the pitch fall 2014

The Newsletter for the Association of Authors' Representatives

CONTENTS Letter from the President This past year has been an you need to hustle to bring in 1. Letter from the President extraordinary one for colleagues the commissions. in my office. Out of four next- I do think that publishing has 2. Committee Report: Digital generation budding agents, we provided a very good home for had three weddings (two in the most of us. We love to read, and 3. Big Moves: Amy Einhorn same weekend!). This yields a we can read for a living. And I and Michael Sand lot of joy, wadded-up tissues have always felt that as a manager, from the emotional ceremonies, I wanted to make sure mine was 4. Committee Report: and a happy feeling that our a workplace where people were International community and office “family” happy to be. I aim to be fair to has been enriched by these my colleagues, helpful in sharing 5. Profile of a Small Press: additions to the fold. I know information and advice, and Tin House BOOKS each spouse is proud to have focused as a group in promoting joined our universe, delighted the interests of our clients’ careers. 6. Two Pending Court Cases to see their publishing better I have met so many agents through half thanked in acknowledgment the AAR who share these goals 8. To Brand or Not to Brand? pages of client books, and happy and who embody the values of about the parade of new titles publishing as an apprenticeship 10. Committee Report: that arrive in the house. business, where mentors and Contracts But I also realize there are mentoring are all-important. And three new unsuspecting spouses much as we may all deplore the 13. In Tribute: Loretta Barrett out there who may not yet have endless homework and complain figured out the breadth of our about the sometimes exhausting 14. Committee Report: Royalties commitment to our work. Instead eccentricities of clients, at the of going to movies and comedy end of the day we are doing what clubs, these couples may adopt we love – working on the front 15. Up and Coming Editors readings as their entertainment lines to produce exciting, moving, of choice. The weekend hours provocative, wise, entertaining 23. Report from Frankfurt will be complicated by piles book projects. of manuscripts that have to be I have been particularly proud 24. A Television Agent dealt with, by hook or by crook, of my agent colleagues these past Weighs In outside of office hours. The months, as we all face new forces publishing spouse may come that affect the successes – and the 25. New Members home with tales of this or that emotional stability – of our clients. lovely restaurant where he/she I have seen agents helping their 27. Electronic Publishers had a memorable lunch while Hachette clients get through the the other may have had a mere uncertainty of these past months; 29. Board of Directors tuna sandwich at the desk. And, I see agents calming distressed of course, there is that basic clients whose current books are financial premise: this remains not achieving what their previous a modest-paying business and to books had achieved; I have seen improve your financial position, agents working around the clock and continued on page 2 page 2 the pitch fall 2014

continued from page 1 counseling patience to their clients, as this is a new world and things are unfolding in a different way. One salient challenge of the day is how to keep the value of our intellectual property relatively high, ensuring that our clients are paid fairly for use of their work. We manage to navigate price wars, very deep discounts and promotions which give away books at no cost, and the fact that many readers seem to expect to read more for free on the Internet. Perhaps I should rejoice that the human impulse towards optimism is still in full force! We always meaning to read. We would all their own disposal to promote it tell clients to do their best work, love just a few more hours in the and develop a relationship with and then bet on the book...now, week, which we could dedicate their own readers, and if we let’s add the concepts of adapting to reading books that are not our can educate the authors about to the changing way books are own. And when Christmas looms realistic expectations, we may displayed and sold, using social near, remember that “Books make have things to celebrate again. media and new promotional great gifts!” – Gail Hochman vehicles to best advantage, and The old-timers tell us that President, AAR working with our publishers to publishing is cyclical, that the build readership, instead of only down times will be replaced by making demands. future good times. We all see that COMMITTEE REPORT: I find that our interests are hugely promoted publications DIGITAL more aligned than ever with the can fall flat whereas a little book publishers’: we all want to sell by an unknown can seize the The Digital Committee has more copies; we all deplore the imagination of the reading public been working on several outside forces that try to control and find resounding success. We informative programs for the pricing, distribution, and know that even though publishing the membership. Upcoming: reviewing of our titles. We all is based on precedent, a wholly a series of “Meet the Digital need to keep the value of our original, new manuscript can Publisher” toolboxes, an clients’ work high. help a writer reinvent himself. evening panel to debate The good news is that I do It is of course heartbreaking to believe people are reading, and work with a modest manuscript the plusses and minuses of there is so much excellent stuff by a beloved author, knowing subscription-model book- available to buy. So when any friend that this particular manuscript selling, an evening panel asks us, “Do you know of any good is unlikely to fare really well in on “the history and future books that I can take on vacation?” this new marketplace – the little of royalties,” and a panel or “My mother’s birthday is coming secret that most of us prefer on the strategies of digital up; are there some great book to keep buried. But we work pricing. In addition, we choices for her?” we always have a with it, we press the author to have created a spreadsheet lot to recommend. improve it, and then we work to of new digital publishers There is always a pile of books by sell it, because it just takes one, with overviews and contact our beds, books by other writers, just one editor to champion it. information (see page 27). non-clients, award-winners, or If we can retrain the authors to bestsellers which we have been use what faculties they have at page 3 the pitch fall 2014

that hits that sweet spot between me to have all the things I loved Big Moves: literary and commercial, with about my previous job coupled Spotlight on very strong voices. But in addition with more control over the entire to that, in my new role I now publishing process – and that’s so Editors’ New have a staff of editors that I’m important. To be able to oversee Positions working with that are acquiring a book from the embryonic stage across a much broader spectrum of a submission, to helping finalize By Kate McKean – from Young Adult crossover, to publicity and marketing plans and psychological suspense and crime, beyond – in today’s tough market, Amy Einhorn, Flatiron Books to literary fiction. It is very exciting you really want to be able to help to be able to have a bigger canvas, your authors every step of the way. After years at her eponymous and to have control over a lot more imprint at Penguin, where she aspects of the publishing process, What’s the next big thing, from acquired the force of nature that including marketing and publicity. your vantage point? was “The Help,” Amy Einhorn is setting up shop at Bob Miller’s new What new challenge will (or Oh who knows! Trends come and Macmillan imprint, Flatiron Books. has) your new role presented? go – good storytelling and writing, Here’s her take on her big move. those are constants that don’t have I’d say that one of the challenges of a shelf-life and that’s what we’re Where are you now and where building a company from the ground interested in. have you been? up is that we have no history to rely on so it’s starting from scratch. That Michael Sand, Abrams Books Well, let’s start with where I am said, everyone here brings their own now – Flatiron Books, a new strong reputations – from Bob Miller In September 2014, Michael Sand division of Macmillan. My first job to Colin Dickerman – it’s such a joined Abrams Books after eight in publishing was at Farrar, Straus talented, wonderful group of people years at Little, Brown. Here, in his and Giroux. Then I worked at that we have on the staff so I’m very own words, he tells us the joys and Villard, Poseidon Press (remember confident about what we’re creating. pains of making a big move, and Ann Patty’s wonderful imprint?!), what he’s looking forward to next. Washington Square Press, Warner What new skill or muscle does Books/Grand Central, and Penguin. this new position allow you to Where are you now and where exercise? have you been? How have your areas of acquisition changed in your new I’m very excited to be able to mentor I recently joined Abrams as publisher role? Are there any additional younger editors. Christine Kopprasch for the adult trade imprints, which administrative duties? is starting as a Senior Editor, focusing include Abrams; Abrams Image; on psychological suspense and crime and Stewart, Tabori & Chang. Prior I am still acquiring what I’ve always and commercial/literary fiction; Sarah to the move, I was at Little, Brown acquired – fiction and nonfiction Dotts Barley is a Senior Editor doing and Company for many years as crossover Young Adult; and Caroline an executive editor. Looking even Bleeke is an Associate Editor further back, I got my start in books concentrating on literary fiction – nearly 25 years ago at Aperture. they are whip-smart editors, and I feel so fortunate to have them here. How have your areas of acquisition changed in your new What aspect of your past role? Are there any additional position did you wish you could administrative duties? take with you to your new one? At Little, Brown, I acquired an The new job at Flatiron allows eclectic range of mostly illustrated continued on page 4 page 4 the pitch fall 2014 continued from page 3 titles in subject areas including COMMITTEE REPORT: INTERNATIONAL history, pop culture, music, art and photography, and food and Over the summer, the International Committee coordinated wine. I also oversaw Ansel Adams a lottery for the Sharjah International Book Fair that drew a publishing (books and calendars). In good response, and is pleased to announce that the two win- recent years, I focused heavily on ners, Denise Shannon of Denise Shannon Literary Agency cookbooks and expanded the list in and Elizabeth Winick Rubinstein of McIntosh & Otis have this area significantly. One of the returned from the UAE. We hope to continue the relationship reasons the job at Abrams appealed with Sharjah, and make the lottery an annual event. to me, and presumably one of the Looking ahead to spring, the Committee will continue to liaise reasons I was an appealing candidate with BEA about plans for the guest country for 2015, China, for the job, is that Abrams publishes deeply in most of these categories which looks to be sending nearly 400 publishers – trade, profes- (and many others). I definitely sional and educational – to Javits. We are hoping to arrange see an opportunity to build on the for a designated morning or afternoon during BEA week for impressive cookbook program at appointments between Chinese publishers and interested AAR STC, and to support what Abrams members, with translators available to facilitate communication. is already doing in areas like pop And by the time you receive this newsletter, the Committee culture, lifestyle, and photography. will have presented its November toolbox, “Stump the Foreign At Little, Brown, I had started to Rights Agent,” as well as a related online survey of the mem- acquire some food narrative and bership on foreign rights practices. Through both the toolbox memoir and biography in related and the survey, the Committee is seeking to have a fuller subject areas – sometimes hybrid picture of the experiences and concerns of the membership as books that include a compelling visual aspect but are narratively a whole in the area of foreign rights to help us set an agenda driven – and that’s something that that reflects the membership’s interests. Abrams can do very well. Of course, in my new role, I have a range of new responsibilities, with venues continue to struggle, how to take with you to your new one? several people reporting to me, and a anticipate what’s around the corner. need to keep an eye on the program Many wonderful colleagues and as a whole, identifying areas that are What new skill or muscle does authors – but then again, I’ve gained potential growth opportunities. So I this new position allow you to a whole new community of them at will continue to acquire and expect exercise? Abrams. That’s the nature of moving. to keep my editor’s hat on with a few books each year, but will also be In the short time I’ve been in this What part of publishing do you looking to support and nurture the job, I’ve really enjoyed working wish would just sit down and wonderfully smart and capable team with the editorial team – to not change again already? of editors at Abrams. problem-solve and to strategize about acquisitions. I find the give- Honestly, change seems to be the only What new challenge will (or and-take of this kind of interaction constant at the moment, and I don’t has) your new role presented? stimulating. It’s also broadening my see that changing anytime soon. But horizons to look at the list a year it’s an exciting time. As readers, and The challenges are likely to be those or 18 months out and see where content producers, and publishers, that every publisher faces in this we might have holes, where our we’re all much more interconnected. ever-shifting publishing climate – strengths are, and so on. And even though information and trying to determine where and how entertainment increasingly occupy our to grow, how to sustain our core What aspect of your past various screens, books remain a vital business as traditional book-selling position did you wish you could part of the conversation. page 5 the pitch fall 2014

