, and have we were close to being sold out of with contractors to accomplish been reviewed in The New York initial print runs without traditional everything else. I handle the Times, Vanity Fair, the Guardian, book distribution. The same month business, financial, and art direction and the Los Angeles Times, among Empty the Sun was released, I left duties, as well as try and make sense many others. This interview has Book Soup as the new owners took of our missions and growth. Julia been edited for clarity and length. over and started Rare Bird Lit, a Callahan, our sales and marketing marketing and events company. director—who’s been with us since THE PITCH: What was the genesis The first season’s roster was with Rare Bird’s first year, and with me of Rare Bird? Katie Arnoldi (POINT DUME, TYSON CORNELL: Rare Bird Overlook), Chuck Palahniuk started, initially, as a marketing (TELL-ALL, Doubleday), and events company in February Bret Easton Ellis (IMPERIAL 2010, mostly fulfilling obligations BEDROOMS, Knopf), David that I had committed to while Mamet (BAMBI VS GODZILLA, working with authors and New York Pantheon), Karl Rove (COURAGE publishers during my time at Book AND CONSEQUENCES, Soup, an independent bookstore Threshold) and a few others. I had in West Hollywood, California. lunch with editor Sean McDonald A year prior, though, Book Soup who was with Riverhead at the time continued on page 18 page 18 the pitch winter 2018 continued from page 17

projects. It’s more important to us that authors have a confi dent vision for what the books are and what their intentions are; that they’re engaged with us, other authors, the market and readers; and that they want to contribute more to the conversation of books rather than simply writing a manuscript and letting the world defi ne what it is. Engagement is probably the most important aspect we respond to in a manuscript, proposal or pitch. at Book Soup for four years prior to right people are working on the that—brings a lot to our books in right projects. The books that TP: Rare Bird seems very interested many ways, but primarily focuses on Guy edits, for instance, tend to in stories from unexpected marketing and selling the products be literary fi ction and narrative industries—like sex workers and that we create, in addition to nonfi ction. Hailie tends to gravitate former adult performers, for coordinating general and targeted toward general or genre fi ction and example. What market do you see efforts with our marketing and visual books. For both, though, key your books fi lling? publicity manager, Jessica Szuszka. assets are that they can adapt well TC: That’s true. Sex worker stories Julia’s the one bringing us-- me to the curveballs that are thrown at and adult industry stories, in in particular-- back to points of them editorially on a daily basis and particular, are very important to practicality. I can get carried away they do it well. us because those are stories that exploring creative projects and continue to be underrepresented creative ways of doing projects. TP: Which recent titles give readers in the marketplace. When we Julia’s the backbone that keeps it all a real sense of what you’re trying to published GIRLVERT, for instance, goal-oriented, understandable and do? What kinds of writers are you the response was very positive, but it effective. She isn’t averse to telling looking to publish? took some readers, specifi cally book me I’m insane for considering TC: There are many, but some key industry and literary folks, a lot of something or overcomplicating a titles that exemplify what Rare Bird time to get around to it. When they situation, and she keeps many of the is trying to do that I haven’t already did—two years, three years after it deadlines met. mentioned are: BLACK SHEEP was published—there seemed to Editorially, Guy Intoci, formerly BOY by Martin Pousson (winner of be a lot of people surprised that it of Dzanc, and Hailie Johnson work the 2017 PEN Center USA Award could be a very graphic and sexually with authors and other outside for Fiction); HUMMINGBIRD by explicit story, but also one that editors to bring our books from Jude Angelini; NOT MY WHITE had relevance outside of the porn idea through publication, which SAVIOR by Julayne Lee; CRY industry. It’s a human story that isn’t always easy for a general- WILDERNESS by Frank Capra; people seem to relate to as much trade house that publishes a SCALE and WATCH by Keith as they gawk at it and I’m very very broad list of titles. It isn’t Buckley; THE EDGE OF THE fascinated by those intersections. uncommon for them to go from CONTINENT by Jacqueline coordinating children’s books and Suskin; THE VELVET ROSE TP: What works more for you, political nonfi ction in the morning by Susan Holmes McKagan; and genre-wise? What kinds of books to sex and music memoirs in DREADNAUGHT by D. H. (fi ction/nonfi ction/etc.) do you plan the afternoon to dark fantasy in Peligro. We’re committed to a broad to do more of? the evenings, but there’s a fi rm list meaning genres don’t typically TC: We want an even divide between commitment to making sure the defi ne why we’re interested in three core areas—entertainment continued on page 19 page 19 the pitch winter 2018