PROFILE OF A SMALL PRESS: TIN HOUSE BOOKS By Jody Kahn

To trace the history of Tin Close, Peter Dinklage, and Flea. House Books, one really must go Meanwhile, the book division back to the founding of Tin House also experienced some changes, magazine, an eclectic literary journal separating from Bloomsbury in that first came on the scene in 1999. 2005 to establish as an independent With the help of New York editors press, with the book division based Rob Spillman and Elissa Schappell, entirely in Portland. along with managing editor Over the last decade, Tin House Holly MacArthur, publisher Win has held true to its founding McCormack aimed to, in his words, vision – to publish quality literary “create a literary magazine for the fiction and nonfiction in the same many passionate readers who are vein as the work published by the “The Tin House.” Credit: Matt Kish not necessarily literary academics magazine. And while the press or publishing professionals.” From and the magazine have separate Claire Fuller’s “Our Endless its inception, Tin House was and editorial staffs, the two entities Numbered Days,” a story about an still is bicoastal, with one office in often communicate and even share eight-year-old girl whose survivalist Brooklyn and another in Portland, authors. The magazine occasionally father takes her from their home in Oregon. The press’s name is derived publishes excerpts of forthcoming London to a remote hut in the woods from the office building in Portland, books, and several authors originally and tells her that the rest of the an old Victorian with corrugated zinc published in the magazine have world has been destroyed. siding known in the neighborhood as since published books with Tin As for how Tin House is looking “the tin house.” House. Moreover, magazine editor to grow, sales and marketing In 2002, McCormack decided to Rob Spillman often scouts new director Nanci McCloskey says launch a book division because so writers for the book division. “we’d like to start developing many young writers were beginning Distributed by Publishers Group and publishing more creative their careers as “New Voices” in the West, Tin House publishes between nonfiction. We will be publishing magazine. After A.J. Albany’s essay 10 and 12 books per year and is best our first nonfiction book bought about her troubled, brilliant pianist known for its literary fiction (voice- on proposal in fall 2015 and we father in the music issue got some and story-driven works that also push are very excited about it. And nice attention, it was decided that the boundaries of genre and form), while we continue to look for new editor Jeanne McCulloch would with an emphasis on debut authors. voices, we’d also like to be a place help Albany expand the essay into Over the years, Tin House’s fiction where more established authors a memoir as the inaugural title of has gained notable success. Several can experiment and publish work Tin House Books, a Bloomsbury novels have been chosen by Barnes outside their normal wheelhouse, imprint. That memoir, “Low Down: & Noble Discover, including “Asta books that might not make as much Junk, Jazz, and Other Fairy Tales in the Wings” and “Glaciers,” which sense with their usual publisher.” from Childhood,” recently made was also a World Book Night pick. This means publishing more the jump from book to film, and Recent fiction acquisitions to be memoir and other nonfiction like is in theaters now, starring John published in 2015 include a debut “The Other Side” by Lacy Johnson, Hawkes, Elle Fanning, Glenn novel that is part fable, part allegory, translations such as “Agaat” by called “The Boatmaker” by John Marlene van Niekerk, which was Benditt, and another debut, coming shortlisted for the St. Francis out simultaneously with Fig Tree/ College Literary Prize, occasional Penguin in the United Kingdom, poetry, and reprints of out-of-print continued on page 6 page 6 the pitch fall 2014

continued from page 5 books. For example, Tin House Will Chancellor, Adelle Waldman, even been publishing literary art will publish an expanded edition of Elliott Holt, and Roxane Gay. books: “Moby-Dick in Pictures,” Charles D’Ambrosio’s out-of-print Art director Diane Chonette and “Heart of Darkness,” and, most essay collection, “Orphans.” This new designer Jakob Vala make sure that recently, Allen Crawford’s “Whitman edition, entitled “Loitering,” releases all books, as well as catalogs, press Illuminated: Song of Myself.” in November and, according to releases, etc., look beautiful. As a press that truly wants to McCloskey, “gathers the 11 original In an era when e-books are develop fresh voices, Tin House essays with new and previously gaining traction and more and also hosts its own semi-annual uncollected work, so that a broader more time is spent in the digital workshop, which was actually audience might discover one of our world, Tin House is committed to founded before the book division great living essayists.” The reprint producing “the most decadently even existed. The workshop has was selected as one of Powell’s beautiful printed books on the been a great way to discover new “Indiespensable” picks, along with planet,” as McCloskey puts it, often authors and forge connections with several other Tin House titles. with deckled edges and flaps. Over authors who have been published Tin House is led by publisher Win the last several years, the press has in Tin House magazine. McCormack, and three acquiring editors: Meg Storey, Tony Perez, and Masie Cochran. The team’s general sensibilities overlap and TWO PENDING Amount Received” by Harlequin most acquisitions are based on Switzerland, which receipts – a consensus among editors and COURT CASES according to its own “estimate” – readers and sales and marketing By Ken Norwick, will be “equivalent to the amount director, McCloskey. Meg loves a AAR General Counsel reasonably obtainable…from an beautifully written narrative, but also Unrelated Licensee for the license has a penchant for “weird” and/or There are several cases or sale of said rights.” With respect fantastical books and a nontraditional now pending in the courts that to e-books, the main focus of the structure, such as nonlinear narrative concern authors and publishers. case, the authors claimed that they or alternating points of view. Some Here’s a quick look at two of them: were entitled to 50% of the amounts of her favorite books are “The Keiler v. Harlequin: In this received by Harlequin Enterprises, but Great Night” by Chris Adrian, “A case, several Harlequin authors that they were actually paid much less. Constellation of Vital Phenomena” challenged the way Harlequin In their suit, the authors asserted by Anthony Marra, and “Bobcat contracts with authors and then several different legal theories and Other Stories” by Rebecca Lee. handles their royalties. Specifically, supporting their claims, including Tony looks first for voice, both in Harlequin authors are required to breach-of-contract because the fiction and nonfiction. He wants enter into publishing agreements amounts they received for e-books something that is driven by ideas with “Harlequin Switzerland,” exploited by Harlequin Enterprises and conviction, but it has to live in essentially a non-publisher holding were not “equivalent” to what they the sentences. Some of his favorite company, which then licenses rights would otherwise have earned in the non-Tin House writers working granted to it in those contracts to marketplace. But the trial judge right now are Jim Shepard, Dana “Harlequin Enterprises,” which in dismissed all their claims, finding Spiotta, Jo Ann Beard, and Anthony fact then exercises those rights. Only in part that the authors had not Doerr (he’s currently reading, and Harlequin Switzerland pays royalties alleged sufficient facts to support loving, Marlon James’ “A Brief to the authors, and those royalties their “equivalency” claim. History of Seven Killings”). And are based on the payments it receives The authors appealed that Masie gravitates to literary fiction from Harlequin Enterprises. dismissal to the federal appeals and voice-driven memoirs in which The contracts with Harlequin court, and that court earlier this every word does hard work. She is Switzerland provide that if rights are year revived one significant part of particularly interested in – and on granted to a “Related Licensee,” the the suit. (The court affirmed the the lookout for – debut authors like author will receive 50% of the “Net dismissal of the claims that sought continued on page 7 page 7 the pitch fall 2014

continued from page 6 copyright books and advises users how to purchase full copies. The plaintiffs claimed that this activity constituted “massive” copyright infringement. But, in November 2013, a judge found that Google’s program was protected by the “fair use” doctrine of copyright law. In brief, the judge found that the program provided significant “benefits” to scholars and the public – “it makes tens of millions of books searchable by words and phrases” – and does not present any meaningful harm to the copyright owners of the books. He added: “Google Books to establish Harlequin Enterprises to 2004, entered into a standard helps to preserve books and give as the real “publisher,” on the form book publishing agreement them new life. Older books, many ground that the contracts expressly [with Harlequin Switzerland or of which are out-of-print books that said Harlequin Switzerland was its predecessor] that contained an are falling apart buried in library the “Publisher.”) The appeals court All Other Rights clause” similar stacks, are being scanned and saved…. found that the authors had alleged to the one already in the case. We [B]y helping readers and researchers enough to allow them to pursue their will follow the case and report on identify books, Google Books claim that Harlequin Switzerland further developments. benefits authors and publishers…. breached the “equivalence” Authors Guild v. Google: In [It] will generate new audiences and requirement. Specifically, the September 2005 – more than nine create new sources of income.” authors claimed that the license years ago – the Authors Guild and Now, a year after that decision between Harlequin Switzerland and several authors sued Google in an was rendered (and nine years after Harlequin Enterprises that provided effort to stop its newly launched the litigation began), the plaintiffs’ for payments of from 6% to 8% of “Google Books” project. Google appeal is about to be heard by the cover price was “not equivalent entered into agreements with several the same federal appeals court to the amount reasonably obtainable major university libraries that allowed that decided the Harlequin case by [Harlequin Switzerland] from it to scan and keep copies of millions discussed above. In that appeal, the an Unrelated Licensee,” which, the of entire books, both in and out of plaintiffs will again argue that it is authors claimed, would be “much copyright. Google then created an fundamentally unfair – and illegal – higher than 6% to 8% of cover price “index” of all the books, which “links for Google to reap substantial profits and is at least 50% of net receipts.” each word or phrase appearing in each on the backs of their books without The court said this claim asserted book with all of the locations in all of getting licenses from – and sharing enough to allow the authors to attempt the books in which that word or phrase profits with – the authors of those to prove it in further proceedings. is found. The index allows a search for books. (Long before the judge’s The case is back in the trial a particular word or phrase to return a decision upholding the Google Books court, before a different judge result that includes the most relevant program, Google and the plaintiffs – the original judge died in the books in which the word or phrase reached a tentative settlement that meantime – and in a significant is found.” Users of Google’s search would have given authors 63% of the development, the judge recently engine may conduct searches, which proceeds, but the judge rejected that turned the case into a class action, will result in a list of books responsive settlement, which action was then covering (with some limitations) to the search and “snippets” – brief followed by his “fair use” holding.) all authors (and their heirs, etc.) excerpts – of search results. Google We will follow the appeal, and will “who, during the period 1990 does not provide full copies of in- report the court’s ultimate decision. page 8 the pitch fall 2014

TO BRAND OR NOT TO BRAND? Warren Buffet. When you say their A Debate Featuring Sarah Lazin and Regina Brooks names, they are businesspeople, they have businesses, but they also Moderator: Jody Kahn have a brand that is tied in with their individual companies. It’s mid-October somewhere in the knowing what types of projects you West Village. A young, ambitious work on, knowing what they can SARAH: That’s because they are agent, Regina Brooks, and a more- come to you for. It’s about having celebrities and I don’t think agents than-slightly older, and established, a name in the industry, and people should be celebrities. I don’t one, Sarah Lazin, meet to argue about knowing you for a specific type and think we should be public people, whether agents and agencies should level of quality of work. frankly. I was talking to an agent be “branded.” They are moderated by today who works at a very old the AAR’s own Jody Kahn. SARAH: I don’t think that’s and distinguished agency, whose branding; I think that’s just good, founding agent was a star in the JODY: A few months ago, the ol’-fashioned building your own industry for many, many years. She AAR hosted an evening program business. When I talk about brands, discovered writers, she built an with several industry reporters as for the last couple of years, maybe incredible list, but the public never panelists. One panelist remarked the last decade, I have used the knew her name. Certain editors at that often, when he calls agents to word “brand” in pushing my clients various good houses knew her, but discuss articles, they neither want to develop their brands as authors. I the public in general had no idea to be quoted nor to publicly state do a lot of narrative nonfiction, and who she was, and that’s the way she their opinions. He believes that my authors all have areas that they wanted it. agents should be more outspoken specialize in: music, contemporary and focused on branding, especially culture, history, diversity, spirituality, REGINA: But see, I believe that in this day and age. But the agents etc. I encourage them to use their when you say that the editors knew in the program audience responded expertise to set up a website, post on who she was, that’s because she had a by saying, “No, no – we think that as Facebook, create a Twitter account, brand, and she had a reputation, and agents it’s our job to be quiet and in really get the word out about what branding is about reputation as well. the background.” Regina and Sarah, they think and write about so that what do you think this reporter their publisher can tie into their JODY: This is actually a good way meant when he used the term brands to more easily sell their to answer another question I have “brand” in the context of agenting? books. An agent is not a brand. An about branding as it relates to the agent is a businessperson and, yes, publishing landscape today. An agents often have opinions about older agent might consider her publishing and other issues. But brand simply to be her reputation. basically we’re businesspeople and But what a younger agent, who our brand is our experience, it’s what does not yet have a reputation, we’ve done, our backlist. I have a must do to get business and attract website that features my authors clients is different from what it was and their books, so when somebody years ago. Can either of you say thinks about a Sarah Lazin book, something about that? they go to my website and they know REGINA: Well, Jody, I think first what kinds of books I do. REGINA: I can totally say what we need to do is define something on that. I’ve seen people branding, especially as it relates to REGINA: But in saying “when do a number of things to build their agenting. When I think of branding, they think of a Sarah Lazin book,” reputation and their credibility I think of visibility. I think of people that is your brand. And when we and to help people understand knowing who you are, knowing your talk about branding, think about their expertise. For example, you name, knowing what you stand for, Donald Trump. Think about have agents who attend writers continued on page 9 page 9 the pitch fall 2014

continued from page 8 conferences, and agents who are developing their own writers conferences, so people can know who they are, know what they desire to represent and to attract potential authors. Who is the audience for an agent? Writers. And how are writers going to find out about you unless you make yourself known in some way? You also have agents who write books on the craft of writing. For example, I’ve written a book called “Writing Great Books for Young Adults: Everything You Need to Know, from Crafting the Idea to Getting Published,” and another called, “You Should Really Write a Book: How to Write, Sell, Lazin (left) and Brooks (right). Credit: Jody Kahn and Market Your Memoir.” Both of those books are genre-specific, found out what kind of books I an author, are amazing doing all the and help people to understand the worked on and what I look for, and public stuff – your website and your kind of books that I’m interested they were able to tell unagented blogging, and writing your books. in representing. And they help to authors about me and what kind of But that’s you as an author and show that I have a level of expertise books I represent. So, sometimes that’s what I tell all my authors. Be in those areas, so that the books referrals come from building your out there. But there is so much other become a magnet that attracts brand. Another thing that agents information out there – there’s so writers to me, because they now do today is blogging. You have a much yak. Often, when people are know I exist in those spaces. lot of agents who have wonderful tweeting, what are they tweeting blogs that provide resources and about? Interesting things relating SARAH: But how many writers are information and expertise in a to publishing and the community? you going to represent eventually? given space and there are so many No. It’s about the US Open or their When you talk about branding and ways to share information. cat or something. I don’t know that a public face, you’re talking about that benefits anybody to put that many hundreds of people. Well, JODY: Well, that leads to another into the ether. I think when you’re do you want hundreds of writers? question: It seems like branding saying “branding,” what you mean No, you want to pick and choose oneself can be great for the agent, is reputation. Maybe that’s the new certain people. And chances are, I but your job as an agent is really word for reputation; maybe we’re not think, you will probably find most about benefiting your authors, talking about creating brands, we’re of the writers who you like through those who are already your clients. just changing words. But an agent is writers conferences or referrals, or So I would love for Sarah to speak his or her reputation, and I strongly other kinds of networking. Do you to ways “branding” could be believe that the star in this publishing really get clients by people knowing getting in the way of what agents firmament – for us – is the author. your brand and coming to you? should, in the traditional sense of And we are there to advocate for the the role, be doing? author, help the author, behind the REGINA: Absolutely, especially in the scenes, like a publicist or a lawyer. young adult space. In preparation SARAH: Well, going back to what for my book, I interviewed editors Regina was just saying, I think she is REGINA: If the books were not and asked them specifically what mixing up Regina, the author, with about the craft of writing, I might they were looking for. They also Regina, the agent. I think you, as agree that Regina, the author, continued on page 10 page 10 the pitch fall 2014 continued from page 9 and Regina, the agent, could get mentor. You get experience. That’s either benefit or be harmed from muddled. But these books are a how you become a really good agent, the agent so actively promoting his way to help nurture and develop you work with certain authors, or her own brand? I don’t have the writers in key genres. And Sarah, you have a great idea and you go AAR Canon of Ethics on me right as a young agent coming into the after an author, and you work with now, but the agent’s responsibility is business for the first time, how do someone to help you learn how to a fiduciary one to his client, at the you establish a reputation? sell the book. In terms of meeting end of the day. How might branding publishers, there are lots of ways; affect that positively or negatively? SARAH: How? Hard work. Hard also join the AAR and go to events work. The way we all did, you where you’re networking with other SARAH: Well, for example, I’m know. I just started from scratch. publishing professionals. known for doing certain kinds of Everybody does. books, but I’m finding that the REGINA: Yeah, I think all the reputation sometimes gets in the REGINA: But starting from scratch things that you mentioned are way when I try to go after a very 30 years ago is totally different valid, but I also think that there’s different kind of project or when from starting from scratch today. an assumption that everyone has I’m selling something outside access, and not everyone has my “area of expertise.” It’s like, SARAH: I give you that. That’s true. access. Not everyone has access “oh, I didn’t know you did those to a mentor, and as for the AAR, books….” Of course I do, I’m a REGINA: In order to get the kind there are rules to get in and one general-interest agent with a variety of projects you need, people need of the rules is you have to have of narrative nonfiction projects. to know that you exist. sold a certain number of titles So, if you “brand” yourself in one to even be a member and be area, you often limit yourself as SARAH: But I think the traditional nominated by members. So, some well. Publishers can specialize, way still works – I mean, I do of the networking opportunities but an agent represents all kinds understand this is a very different that you’re talking about are not of material: you can do fiction and landscape – but I also think some of accessible to new people just trying nonfiction in different genres. the old ways are still valid, such as to start out. I’m also not saying that Establishing a certain “brand” in networking and learning, as an intern the branding piece is just for new one area could be limiting. or junior agent, from a wonderful people; I think it’s for everyone. And beyond that, I think But, some of the things that you’re “branding,” as it’s often perceived, is saying don’t show the full picture. just a lot of stardust. I think it takes us COMMITTEE REPORT: away from the real work of an agent, SARAH: Well, here’s a question: which is not to self-promote, but CONTRACTS Should everybody have the which is to pay attention to details, The Contracts Committee opportunity to be an agent? I mean such as helping the author develop hosted a series of Toolboxes should we have four thousand new a strong proposal, making sure the for the membership about agents this year just because people money is coming in and is being want to hang out a shingle? Does paid out. That the author’s book is contract clauses like the that mean they’re going to be good being well published. These days, Warranties and Indemnities agents? Does that mean they’re agents are more important than ever. clause, which was well- going to be reputable? Suppose Imprints fold, editors change, it’s rare attended. The Committee there’s somebody who’s really good to sell a book and then have the same also circulated an alert at PR and “branding,” as you call it, editor there when the book comes about how to amend but not very good at functioning as out a few years later. So there is a lot existing contracts to grant a solid advocate for their authors? of work the agent can do. I just don’t e-book rights to a publisher. Does that do anybody any good? think self-promotion is necessary.