continued from page 18

(sex, music, film, television); nonfiction (political, social, COMMITTEE REPORT: SMALL BUSINESS narrative); and fiction (literary, CO-CHAIRS: DENISE SHANNON, SUSANNA EINSTEIN general, genre). Much of our roots BOARD LIAISON: SUSANNA EINSTEIN are based in being former frontline independent booksellers and I The Small Business Committee's panel, “Business Strategies for Agencies”, can’t imagine a Rare Bird where held on May 9th, was extremely informative. The dynamic panelists (Regina we aren’t able to go from section to Brooks of Serendipity Literary Agency, Panio Gianopoulos of Heleo, and section in our catalog and have an Jesseca Salky of both HSG Agency and Lyons & Salky Law) offered useful eclectic variety of stories, similar to information and advice on how to plan for growth, think about your brand, what you find bookstores like Book adjust your marketing strategy to stay ahead of the changing times and Soup, City Lights, Prairie Lights and explore new income streams. If you missed it, audio is available for members McNally Jackson. They’re generally on the AAR website. committed to the broad experience The Small Business Committee organized another panel scheduled on of storytelling and Rare Bird is very December 11th titled, "What Protections Do You Need as an Agent?" This much about that journey. panel dealt with questions about insurance needs and legal protections that agencies might wish to consider to protect themselves from risk. We will TP: What are the advantages and report in the next newsletter about this panel’s major takeaways. disadvantages of being a Los Angeles-based publisher? What’s Small Business Committee members include Markus Hoffman, Sarah Lazin, the literary scene like in LA? Ayesha Pande and Jesseca Salky. TC: There are many advantages to being a Los Angeles–based publisher. One is that Los Angeles TC: We try to work together as that aren’t working for me are is a fascinating city with a vast and much as possible. Everyone seems ones that, as mentioned above, eclectic history. Another is that to have a fairly distinct identity seem to be oblivious to their there’s an inspiring community of list-wise, so it never really feels purpose in the world. I think it’s book lovers and creative people competitive. I’d like to work okay for authors to write books here. Some of that’s associated with other publishers more, and just be comfortable with with the entertainment industry, the same way record labels and that accomplishment. Not every but there are really just a lot of entertainment studios do more manuscript needs to be published. interesting people doing interesting fluidly with developing, co-releasing Most, I think, probably don’t. things and a lot more publishers and co-marketing content. The stories that innately demand than many people realize (including engagement are the ones that Unnamed Press), as well as many TP: Are their specifics kinds of fascinate me. They end up being great bookstores. It’s a wonderful stories that are particularly working forces of their own and we just incubator for creative people who for you? Ones that aren’t? work hard to clear obstacles like stories. The only downside that TC: Stories that are working for between them and readers. comes to mind is traffic, droughts, me now are ones that balance wildfires and the heat—but pros far timelessness with current events, TP: What should writers and agents outweigh the cons. ones that are clearly have the know going into a relationship with potential to be relevant in the Rare Bird? TP: We’ve noticed that you’ve future as much as they are right TC: In addition to great content, partnered with Unnamed now. I don’t ever care about we’re interested in acquiring Press, another LA indie who whether it’s fiction, nonfiction or great people to be a part of the we’ve profiled, on a few panels/ otherwise, as long as it’s consistent movement of what we’re trying conferences—what’s that with the role it’s intending to to do here. As book people we’re relationship like? play in the marketplace. Stories compelled to do this, and like many continued on page 20 page 20 the pitch winter 2018 continued from page 19 people in this business we sacrifice We don’t feel compelled to be on in a special way, hopefully involving a lot for the compulsion to make every agents’ radar, just the ones more cross-marketing and cross- great books, develop stories and that value and appreciate what we publishing efforts with other create these things. Too often, the do. We don’t publish books, we publishers, stores and authors. author-publisher and/or publisher- publish writers. That extends to agent relationships is adversarial, or agents appropriately, as well. That TP: What have you learned in your it ends up being more about what said though, if there are agencies time publishing? an author or an agent got out of that we’re not working with that TC: I’ve learned a lot—There are a the deal or what a publisher got a have similar visions, we definitely lot of words in books; just because book for, etc. The right deals and encourage them to be in touch. a book is great doesn’t mean people the right relationships are all that will buy it; competition stimulates matter. When we’re working with TP: What are your goals (sales/ growth; a great cover is often more like-minded people the energy’s marketing/outreach/etc.) for 2019? salable than great writing, but both there and that’s what makes it TC: Our sales and general growth are subjective; the most important worthwhile. have been increasing substantially thing I’ve learned in publishing, each year, so we’d like to continue though, is that greatness comes TP: What sort of outreach has Rare that growth. We’re approaching with perseverance. These books Bird been doing to NYC-based our tenth anniversary season in aren’t going to write, publish or sell agencies? late 2019 through 2020, so we’re themselves, even when it appears as TC: We have our relationships. planning on commemorating that if they do.