JODY: Okay, so how might a client REGINA: I don’t see branding continued on page 11 page 11 the pitch fall 2014 continued from page 10 as self-promotion. These are two a word that means a lot of things reputation as an agent with the separate things. I think our goal is to a lot of people. Now that I do new or younger editors? not only to sell to the publisher, but have other agents, when they speak also to give best-in-class advice to to editors and say they work for SARAH: I’m constantly meeting authors about how to promote their Serendipity, some people might say, new editors. A lot of them are books and get them out into the “oh that’s Regina,” but others will young people. I call them blind, world. I’m not sure if other agents say, “Serendipity, I’ve heard that I e-mail them, I know someone do this, but I like to promote for name or seen that logo.” else in the house and say to my authors, too. So, when I go to conferences, not only am I talking about Serendipity and what we do, what we stand for, and the kinds of books we represent, but I’m also talking about my authors’ books, too. And I’m making sure that the hundreds or thousands of people who are out in the audiences get an opportunity to know what we just published. So my authors are getting an extra voice to promote their work.

JODY: I think that again, this speaks to the changing landscape; that nowadays, agents need to do more than just sell the rights of a book to a publishing house. Doing things beyond just the regular, old- fashioned definition of being an SARAH: You are making things them that I know the project I’m agent, and in those ways, Regina, hard for yourself. When I started, I pitching isn’t for them, but who what you are saying is, they can thought of other company names, in the house should I call? I also help the clients. but everyone I talked to said what meet people through networking Shifting gears, Regina, can you you are selling is yourself. It is a events. explain why you named your personal-services business and agency Serendipity and how that you are selling your services; that’s REGINA: I’m finding that editors name might play into your brand what you have, so your name is are looking for newer agents as an agent? important. Because the people who and some connections happen at know your name are the publishers, straight networking events, but REGINA: When I first started not the public. It doesn’t matter to a lot of it occurs online. Editors my agency, I noted that most the public, just the publishers. have ideas and areas of interest agents name their agencies after and want to reach out to new themselves. I realized that at some REGINA: Okay so, Sarah, you’ve agents to find out what kind of point, I was going to want to bring been doing this for years. But, books they’re representing. I on other agents to work with me for example, in 2008, some of the think that a lot of the brick-and- and I didn’t want them to feel like best editors, people who had been mortar networking that used to I’m the only voice of the agency. I in the business for a long time, happen is going online, such as wanted to create a name that would highly skilled editors, lost their Publishers Lunch. And having encompass a culture and a state of jobs. I had good relationships a presence as an agent online, I being that may attract other agents. with them, but now some of them think, is part of your brand and There is no ego, it’s Serendipity, are gone. How do you build your should be a part of the mission. continued on page 12 page 12 the pitch fall 2014 continued from page 11 SARAH: Well, I think, I don’t know ago when nobody had access to the younger generation is trying about branding [laughter], but I any of that information. But now to brand itself, in a different sense think every agent should have a that people do have access to that of the word, in order to create website. Publishers and potential information, it feels as if, for some a reputation, perhaps as the clients want to know about you, and agents, they’re disadvantaged if projection of what one would like there it is… they’re not playing. that reputation to be.

JODY: I think that this whole SARAH: It’s not playing, it’s make- SARAH: That sounds right to me. conversation really speaks to work. A lot of it is make-work. what social media has done to our REGINA: Agenting is a very industry, which means if you don’t REGINA: I agree with you; tough job; it requires not only the have a presence then… Facebook, Twitter, all that stuff intellect to be able to critically drives me nuts. It definitely can think about what’s going to sell, but REGINA: …you’re nothing take time away from the core it also requires a certain expertise [laughter]. business; so, much of it, I give in psychology to be able to deal to my interns. I say, we just got a with authors and their nuances JODY: ...It’s not that you’re great review in Booklist, can you and the various personalities. I nothing, it seems like you’re put it up on Twitter? Let people was just telling someone who was trying to hide something. And know that it happened. In terms interviewing with me today, “You the response, at least from the of me spending time on Twitter, have to have stick-to-it-iveness and younger generation of agents I might do a Twitter chat once perseverance and the ability to deal and writers, and editors, too, is a month, to promote one of my with rejection on a daily basis.” to feel that it’s important that authors. But I’ll also say that my It also requires that you they be seen as having something newer agents have found fabulous stay abreast of a great deal of to say, and to say it publicly authors and projects by taking to information, because one of the because everything is exposed Twitter and Facebook. challenges, especially in today’s and it wasn’t like this 20 years marketplace, is that authors JODY: So, I don’t know where this expect you to know. They expect leaves us…. you to know what’s going on in the e-book market, they expect you REGINA: Brand! Brand! Brand! to know what’s happening with The Newsletter for the Association of Authors' Representatives Amazon, they expect you to know SARAH: No! No! No! all the different ways that their book can be distributed. contributors JODY: I think that is where it The Pitch was put together by leaves us! The conclusion that JODY: Exactly, yeah, exactly. Sarah Lazin and Amanda Hartman I’m making is that the younger There’s a lot to the job and it’s not of Sarah Lazin Books, Jody Kahn generation is more geared for the weak… of Brandt & Hochman, Adam towards trying to brand itself, Schear of DeFiore and Company, whatever that might mean in SARAH: …or the inexperienced… Kate McKean of Howard Morhaim response to the shifting publishing Literary, and Regina Brooks of landscape. However, a veteran REGINA: …or whatever…. Serendipity, along with Board liaison in the business might see the Cynthia Cannell of The Cynthia term “brand” as a synonym for JODY: …And those who stay in the Cannell Literary Agency. We are reputation. It seems that the business are those who bring good, pleased to work with editor Rayhané older generation thinks that it’s salable books to the marketplace. Sanders of WSK Management and important for an agent to be in Brands or no brands, the best designer Rachel Loeb. the background and let one’s agents will succeed, if they are good reputation precede you. Whereas at their job. page 13 the pitch fall 2014

IN TRIBUTE: she fought hard and won approval. In Margaret Hennig), and art and so many instances, those books became feminism (“The Dinner Party” by Judy LORETTA the solid foundation for “new” and Chicago), Loretta was instrumental in BARRETT relevant publishing categories such as publishing these and scores of other African-American, multicultural, and groundbreaking titles. Loretta Barrett, an editor, publisher, contemporary women’s literature. It is quite common for people to and literary agent, died on October Though Loretta was an editor, first talk about equal opportunity and 4th, 2014. She joined Anchor Books and foremost, she was a fearless and diversity but in the end do little to in 1967 as an editor and soon was enthusiastic advocate for authors actualize it. In her own inimitable promoted to editor in chief, and later and was also an enthusiastic industry style, Loretta used her position, ran the Doubleday trade group as an ambassador wherever she traveled in expertise, and voice as editor, executive vice president. She founded her many professional roles. Giving publishing executive, and agent to Loretta Barrett Books in 1990 and also back and a generosity of spirit were work to establish a solid foundation served on the Board of Directors of the bywords when it came to Loretta’s for both the publication of authors Reading is Fundamental for 32 years. professional commitment and the joy and the employment of publishing Below are some remembrances from and satisfaction that she personally industry professionals whose work several of her colleagues and friends. experienced as she generously will continue to educate, enrich, shared her industry knowledge and and empower generations to come. Loretta Barrett loved resources. She opened doors of – Marie Dutton Brown publishing, people, politics, and opportunity for potential authors as traveling. From her earliest days at well as individuals seeking career When I started out as a Doubleday Anchor Books, Loretta was connections in an industry where literary agent in 1977, Loretta was so totally committed to making the most that was not easily accessible to kind, encouraging, and supportive. of the responsibility that she had been all. From the 1960s on, she had an One of her authors at Anchor was given as editor of the Zenith series, a immeasurable impact on the volume a family friend and he sent me multicultural history and biography of African-American, multicultural, to her for advice. She and Marie series for young readers. Her rich women’s, and counterculture Brown bought several of my first legacy reflects the work that she literature being published. At a time projects in those early years that acquired and published from that when it was considered a radical act helped launch the agency, and point on, as well as the authors and to publish certain books on Black I am grateful to this day. Our readers whose lives were forever studies (“The Black Aesthetic” by friendship flourished over the years changed for the better because of those Addison Gayle), women in corporate with many lunches, a party she co- and other Anchor Books titles for which life (“The Managerial Woman” by hosted when I got married, and – I will never forget – the US Open seats that her sister shared with us behind a man whose male assistant was lugging an enormous black box – the first cell phone – that caused us all to gawk when it rang and he answered. It was about that time that she brought me into the post- Labor Day Publishing Tennis Day as a new, young addition that I love attending to this day. When she started her own agency, I was very happy to offer her encouragement and help. She often said to me that she wished she’d started agenting earlier, but, as I continued on page 14 page 14 the pitch fall 2014 continued from page 13 pointed out to her, she was one of blues. Loretta was a terrific skier of offices. She was smart, savvy, the first female Doubleday executive and she and her sister, Irene, also an and very well-connected. She was success stories, a model for many. excellent skier, did a winter ski trip a good agent and got terrific deals She will be sorely missed by me and practically every year. for her clients. We spent some good the entire publishing community. When Loretta became an agent, times together. I will miss her. – Carol Mann she took office space in my suite – Barbara Lowenstein

So often did it feel like Loretta was the one fixed point COMMITTEE REPORT: ROYALTIES in an increasingly chaotic book- publishing universe! While The Royalties Committee has had a busy year. After meeting editors, publishers, and senior with the Committee this spring, HarperCollins decided to executives were fired or shifted accelerate rollout of its online portal for agents. The Committee or annexed, Loretta’s method of is working with two HarperCollins teams, one on the features operation as a literary agent never the portal will provide and one on improvements to royalty really changed: lay everything statements. Harper is redesigning its paper statements to mirror out for the book publisher, the e-statements that will be available on the portal. from editing to publishing to We sent an alert to members advising how to sign up for ACH marketing, and be prepared to be deposits from HarperCollins beginning with royalties payable in everything to the author (editor, October 2014. Having received the first wave of ACH deposits, publisher, marketer). we requested changes to improve payment notifications, most I’ve known Loretta since 1978 importantly to identify the author for each one. Royalty director and she was always the strong one, a guiding light by which we could Jackie Fueshko indicated that future payment notices will include figure out where industry standards the author’s name, with the associated royalty statement to be were going. To lose her is to mourn available via the portal as well as sent by mail. excellence, and the challenge is to Following our meeting earlier this year with Hachette to discuss carry on with the good works she its plans for an online agent portal, members of the Committee are did her entire life. involved in beta-testing. – Laura Van Wormer The Committee received Board approval to formally recognize a publishing colleague who has made a substantial Loretta was a political junkie. contribution to the quality and content of royalty reporting, The two of us spent many lunches ease of access to royalty data, improved payment processes, and talking about candidates, midterms, general responsiveness to the concerns of the agent community the who, and the why. She was extremely well-informed and in managing this critical function of a literary agent. The passionate and though we didn’t Committee acknowledges with deep appreciation Eileen Ahearn always agree, we had a lot of fun of Simon & Schuster, who worked with us for several years expressing our opinions to each other. on a complete redesign of the publisher’s royalty statements There was a definite bond between us. and the design, features, and implementation of the Simon & I met Loretta when I first started Schuster online agent portal. Eileen continues to work with agenting in the mid-‘70s and she was the Committee to fine-tune the functionality of the portal, most heading Anchor. Our relationship recently to enable the download and printing of individual PDF grew and at one point, we happened statements. The Committee is sending a letter to Eileen, with a to be going out West on a ski trip – I copy to president and CEO Carolyn Reidy, to acknowledge her think it was Aspen. I thought we’d contribution and express our thanks. The Committee will also be able to ski together, but she was present her with a small gift as a token of our appreciation. far more advanced and was doing black trails while I was barely doing page 15 the pitch fall 2014