DESIGNING A PARENT-CHILD BOOK CLUB INCREASES FAMILY TIME JODY KAHN

I WAS RECENTLY CHATTING with a friend whose husband works long hours and was concerned he wasn’t getting enough time to the book choice; each has equal life. The best part is that dad and connect with his daughters. She veto power. daughter have formed a special was telling me that her fifth grader • Meet to discuss the book in bond through reading. loves to read, and that to spend a public place-- in a cafe, a I thought this was an more time with her they created a restaurant, or in the park during exceptionally sweet idea, and a Father-Daughter Book Club. the warmer months. wonderful way to both carve out Like many book clubs, theirs has • Come to each gathering with quality family time and get kids a set of rules that the family came questions and discussion topics, excited about reading. I wanted to up with together: ready to compare notes. share this idea with our readers in These book clubs begin by talking case anyone is inspired to do the • Read one book per month. about the book, but inevitably the same with your own families. • Dad and daughter must agree on conversation turns to talking about Happy reading! page 21 the pitch winter 2018

WHAT ARE AGENTS READING? Q&A BY THE PITCH

Finding time to read can be difficult when we do it all day for work. The Pitch contacted several agents who pride themselves on their pleasure reading to get some insight on not only what they’re reading, but when they find time to do so. Their answers have been edited for clarity.

Geri Thoma, Writers House

How do you discover books? MANHATTAN BEACH by Jennifer Lucy Carson, The Friedrich Agency I read about one new novel a Egan; DEVIL IN THE GROVE month. Whatever friends, reviews, by Gilbert King. Rebecca Makkai’s When do you read? occasional dips into the few THE GREAT BELIEVERS is in I’m terrible about finding time to remaining bookstores I frequent my bag today. read for pleasure! Mostly because make me crave, often in paperback, the guilt really eats at me when I but occasionally in hardcover if I Heather Schroder, Compass Talent have clients waiting to hear back can’t resist. from me on a revision and I’ve What are you reading? spent all weekend reading for sheer When do you read? I recently finished SHARK pleasure. But I try to tackle the I have a ridiculously long DRUNK by Morten Strøksnes. pleasure reading on audio, which commute, a two hour train each I read a review of it in The New means I can only really listen to way, which I don’t do every day. In Yorker over the summer and finally about 2 titles a month. And the sad the evenings, the day has been too got around to ordering it. Fabulous fact is that only commercial-leaning long to keep working, so I read for book--so beautiful. fiction makes for a great audiobook pleasure. Summers often yield more (in my opinion), so I don’t tend to time, and then I will take on a major What’s next? include the tougher reads in this project, like reading Rick Atkinson’s CONVERSATIONS WITH format. But audio is perfect for stuff trilogy about World War II. It’s not FRIENDS by Sally Rooney. like Tana French (love every single everyone’s idea of vacation reading, thing she’s ever written) or Robert but I’ve been a binge reader since When do you find time to read? Galbraith, etc. childhood, and find no greater I usually read for pleasure over pleasure than spending hour after the weekend. My 13-year-old What have you listened to lately? hour in the daze of reading, in daughter and I have a "reading date" I did listen to EDUCATED by the hands of a master. Rainy days on Sunday afternoon before dinner. Tara Westover on audio, which I in a lake cabin are my idea of the loved. perfect time away. What do you look for when you And what have you read-read? What have you been reading lately? pick up a new book? The most recent print book that David Grann’s KILLERS OF I look for books that touch me. I I read for pleasure was FRIDAY THE FLOWER MOON; THERE don't prefer one genre over another. BLACK by Nana Kwame Adjei- THERE by Tommy Orange; I just want a voice I connect with! Brenyah, because I felt like I’d continued on page 22 page 22 the pitch winter 2018