way, facilitate that conversation discuss leads with them. They read UP AND COMING between authors and readers. material and attend meetings. “I not EDITORS The summer before her senior only feel supported, but inspired. I year, Emily interned at Ecco, think it’s an incredible environment By Adam Schear and after graduation, she started for younger editors,” she said. working as an editorial assistant Emily loved reading “We Are Emily Graff for Eamon Dolan at The Penguin Not Ourselves” by Matthew Associate Editor Press. At the end of each day, Thomas alongside Marysue when Simon & Schuster Eamon and Emily would sit down it first came in on submission. and talk about everything from After racing through half of this Growing up, Emily Graff scheduling and administrative tasks novel, she couldn’t pass an hour moved around a lot. She went from to the projects he had signed, and without thinking of Eileen, Ed, New York to London, Pittsburgh, projects he wanted to sign. “Eamon and Connell. “I was worried about and Montreal, and then back didn’t just invite questions: he them the way I worry about my again to New York, but wherever expected them. And through these closest friends,” she said. She’s also she went, she always had a book questions, he showed me how to proud of “Dominique Ansel: The in hand. She attended Harvard read like an editor – to identify the Secret Recipes.” In this cookbook, College, and concentrated in highs and lows of a manuscript, alongside his most celebrated History and the Literature of but also to calculate how it might recipes (including the Cronut America. While researching her become the strongest version of pastry, the infamous croissant- senior thesis, she spent months itself. I will always be grateful doughnut hybrid), Dominique looking through the records of that he set aside that time every reveals the stories behind his the Council on Books in Wartime, day,” she said. She always knew sought-after creations. She calls it a group of publishers, librarians, that she wanted to learn how to a cookbook about inspiration and writers, and booksellers who, in edit and publish fiction, so when innovation, about how to turn the the early 1940s, mobilized the the opportunity came up to work ordinary into the extraordinary. publishing industry for the war for Marysue Rucci, who had then Her very first acquisition, “The effort. It set her down a path just returned to Simon & Schuster Sweetheart” by Angelina Mirabella, researching the role books played to be the leader and architect of will go on sale in January. It is a throughout the war. “It was a Simon & Schuster’s fiction list, story about a teenage girl who story of people who feared books, Emily applied and got it. She’s been leaves her home in 1953 to make of people who loved books, of there for almost two and a half a name for herself in the wrestling people who defined their wartime years. “I couldn’t begin to list all ring. Emily describes it as a story experience through books: students, the things Marysue has taught me. about champions, heroes, and publishers, writers, and readers. Her advice has been invaluable. villains; of giants, little people, It was a story of a community who The most important, I think, is an and devoted screaming fans, but turned to books to explain the off-the-page lesson: you must be ultimately a story about growing up. traumatic reality of total war, to courageous. If I love something, she In both literary and commercial make sense of it and to live in it,” is always the first person to tell me fiction, Emily likes to read stories she said. She found letters from to go for it – to write the fan letter about worlds she would never soldiers describing how the books to the author, to call the agent, to otherwise get to visit, told by they read on the front carried them enlist the support of the publicists back home. She said, “It was easy to and marketing specialists on my be sentimental, when reading these team,” Emily said. She says that at documents, but hard to remain Simon & Schuster, Jonathan Karp detached, thinking about men, and Marysue Rucci encourage facing death, reading, writing.” She editorial assistants, assistant says she reads to feel connected editors, and associate editors to be to the world and wanted to be an entrepreneurial – to seek out the editor so she could help, in a small projects they dream of editing. They continued on page 16 page 16 the pitch fall 2014 continued from page 15 protagonists whom she might recognize. “When I read, I want to learn something new, but I want to meet characters with whom I might relate, who are struggling with eternal human questions.” For cookbooks, she loves to read recipes from people, like Dominique, who are innovators in their field. Since she works on cookbooks, Emily is often testing recipes and inviting friends and colleagues to taste the results. She recently made At-Home Cronut pastries for the first time. “They were pretty good, if I do say so myself.” She also enjoys reading the writing of her twin sister, Anabel Graff, who is an MFA candidate at Texas State, in San Marcos. “She is a tremendous year, she applied again, this time to watch her get the coverage and writer and I am looking forward to looking for an adult imprint. She recognition she deserves – first reading her work for many, many ended up at The Penguin Press. on The Colbert Report and then years, although unfortunately I’m She really loved her experience debuting at number three on the not sure what the ethics would be if there, and decided to apply to New York Times bestseller list,” she I wanted to acquire it.” book publishing jobs when she said. In nonfiction, she has worked graduated the following summer. on “Blue Mind: The Surprising Allie Sommer She happened to get very lucky Science That Shows How Being Assistant Editor and landed quickly at her dream Near, In, On, or Under Water Can Little, Brown and Company job at Little, Brown and Company, Make You Happier, Healthier, where she’s been ever since. She More Connected, and Better Allie Sommer’s parents tell was originally hired to work for at What You Do” by Wallace J. her that “book” was her first word. Asya Muchnick, with whom she Nichols. She also has two upcoming She grew up in New Rochelle, still works, but she also now works titles: “Guantánamo Diary” by New York, and attended Duke with John Parsley and with Lee Mohamedou Ould Slahi and edited University where she created Boudreaux for her new imprint. by Larry Siems and “The Age of her own major that she describes At Little, Brown, Allie has been Acquiescence: The Life and Death as essentially a creative writing lucky to work with a host of some of American Resistance to Organized major informed by the social of the imprint’s bestselling authors Wealth and Power” by Steve Fraser. sciences. A family friend who including Michael Connelly, David Allie is interested in literary works in publishing suggested she Sedaris, and Malcolm Gladwell. fiction, upmarket commercial might like being an editor, so she “California” by Edan Lepucki was fiction, thrillers, women’s fiction, interned at G.P. Putnam’s Sons the first book she acquired and and speculative fiction (especially Books for Young Readers after her captures what she loves about fiction. mainstream realistic sci-fi and sophomore year of college. She She grew up reading science fiction, dystopian). “I love anything with a wasn’t sure that children’s was the so she says she was thrilled to be great plot that will keep you turning place for her, and says that to this able to start her list with something pages and books that bring you day, she does not understand what that had both genre and mainstream inside a character’s mind to see the makes for a successful picture literary appeal. “Edan was a pleasure world from their perspective.” In book. The summer after her junior to work with, and I was so excited nonfiction, she’s looking for fun and continued on page 17 page 17 the pitch fall 2014 continued from page 16 accessible narratives that take her desk when the company merged When not reading, Jessica watches inside a world she knows nothing with Endeavor, forming WME. a lot of films, is addicted to Pinterest about. She also loves humorous Eric Simonoff’s client James Frey (“my profile is basically a window to essays, beautifully written memoirs, eventually hired her to be a creative my soul”), has notebooks filled with and pop-science/psychology. executive at the book packaging collages, and will always walk obscene When not reading for work or start-up he was launching, which distances over getting into a vehicle for fun, Allie likes to cook, try new became Full Fathom Five. She (though she still manages to spend all restaurants (although she is allergic moved over to Razorbill nearly two her savings on travel). She says she’s to fish, so sushi is off the table for years ago, reporting to its publisher, currently addicted to memoirs by agent lunches), watch TV, and is Ben Schrank. Now that she’s at a women artists. “The last few books a big fan of Duke Basketball. She traditional publishing house, Jessica I’ve read are ‘Country Girl’ by Edna hosts a weekly Bachelor viewing feels that she’s worked on every side O’Brien, ‘Minor Characters’ by Joyce party for friends in book and of this business – and she’s thinking Johnson, and ‘Not that Kind of Girl’ magazine publishing, and just got editorial is the one that’ll stick. by Lena Dunham. Next on my list: married in September. She loves Among the books that Jessica has ‘Redefining Realness’ by Janet Mock.” talking on the phone, and hopes worked on and loved are Richelle AAR members will give her a call. Mead’s New York Times bestselling John Glynn “Bloodlines” series. She inherited Assistant Editor Jessica Almon these books, coming in smack in Scribner, an imprint of Simon & Editor the middle of the series, which Schuster Razorbill, an imprint of Penguin she believes could not have been Young Readers Group a better time to start editing it. John Glynn grew up in “The series tracks the slow-burning Longmeadow, Massachusetts, and Jessica Almon was born romance of Adrian and Sydney, was an English major and Hispanic and raised in New York, New and I came on board just as things Studies minor at Boston College. York, and went to college at were really heating up,” she says. He credits his mother as a major Brown, graduating with a BA in Other standouts for Jessica are reason he’s in publishing. “Some Modern Culture and Media and “The Rookie Yearbooks” by Tavi of my earliest memories are of her a concentration in Film. After Gevinson (“‘Rookie Yearbook reading ‘Little Golden’ books to me graduating college, she originally Three’” came out a few days ago over graham crackers and milk. Last wanted to work in film and started and the whole Internet – everyone summer, my mom read 50 books, out in Motion Picture Marketing, from Lena Dunham to Mindy and we stacked them in a tower. I but that was 2006–2007, when Kaling to Lorde – was talking about made her take a selfie with them. many of the big movie studios were it”) and “Fiendish” by Brenna It’s still on my phone,” he said. shutting down their New York Yovanoff, which Jessica describes After graduating, he worked at offices. Jessica was faced with a as a jewel of a novel with beautiful a business immigration law firm decision: move to LA, or work in prose and very scary monsters. for two years in Boston. He knew another field. She said she knew Jessica acquires YA fiction and he wasn’t going to law school, so two things: One – stories and nonfiction. The YA novels that he decided to move to New York characters fascinated her. Two – appeal to her are generally fairly and pursue a Master’s in English she hated to drive. She decided to inventive – genre-bending, out at NYU. At NYU, students were apply for assistant positions at full- of the ordinary, or offbeat – with allowed to take one course outside service agencies in New York, and complicated characters. “I love of the Graduate School of Arts and wound up in the Book Department messy stories! They keep me Science, and he took a class called at William Morris. She has been in reading.” The nonfiction she’s Book Editing and Acquisition with publishing, in some form or another, looking for will ideally have an Brenda Copeland of St. Martin’s ever since. At William Morris, she existing platform that resonates with Press. He says that Brenda was worked for Jennifer Rudolph Walsh, her (celebrity books or anthologies a fantastic editor, a supportive then moved to Eric Simonoff’s like “The Rookie Yearbooks”). mentor, and an overall publishing continued on page 18 page 18 the pitch fall 2014 continued from page 17 dynamo. Then, while finishing his the fiction side, he’s looking for thesis, he interned for Bob Weil and upmarket commercial or plot- Phil Marino at Norton. Bob had driven literary novels and fresh just been tapped to relaunch the debuts – books with a strong Liveright imprint, and John rode sense of place, or anything that the wave of excitement surrounding weaves in current social issues that revival. “I loved it. Bob and in an interesting way. He’s also a Phil are two of the hardest-working sucker for a good coming-of-age editors in the business, and I stuck novel, or any book filtered through to them like a sponge. They showed a younger character’s perspective. me what it takes to usher a book On the nonfiction side, he’s looking into the world.” for narrative nonfiction – anything John has been at Scribner for with an adventure/travel/outdoorsy two and a half years. In addition hook, science-driven stories, voice- to developing his own list, he also driven memoirs that capture our supports Shannon Welch and Brant contemporary moment, comedic Rumble. “I’m so grateful to work memoirs, and especially anything with them,” he said. “Beyond their Penh underworld. He describes it that speaks to millennials. laser-sharp editorial talents and as adrenaline-fueled and says that Beyond spending time with dedication to their lists, they’re every reveal is perfectly timed. friends and family, John is a big just straight-up great human “Seeley takes the best elements of gym-goer, runner, and skier. He’d beings. Brant works on books classic noir and hardboiled crime love to do a category-killer book about pop culture, sports, and fiction, drops them into an exotic on skiing. From Memorial Day to music (‘guy books’), and handles locale, and the result is a work that’s Labor Day, he goes to the beach as the Hemingway backlist. Shannon entirely fresh and singular. And much as humanly possible. “Also, works on a wide range of health and the sense of place – the riverside I still have a click-wheel iPod, and wellness, prescriptive nonfiction, bars, the backpackers’ hostels, the will gladly use it to DJ your dance inspirational books, and memoir. I lush jungles – brings to mind Alex party,” he says. “And I own a TV see a wide swath of projects.” Garland, John Burdett, and Don and have cable; that’s a unique John recently acquired a work Winslow. I can’t wait to get this thing in publishing, right?” of narrative nonfiction by Ethan book out into the world.” John also Brown, the author of “Queens feels privileged to have worked Melanie Tortoroli Reigns Supreme.” His next book with Shannon on “The Opposite Editor is a sweeping, ambitious work of of Loneliness,” a posthumous Viking and Penguin Books narrative nonfiction about the collection of stories and essays by “Jeff Davis 8” case, a series of Marina Keegan. “Marina was just Melanie Tortoroli is linked murders in a backwoods 22 when she died in a car accident, from Queens, New York, originally, town in Louisiana. John says it’s but she had already produced though her childhood was spent True Detective meets “Midnight a trove of luminous, insightful, living in London and Rome. “My in the Garden of Good and Evil,” prescient works that perfectly parents had no qualms about a real-life Southern Gothic story capture the way the millennial becoming expatriates, and bringing that transcends the boundaries generation thinks and acts. Her their three young children with of contemporary history, cultural writing soars with the hope and them. I spent summers in Spain, analysis, and investigative journalism. optimism of a writer on the cusp of visited my great-grandparents who He is also editing a debut novel adulthood, a message made more still live in a small mountain town by Nicholas Seeley. It’s a literary poignant by what could have been.” near Parma, and made friends from thriller set in Cambodia, about In terms of his list at Scribner, all over the world, many of whom I an expat photojournalist whose John is actively looking to acquire still see.” She grew up with no TV intern disappears into the Phnom both fiction and nonfiction. On but piles of books in every subject continued on page 19 page 19 the pitch fall 2014 continued from page 18 you could imagine. Her parents the “Let’s Go” travel guide series. publisher, Clare Ferraro, is another are avid readers, and she spent Working for “Let’s Go,” it dawned strong female: it’s a lesson in itself to summers hunting through the on her that she could actually make watch and learn from these women classics section of their local library, money doing what she already loved who have long, impactful careers in surrounded by stacks of books. doing, and so that quickly became the industry.” High school back in New York her driving inspiration to find a job The authors Melanie worked City led to four years at Harvard. in publishing. She applied to an with at Norton include John W. She studied Social Studies, “one of internship with FSG about a year Dower, on his “Cultures of War” those Harvard-only majors which after she graduated college and the (an NBA finalist), Rick Bayless, essentially gave me the freedom to person there wisely suggested she’d Jim Lahey, Michael Ruhlman, take classes in all the areas I was be a better fit for Norton. A week David Quammen, Anne Enright, interested in – economics, history, into her internship with Norton, she and Jacinda Townsend (whose first international relations, even was hired by Maria Guarnaschelli novel, published last February, and Ed Barber. “I still remember “Saint Monkey,” “has the most the very first assignment Maria original, striking voice,” Melanie gave me: she handed me a galley says). In the category of once-in- of Dacher Keltner’s “Born to Be a-lifetime experiences, she lists Good” and asked me to write flap “Gran Cocina Latina,” a Latin- copy by the next morning. I went American how-to-cook-everything home, read the entire book, and cookbook. Ten years in the making, produced copy that ultimately made it became a labor of love for both it on the finished book.” Maria and Melanie: hours spent in English literature – while getting Melanie says that it was Maria the office turned 1,900 manuscript a solid foundation reading the who toughened her up, taught her pages into a book that won both great thinkers and philosophers: how to hone her voice as an editor, the James Beard and IACP Awards. Karl Marx, Weber, Adam Smith, and provided her the space and It’s a volume that she says includes Foucault, and so on.” The emphasis opportunity to apprentice in a way as much history and background was on ways of understanding assistants rarely get. She says Maria information as it does recipes. modernity through different critical is a brilliant editor and by inviting She is also exceedingly proud lenses, and she says it was a stellar Melanie to see every step of the of her current roster of authors. preparation for the kinds of books publishing process, she learned a Doug J. Swanson, a reporter for she now works on as an editor. tremendous amount. “I’m spoiled The Dallas Morning News and a Throughout school, Melanie because I’ve gotten to work with crime novelist, is putting out his was the go-to editor for friends’ not one but two strong, intelligent first nonfiction book, “Blood Aces,” papers, and always possessed a female bosses with excellent taste for a biography of Benny Binion, the critical eye. She read every paper serious books. Now, under Wendy founder of the World Series of her older sister wrote in law school, Wolf, the style is different, but her Poker. Melanie says that editing and continues to help her brother passion, her clear-eyed decision- and publishing the book has been a as he starts his own record label. making ability, and her guidance joy in grassroots marketing, a slow “I’ve become an expert music press are just as invaluable as the time I burn of time and energy that has release reviewer.” After a semester had with Maria at Norton. Viking’s resulted in tremendous reviews. spent in Brussels working with The Wall Street Journal Europe, she ruled out a career in journalism and focused instead on traveling. MARK YOUR CALENDARS She spent a summer in Thailand, FOR UPCOMING AAR eating her way through Bangkok, PROGRAMS! which helped her land an editing job with the Thailand edition of continued on page 20 page 20 the pitch fall 2014 continued from page 19 She’s eager for the books that she’s Melanie loves smart, idea- and-through, and is always looking just finished editing to come out driven nonfiction, like histories for books on urban planning and next year. There’s “The Ghost in My of forgotten events or landmark design that can appeal to a wide Brain” (June 2015), the true story wars seen through a new lens. audience. “Anything history or of an AI professor’s concussion and She’s eager to take on more pop-science-y is great.” She’s also amazing recovery. It has made her biographies, in particular. To her, passionate about food and the look at concussions in a completely the best authors are those that food industry in this country, and different light. She’s also loving a are so entrenched in their given she’d love to expand her list with bourbon history coming out in time sphere, they need her to help them more food narratives and business- for Father’s Day next year, called translate their arguments and oriented books. “But, really, I’m “Bourbon Empire” (May 2015). She experience to a general audience. interested in everything and says its author, Reid Mitenbuler, As an example, she’s acquired anything. I’m eager to find young has written a book that dispels a lot an exciting project from an MIT writers and academics looking to of the colorful myths the bourbon professor, David Mindell, who is begin a publishing career.” brands would have you believe. writing about the future of robotics When not reading, Melanie Lastly, she’s been brought on by first drawing on his time spent in spends all her free time (and salary) board for a history of Nagasaki – a extreme environments: undersea, escaping New York City, though she manuscript Susan Southard’s been in the air, in space. “I’ve just edited always comes back. She’s addicted working on for years. “The story she the chapter on spaceflight, and to HGTV (especially House tells is one of survival and human it transports you as much as the Hunters). She cooks every night and resilience.” Balancing out her list are movie Gravity did,” she says. She is obsessed with finding new lentil remarkable historians: Adam Tooze, also loves working with journalists recipes. Her mother taught her Richard Overy, and Dominic Lieven. and academics alike – all the better to knit years ago and her hobby’s Accomplished in their fields, she says if they can do both. She signed up now reached the point where all they’ve all written exhaustive books a cultural history of the Italians by her friends are outfitted in new with fresh insights drawn from new John Hooper (called, fittingly, “The knitwear from her each winter. Her archival research. She also continues Italians,” out next February) and favorite films may just be the Before to shepherd through the “Penguin says that it manages to open your Sunrise trilogy, but she’s also not History of Europe” series, which eyes to the idiosyncratic, wonderful above a good dance movie. pairs one historian with one century, behavior of the Italian people “There’s never a boring day on the and will next see Ian Kershaw and by exploring the deep historical job: working on nonfiction allows me Richard Evans tackle the 20th and attitudes that continue to influence to remain in school forever, learning 19th centuries, respectively. the country. She says the tone is a new subject with each book, each light, but the research is extensive. authored by an expert in the field,” she “I’m all about gripping stories said. “But the best part remains the that change the way you view editing: the ability to shape structure, the world.” Some of her favorite prose, emphasis, theme, and to give books last year were “Five Days at a rough manuscript its purpose and Memorial” by Sheri Fink and “Men introduce it to the world of readers.” We Reaped” by Jesmyn Ward. She also loves big science books Matthew Daddona grounded in new research, written Assistant Editor by the scientists themselves. She Plume, an imprint of Penguin Group has under contract a new book from Nathan Wolfe, the American Matthew Daddona is virologist who The New Yorker originally from Lawrence, New described as “a cross between a York, on Long Island’s South pirate and a graduate student.” Fork, a 15-minute drive from Melanie is a city person through- JFK Airport. When he was 15, his continued on page 21 page 21 the pitch fall 2014 continued from page 20 family relocated to Southold, Long Island, a small agricultural and maritime town on Long Island’s North Fork, where he finished high school with fewer than a hundred students in his class, all of whom he had at least one conversation with. He attended college at Temple University for two years and then transferred to Brooklyn College, where he graduated in December 2011. He studied English, and wrote his thesis on Modernist poetry, with special attention to William Carlos Williams and other purveyors of the Imagist movement. Interning was one of the reasons he transferred universities. By his summer going into junior year, he had accepted his first editorial internship with Hudson Street Press and Viking, where he worked under Caroline Sutton, who, he says, is a wonderful exemplar of intelligence and diligence. He quickly returned for teaching him the ropes in the most friendly, and has taught me the best an internship with them that fall, and accommodating and straightforward negotiating skills thus far. Also, she the following summer he accepted way possible. “Neil, Carrie, and has killer music taste.” a publicity/marketing internship Edward put a lot of trust in me in my Matthew has been at Plume for a with Portfolio and Sentinel, the early age, and consistently asked for little over two and a half years. He business and conservative imprints of my opinions on submissions, their works under editorial director Rachel Penguin, where he worked with some own projects, and general publishing Bressler and senior editors Denise ambitious people who had a lot of strategizing. This was crucial, as it Roy and Becky Cole, as well as foresight into the industry, particularly taught me two things: one – know what acquires and edits his own titles. He changing markets and book formats. you’re talking about, and two – if you says they are highly smart, motivating, He realized marketing and publicity don’t, don’t hesitate to ask the experts.” and all have different tastes, which wasn’t the right fit, however, as he was Matthew began at Plume in helps him read and understand more concerned with the beginning February 2012. He says that his first different genres of publishing. steps of the book: how to see it from boss, Phil Budnick, taught him how The first book he acquired and its inception and snap it into the best to see the commercial viability of a edited was Jason Porter’s satire shape it can be in, and how to tailor book without sacrificing its literary “Why Are You So Sad?” which a book to align with a certain vision merit. “He showed me how to fight Plume published in January 2014. and market. During his senior year for a project I’m passionate about Matthew read it in one sitting on in college, he saw this firsthand while and how to get others interested as a warm evening and brought it to interning at Donadio & Olson, a well, a lesson I take with me every his boss, Phil Budnick, and insisted wonderful agency, for over a year. day.” Matthew also points to Kate he read it. He, too, read it in one There, he worked with owner Neil Napolitano, a current colleague sitting and insisted they go after it. Olson and agents Carrie Howland and and editor at Plume, as a day-to- To this day, he meets people who Edward Hibbert, who he attributes to day mentor. “She is approachable, randomly mention the book to him continued on page 22 page 22 the pitch fall 2014