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be left out of a really important I plan to tackle Shakespeare's plays and when I’m visiting family in industry conversation if I didn’t next (as audio books). New Jersey. A book can make the make an exception for that. miserable NJ Transit commute a What are you reading now? little easier. I’ve been trying to read Kent Wolf, The Friedrich Agency I am reading THE SHORT before bed instead of watching TRAGIC LIFE OF ROBERT Netflix, which has made for better What have you read lately? PEACE by Jeff Hobbs. I have sleep, maybe. I loved MY SISTER, THE Tana French’s THE WITCH SERIAL KILLER by Oyinkan ELM and THERE THERE by What do you read before bed as Braithwaite! Anything darkly comic Tommy Orange in my lineup, and opposed to on the subway? is like catnip to me! I’m rereading ONE HUNDRED I like something that moves YEARS OF SOLITUDE by quickly if I’m reading on-the-go, Sally Wofford-Girand, Union Gabriel Garcia Marquez. something I can stop and start Literary easily. Right now, I’m reading YOU Anything you’ll admit you didn’t by Caroline Kepnes, which is smart When do you find time for like? and fast-paced. Before bed, I’m pleasure reading? I have given up on Proust after reading Joshua Cohen’s heady essay Pleasure reading! I squeeze it trying to start SWANN’S WAY a collection ATTENTION. in waiting in line, on the subway… dozen times and getting bored with trains, planes, automobiles (when the description of every dust mote. How do you discover pleasure my husband is driving). Situations reading books? where I can't concentrate to edit What do you find yourself There are some great accounts but can to read. returning to? on Instagram that feature both I reread Shirley Jackson recently. things I know about through What books stood out to you lately? What a master! my work and things I otherwise Favorite book this year was Richard wouldn’t have heard of--just search Powers’s THE OVERSTORY. It Noah Ballard, Curtis Brown “bookstagram”. Also, like with the blew my mind! I liked EDUCATED Caroline Kepnes, I’m trying harder by Tara Westover. I listened to When do you find time to read? to read more of the copies that PACHINKO by Min Jin Lee, and I like to read on the subway come in from editors.