continued from page 21 in conversation (unbeknownst to masterful story, and it’s usually not the alongside two other writers, Alex them that he’s the editor) and rave story you think.” On the nonfiction Gilvarry and Scott Cheshire, called about it, which makes him feel proud side, he’s looking for narrative-driven Tottenville Review. He is a founding and satisfied inside. Over the last six memoir, pop culture, pop science, member of FLASHPOINT, a months, he’s acquired three other travel and adventure, and sports. performance ensemble that reads titles: a memoir about transplant “Plume is an eclectic imprint and there prose alongside a live jazz bassist, surgery by surgeon Bud Shaw, are many avenues to go down, but I and is currently putting together “whose honest writing reminds always ask agents two questions: What’s two, separate collaborative projects me of a more sterilized version of the takeaway and who would pick up with photographers. He also grew Denis Johnson;” “You Blew It,” this book? And if both questions can up playing music (along with his a humor book about faux pas in be answered easily, I ask a third: Now, dad and one of his sisters), so he America (cultural, social, familial, why did you decide to take this book tries to continue that as much as professional, and in relationships) on?” He says that he often thinks he can. Mostly, that consists of just by comedian Josh Gondelman and an agent’s decision to take a project listening to anything he can get his writer Joe Berkowitz, “basically, a on says more about the project than hands on. He’s also an avid hiker droll, but smart, analytical look at their actual pitch letter. “But I’m really and is on his way to exploring as all the stupid things we do and keep looking for another novel right now – many national parks as he can. He’s doing to each other;” and, recently, something to knock my socks off like never been abroad, refuses to watch “Skywalker Can’t Read,” an essay Jason Porter’s book did. The last great national debates, and secretly wishes collection by Ryan Britt that takes book I’ve read of late: Shawn Vestal’s he had grown up in the South. He pop culture and science fiction short story collection ‘Godforsaken works at landscaping and irrigation topics and goes to town with them Idaho,’ hands down.” on the weekends and his favorite – topics like why Dracula wears When he’s not editing, Matthew is movie is Rio Bravo, starring John tight pants, the morality of monster a published poet, fiction writer, and Wayne, Ricky Nelson, Dean Martin, flicks, and how everyone in the Star reviewer. He runs a review journal and Angie Dickinson. Wars universe is virtually illiterate. Matthew says that Britt is a science fiction and pop culture guru. “He’s like a vending machine of facts and opinions about these things.” Matthew is looking for literary and commercial fiction – stories with driving, authentic, and unparalleled voices that take chances but also tell rich, personal stories. He’s not the most ardent editor (or reader) of genre fiction, but he likes novels that bend genres and make them coalesce with one another. He likes dark, centripetal stories, ones that turn in on themselves for different reasons, ones we have to discover as we move along. He loves Jennifer Egan, Richard Ford, John O’Hara, Don DeLillo, Carson McCullers, Denis Johnson, Lorrie Moore, Amy Hempel, Roberto Bolaño, and Steinbeck. “I consider them among my favorite authors, and for good reason: they can all tell a page 23 the pitch fall 2014