NEW MEMBERS, photography books. Some of her including narrative nonfiction. children’s book clients include New Some nonfiction areas she is SPRING 2018 York Times bestselling author and currently interested in are space, illustrator Vashti Harrison, author/ science, food and photography. ​ CARRIE HANNIGAN illustrator and Theodor Geisel HSG Agency Honor winner Jonathan Fenske, www.hsgagency.com YA fantasy author Laurie Forest, HEATHER JACKSON After 16 years working at Russell & and author and illustrator Gilbert Heather Jackson Literary Agency Volkening, Inc. with the esteemed Ford. In the kid-lit world, Carrie www.HJlit.com Timothy Seldes, she and her is looking for humorous books and Craving editorial freedom, Heather colleagues opened HSG Agency in books with warmth, heart and a Jackson decided to jump over the 2011. Carrie specializes in children’s great voice in both contemporary desk to the agent side in 2016 books, but also represents a select and fantasy. In the adult world, she after a highly successful career as list of nonfiction as well as a few is only taking on nonfiction projects, a trade editor. In her 20+ years as continued on page 23 page 23 the pitch winter 2018 continued from page 22 an editor, she acted as the creative SOUMEYA ROBERTS SUZIE TOWNSEND midwife to dozens of New York HSG Agency New Leaf Literary & Media, Inc. Times bestselling authors and www.hsgagency.com Suzie Townsend has been a literary titles. The selective client list she Soumeya began her career in the agent at New Leaf Literary & and the agency is cultivating has editorial department at MacAdam/ Media, Inc. since its inception in one unifying theme: to represent Cage, an independent publisher 2012. Prior to joining New Leaf, authors and books that make a based in San Francisco, where she Suzie graduated film school, earned difference and that make you rose from the ranks of intern to her Master of Education, taught want to press the pause button on associate editor, acquiring works of high school English and coached a everything else--ditch the screens, literary fiction as well as translations. swim team. In her spare time, she the duties, the worries--to sit down Coming to New York in the midst read everything she could which and read for hours. Books that of the financial crisis, Soumeya prompted her move to publishing. inform, inspire, entertain, surprise, became a literary scout at Sanford She represents fiction for middle help; books that make you cry, J. Greenburger Associates, where grade, young adult, and adult laugh, question, feel and stretch. she was introduced to the world audiences. Her authors include She can sometimes be found on of foreign rights and the wider Victoria Aveyard (Red Queen), Instagram (@hjlit_) or Facebook world of New York publishing. Elly Blake (Frostblood), Cora (@HJLit). She subsequently was hired as the Carmack (Losing It), Natalie Lloyd Rights Director at the Susan Golomb (A Snicker of Magic), Jennifer Literary Agency, where she handled Ryan (Stone Cold Cowboy) and ARIANA PHILIPS translation and subsidiary rights Kara Thomas (The Cheerleaders). Jean V. Naggar Literary Agency, Inc. for best-selling and award-winning She is on Twitter and Instagram Ariana Philips began at the Jean authors such as Jonathan Franzen, (both, @sztownsend81) and Tumblr V. Naggar Literary Agency, Inc. Rachel Kushner, Noah Hawley, Nell (suzietownsend.tumblr.com). (JVNLA) as an intern in 2011 and Zink, and William T. Vollmann, as joined the agency full-time in the well as managed her own authors. summer of 2012. She handles audio, She was then hired as an agent by LESLIE ZAMPETTI permissions, and electronic rights, Writers House, adding new clients to Dunham Literary, Inc. and assists with the submission of her list of fresh, vital, diverse fiction, Leslie joined Dunham Literary, JVNLA’s titles for translation and non-fiction, memoir and young adult Inc. as Jennie Dunham’s assistant for film/TV. She is actively building authors. In 2017, Soumeya joined in 2016, after interning for The her own client list but continues to Hannigan Salky Getzler, where she is Bent Agency. She represents work closely with Jennifer Weltz Rights Director and Agent. Drawing children’s books including picture and Alice Tasman on their titles. on her experiences with agenting, books and middle grade, and adult Her interests include adult literary editorial work, and foreign rights, books including literary mysteries, and commercial fiction, narrative she seeks to be a subsidiary rights upmarket women’s fiction and nonfiction and the latest and advocate for the agency's clients and romance as well as narrative greatest in culinary talent! Born and to nurture long-lasting, collaborative nonfiction. A former librarian with raised in New York City by a family relationships with her authors. A over 20 years’ experience in special, immersed in the city's culinary and longtime resident of San Francisco, public and school libraries, Leslie hospitality scene, she is especially she studied Modern Poetry at graduated from Wake Forest interested in cookbooks, food San Francisco State University. University with a degree in English narratives and culinary histories She currently lives in Brooklyn, and has a Master of Library and from around the world. Ariana New York with her husband, her Information Science from the attended Iona College where she daughter, and their cat. Soumeya is University of North Carolina at graduated with honors in English always on the lookout for new and Greensboro. and communications. You can find unheralded voices and seeks to be a her on Twitter @ArianaPhilips. passionate advocate for her clients. page 24 the pitch winter 2018

CANON OF ETHICS OF THE ASSOCIATION OF AUTHORS’ REPRESENTATIVES DECEMBER 2018

1. The members of the Association later than ten business days days, the member may deposit the of Authors' Representatives, Inc. after clearance and attribution; funds in question into a segregated are committed to the highest provided however that if funds interest-bearing account pending standard of conduct in the for a client are received more possible resolution of the dispute. performance of their professional frequently than quarterly and if No later than the expiration of that activities. While affirming the those funds do not exceed a total ninety-day period, if the dispute necessity and desirability of of $100, then payments to clients remains unresolved and the maintaining their full individuality may be made quarterly, so long claimants do not otherwise agree and freedom of action, the as when funds received exceed with respect to the disposition of members pledge themselves $100 or upon the client’s specific the disputed funds, the member to loyal service to their clients' request, payment to the client shall take such steps as may be business and artistic needs, and shall be made within ten days necessary to deposit the funds with will allow no conflicts of interest thereafter. In all cases, members a court of competent jurisdiction, that would interfere with such shall exercise due diligence in with appropriate notice to the service. They pledge their support seeking supporting and attribution claimants, so that the claimants will to the Association itself and to the information for payments have an opportunity to present to principles of honorable coexistence, received. However, on stock that court their claims to the funds. directness, and honesty in their and similar rights, statements of Upon so depositing the funds, the relationships with their co- royalties and payments shall be member will have complied with members. They pledge not to made not later than the month the member’s obligations under this mislead, deceive, dupe, defraud, following the member’s receipt, Canon of Ethics. victimize, or subject to sexual or each statement and payment to other abuse or harassment their cover all royalties received to the 3. In addition to the compensation clients, other members of the 25th day of the previous calendar for agency services that is agreed Association, the general public, month. Payments for amateur upon between a member and a or any person in their workplace rights shall be made not less client, a member may, subject to or with whom they work or do frequently than every six months. the approval of the client, pass business as a member of the A member’s books of account along charges incurred by the Association must be open to the client at all member on the client’s behalf, times with respect to transactions such as copyright fees, manuscript 2. Members shall take responsible concerning the client. retyping, photocopies, copies of measures to protect the security If a member receives in writing books for use in the sale of other and integrity of clients’ funds. a claim to funds otherwise rights, long distance calls, special Members must maintain separate due to a client, the member messenger fees, etc. Such charges bank accounts for money due shall immediately so advise the shall be made only if the client their clients so that there is no client in writing. If the member has agreed to reimburse such commingling of clients’ and determines that the claim is expenses. members’ funds. serious, and that the funds should Members shall deposit funds not be remitted to the client 4. A member shall keep each client received on behalf of clients because of the claim, the member apprised of matters entrusted to the promptly upon receipt, and shall shall proceed in accordance with member and shall promptly furnish make payment of earnings due the following: such information as the client may clients promptly, but in no event For a period not to exceed ninety reasonably request. continued on page 25 page 25 the pitch winter 2018

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5. Members shall not represent regulations of the WGA shall take such services by any other person both buyer and seller in the same precedence over the requirements or entity. For the purposes of the transaction. Except as provided in of this paragraph. foregoing, the term “reading and the next sentence, a member who evaluating literary works” includes represents a client in the grant of 6. Members may not receive a providing editorial services with rights in any property owned or secret profit in connection with respect to such works. The term controlled by the client may not any transaction involving a client. "charge" includes any request for accept any compensation or other If such profit is received, the payment other than to cover the payment from the acquirer of such member must promptly pay over actual cost of returning materials. rights, including but not limited to the entire amount to the client. It shall not be a violation of this so-called “packaging fees,” it being Members may not solicit or accept paragraph 8 if a member provides understood that the member’s any payment or other thing of an evaluation of a non-client’s compensation, if any, shall be value in connection with their material if a) any payment therefor derived solely from the client. referral of any author to any third is made directly to a charity Notwithstanding the foregoing, a party for any purpose, provided qualified under Section 501(c) member may accept (or participate that the foregoing does not apply (3) of the Internal Revenue Code in) a so-called “packaging fee” paid to arrangements made with a or to an established educational by an acquirer of television rights third party in connection with the institution; b) the member shall to a property owned or controlled disposition of rights in the work of personally create the evaluation by a client if the member: a client of the member. and provide it within a reasonable time; c) the member does not in a. fully discloses to the client at 7. Members shall treat their clients’ any way benefit financially from the earliest practical time the financial affairs as private and the activity; and d) the member possibility that the member may confidential, except for information conducts the activity in an be offered such a “packaging customarily disclosed to interested honorable way fully consistent with fee” which the member may parties as part of the process of the AAR Canon of Ethics. choose to accept; placing rights, as required by law, Payments received by members or, if agreed with the client, for from entities that operate b. delivers to the clients at such other purposes. professional writers’ conferences time a copy of the Association’s as compensation for their good statement regarding packaging 8. The AAR believes that the faith participation in such and packaging fees; and practice of literary agents charging conferences, which participation clients or potential clients may include the evaluation of c. offers the client at such time for reading and evaluating literary works, including payments the opportunity to arrange for literary works (including outlines, that specifically apply to such other representation in the proposals, and partial or complete evaluations, shall not be a violation transaction. manuscripts) is subject to serious of this paragraph 8. The provisions In no event shall the member abuse that reflects adversely on of the previous sentence do not accept (or participate in) both a our profession. For that reason, apply to payments made by writers packaging fee and compensation members may not charge clients or directly to members. from the client with respect to potential clients a fee for reading the transaction. For transactions and evaluating literary works subject to Writers Guild of and may not benefit, directly or America (WGA) jurisdiction, the indirectly, from the charging for page 26 the pitch winter 2018

ASSOCIATION OF AUTHORS’ REPRESENTATIVES, INC. BOARD OF DIRECTORS – 2018-2019

Gail Hochman, President Elizabeth Harding (‘19 end of second term) Wendy Strothman (‘20 end of second term) Brandt & Hochman Literary Agents, Inc. Curtis Brown, Ltd. The Strothman Agency, LLC 1501 Broadway, Suite 2310 10 Astor Place, 3rd Floor 63 East 9th Street, 10X New York, NY 10036 New York, NY 10003 New York, NY 10003 (212) 840-5760 / Fax (212) 840-5776 (212) 473-5400 x140 (617) 750-6859 [email protected] [email protected] [email protected] Liaison: Children’s Books Committee Liaison: Contracts Committee; Copyright Heather Schroder (‘19 end of first term) Committee Compass Talent, LLC Renee Zuckerbrot (‘19 end of first term) 6 East 32nd Street Massie & McQuilkin Literary Agents Jody Kahn (Administrative Secretary) New York, NY 10016 27 West 20th Street, Suite 305 Brandt & Hochman Literary Agents, Inc. (646) 376-7747 New York, New York 10011 1501 Broadway, Suite 2310 [email protected] (212) 352-2055 New York, NY 10036 [email protected] (212) 840-5770 / Fax (212) 840-5776 Ginger Clark (‘20 end of first term) [email protected]; Curtis Brown, Ltd. Katherine Fausset (‘19 end of first term) [email protected] 10 Astor Place, 3rd Floor Curtis Brown, Ltd. New York, NY 10003 10 Astor Place, 3rd Floor Ken Norwick, Esq. (Attorney-Literary) (212) 473-5400 New York, NY 10003 Norwick, Schad & Goering [email protected] (917) 426-3657 110 East 59th Street, Suite 23 Liaison: International Committee [email protected] New York, NY 10022 Liaison: Membership Committee (212) 751-4440 / Fax (212) 604-9997 Sally Wofford-Girand (’20 end of second term) [email protected] Union Literary Carol Mann (‘19 end of first term) 30 Vandam Street, Suite 5A Carol Mann Agency Jeff Gerecke (Off the board position), New York, NY 10013 55 Fifth Avenue, 18th Floor Treasurer (212) 255-2112 New York, NY 10003 c/o Diana Finch Literary Agency [email protected] (212) 206-5635 116 West 23rd Street, Suite 500 Liaison: Royalties Committee [email protected] New York, NY 10011 (718) 664-4504 Victoria Marini (’20 end of second term) Victoria Skurnick (‘20 end of second term) [email protected] Irene Goodman Literary Agency Levine Greenberg Rostan Literary Agency 27 West 24th Street, Suite 700B 307 7th Avenue, Suite 2407 New York, NY 10010 New York, NY 10001 (212) 604-0330 (212) 337-0934 [email protected] [email protected] Liaison: Program Committee Liaison: Newsletter Committee

Susanna Einstein (‘19 end of second term) William Clark (‘20 end of first term) Einstein Literary Management Wm. Clark Associates 27 West 20th Street #1003 54 West 21st Street, Suite 809 New York, NY 10011 New York, NY 10010 (212) 221-8797 (212) 675-2784 [email protected] [email protected] Liaison: Small Business Committee Liaison: Digital Innovations Committee

CONTRIBUTORS The Newsletter for the Association of Authors' Representatives The Pitch is edited by Noah Ballard of Curtis Brown, Ltd., Jody Kahn of Brandt & Hochman, and Victoria Skurnick of Levine Greenberg Rostan. Copyediting was provided by Lucy Koch and design was done by Rachel Rodgers. Please reach us at [email protected].