REPORT FROM another big rights fair to attend The Finns had a very active soon. Or will we stay at Bologna, presence as Guest of Honor this year, FRANKFURT London, and Frankfurt? If there is and apparently their big party on By Ginger Clark another big fair, consensus seemed Thursday evening was a lot of fun. to be that it would take place in Next year the LitAg moves up to I attended the Frankfurt Book either Guadalajara or Beijing. Hall 6.3 from 6.0. The good news is Fair this year (my eighth!). Fellow I also found that editors and that we will be in the same hall as the International Committee members co-agents were very interested other English-language publishers, so Chris Lotts, Jennifer Weltz, and Sally in hearing about the Amazon/ there will no longer be a 15-minute Wofford-Girand contributed to the Hachette standoff. Interestingly, walk between Halls 8 and 6. The bad below report, as they also attended. Amazon had a representative from news is that I fear there will be fewer Frankfurt 2014 was considered a the Chinese division at the LitAg stalls in the ladies’ room. quiet but optimistic fair, where there say hello to agents and discuss what I also spent a week in London in were no big surprise books. Any sort they are doing in that country. early September meeting with editors of buzz book had been discussed in In terms of markets that are doing and agents. The mood in the UK is the press a week or more before. well, China and Brazil continue tough right now, and it has been for Adult editors wanted women’s to boom on both the adult and years. Waterstones takes so many fiction, crime, and business and children’s side. There are signs that fewer books than they did before, self-help books more than anything. Portugal is recovering, particularly so that to get an order above 1,000 Children’s editors wanted middle for kids’ books. Spain continues to copies is a real victory. If Tesco takes a grade, YA contemporary, and some rely on Mexico and Latin America book, that’s a huge victory, but Tesco YA historical. In general, there was for support. I have not seen signs takes so few titles. The e-book boom less doom and gloom and a strong that they are recovering, but is happening, but a few years behind desire to do business if the right some houses are in a more viable us. And there are the worries about book presented itself. position than others. There may the Penguin/Random House merger, as well as what will happen next year when Hachette is under one roof. Will there be more redundancies, as there were on the children’s side this year? HarperCollins is moving next year Frankfurter Hof day was even be more restructuring before there from Hammersmith to Southwark, busier than the previous year, is a recovery. The Netherlands and near the Shard. Hachette will be possibly because the morning was Scandinavia remain difficult. Things moving all its divisions under one cold and rainy, so many people have stayed very tough in Italy, except roof next year as well, to right on the who would normally be in the for Garzanti, which is growing. Many Thames near Temple Gardens and outside section of the bar were publishers in the Euro Zone have just down from the current Little, indoors. There has been talk of how had to reduce their output to match Brown UK location. There’s talk frustrating that day can be, and some expectations. Russia and Ukraine will that the part of Random House that agents are considering moving their probably have lower advances because is out in Ealing (Transworld and Tuesday meetings to the LitAg, both their currencies are weak. the children’s division) will move to which is open on Tuesdays and is not We also saw the Eastern European Central London next year to be closer partially outdoors. I would personally countries entering the fray more to Penguin and the rest of Random be in favor of never having another aggressively by both taking on House, but that isn’t yet official. meeting standing over wet shrubbery scouts and making aggressive buys, As you can see, times and again, so I hope people do take Poland being one of the most active addresses are changing in London. advantage of the LitAg being open. territories. The Far East seems to be I remain optimistic about the I found myself discussing several stronger – except Japan, where self- children’s market, and I have sold times with other agents and rights help is the only market doing well several books this year that I did not people whether there will be for translated works. expect to sell to publishers there. page 24 the pitch fall 2014 A TELEVISION AGENT WEIGHS IN: What Makes a Property “Hot” in the Television World Today? By Gail Hochman The landscape in book-to-film sales has changed dramatically. Whereas the market for book-to-feature sales has been slow, this is the era of the small screen! Today, book agents may have more success placing strong narrative material with a television company, for a TV film or even television series. Selling a book for series adaptation together – writer, director, talent, more common in cable, where there requires a receptive show-runner underlying property/author – with is often a person at the center with a and existing production team; good the common goal of great TV. deficit he or she is trying to correct. material that fits the bill for an active But both spaces include colorful, production company may be of real Who actually buys the properties memorable people whose journeys interest to the Hollywood agents in a TV sale – networks? will fascinate the audience. who handle these sales. We spoke Companies? Producers? with Tiffany Ward, an agent in the We have recently been seeing television department of Creative Any and all. Producers, networks, many more television sales of Artists Agency about the exciting new and studios have all become very our book/magazine properties opportunities for agents to sell literary eager to option great properties to miniseries, television movies, properties in what is being called a for adaptation. and full-blown television series. new golden age of television. Do the buyers look for different What do you look for in a book things for each of these types How would you characterize property that would excite of products, and is the market what television producers are you to pitch it for a television equally strong for each? looking for in a book property? series? There is a renewed interest in the TV is looking for great characters Great characters and interesting limited-series form, which is great. first. A TV series succeeds in part subcultures. Characters are most There are more buyers for ongoing because we want to invite the important, but the feeling of accessing series than limited series. Both look characters into our home every an unknown or new subculture can for strong characters and worlds, week. So character comes first, and be intoxicating. A connection to the though the limited-series space seems makes or breaks a series. zeitgeist is also important. to reward nonfiction more often.

Can you explain the concept of For network channels, what is the Reality shows seem big for “packaging” in television and appealing feature? For cable? television – is there a type of how it applies to a deal to buy a literary property that might book property? Both networks and cable look for a lend itself to be bought as a great nexus of characters. Networks “reality” show? Packaging is often misunderstood. often gravitate towards heroes – The essence of packaging is putting people with special abilities trying Yes. Nonfiction is often rewarded like-minded creative elements to do the right thing. Antiheroes are in reality. continued on page 25 page 25 the pitch fall 2014 continued from page 24 as an assistant to Aaron Priest NEW MEMBERS and Lisa Erbach Vance in February 2013, after practicing Lara Allen law as a commercial litigation The Lotts Agency associate. In 2014, Melissa was promoted to the role of foreign Lara Lea Allen has been with The rights director, managing foreign Lotts Agency since its beginnings deals for Aaron Priest’s clients in 2011. She has been an agent including David Baldacci, Robert for seven years, and has worked Crais, and Robert James Waller. Do you have any advice for in book publishing for fifteen. She is now actively building her independent literary agents Her experience spans commercial own list, looking specifically who may be looking for fiction, pop culture, and Young for small-town amateur sleuth Hollywood representation? Are Adult. Some of the authors Lara novels, international thrillers we at a disadvantage if we ask has sold into international markets with likable protagonists, light- small, independent agencies to include Connie Willis, Robert hearted women’s fiction, and handle our books for television Silverberg, and Rainbow Rowell – quirky YA. She is also interested in submissions? the latter to over 35 countries. approachable lifestyle nonfiction. Melissa received her JD from I am not sure how to answer this Vanderbilt University Law School without promoting the great benefits Noah Ballard and her BA from Washington of CAA! But, of course, there are Curtis Brown, LTD University in St. Louis. wonderful agents and managers www.curtisbrown.com at a variety of companies. We at a larger agency have the advantage of Noah Ballard is an agent at Curtis Julia Kardon incredible access to talent, directors, Brown. He received his BA in Mary Evans Inc. and showrunners, which benefits English from the University of www.maryevansinc.com our author clients. Nebraska–Lincoln. He is interested in honest and provocative new Julia Kardon was born and raised How should we study our current writers of both fiction and in New York City. Her first job book lists and our backlists to nonfiction. Noah has appeared in publishing, while still in high pull up some projects that could across the country speaking school, was shelving fiction at indeed fit the bill for TV – and at MFA programs and writing the Strand Book Store. She what kinds of projects would conferences about query letters, graduated from the University light up your day if you were to building nonfiction platforms, of Chicago with degrees in receive them? and submission etiquette. His Comparative Literature, and clients include Justin Taylor, Tom Slavic Languages and Literature. Character, character, character. O’Donnell, Mark Wisniewski, After a detour to Prague to teach If you can’t get a character out of Shelley DeWees, and Josh English for a year, Julia returned your head, whether in a drama Gondelman, among others. to New York to intern at The or comedy, we should probably Wylie Agency, eventually working take a look! Whether in fiction, at Sterling Lord Literistic for nonfiction, a blog or an article. Melissa Edwards three years before joining Mary We’ve been really successful with The Aaron M. Priest Evans Inc. to handle foreign all of the above and are privileged Literary Agency rights and build her own client to be working during such an www.aaronpriest.com list. She is interested primarily exciting time in TV, a medium in literary and upmarket fiction, where underlying material has Melissa Edwards joined the narrative nonfiction, journalism, never been more seductive. Aaron M. Priest Literary Agency and history. continued on page 26 page 26 the pitch fall 2014 continued from page 25

Dana Newman Associates in 2009 after graduating in the Peace Corps in Burkina Faso, Dana Newman Literary, LLC from The New School with an West Africa. In fiction, he is chiefly www.dananewman.com MFA in Creative Writing. She focused on YA and middle grade, but previously worked in the editorial is also interested in adult genre fiction Dana Newman started her department at Forbes magazine. and upmarket fiction with a speculative literary agency in Los Angeles, She specializes in lifestyle books twist. For nonfiction, he is seeking California, in 2010. Prior to particularly in the fashion and to build a select list in memoir, pop that, she worked as an in-house home décor categories as well as culture, history, and humor. You can attorney for Moviola, a company narrative nonfiction, memoir, and find him on Twitter under @byobrooks. in the entertainment/technology pop culture. She is hoping to add industry. She specializes more literary fiction to her list. in narrative and practical She lives in New York City, and Sarah E. Younger nonfiction, and is also seeking tweets under @Kimlitagent. Nancy Yost Literary Agency a select amount of literary and www.nyliterary.com upmarket women’s fiction. Dana has a strong background in Brooks Sherman Sarah E. Younger joined the Nancy publishing law (contracts and The Bent Agency Yost Literary Agency in the fall of intellectual property) and speaks www.thebentagency.com 2011, shortly after attending the frequently on legal issues for Denver Publishing Institute. Before authors. She’s active on Twitter Brooks Sherman joined The Bent DPI, she was the e-book editor at under @DanaNewman. Agency in January 2014; previously, Press 53 in Winston-Salem, North he was a literary agent at FinePrint Carolina. As an associate agent at Literary Management and worked in the Nancy Yost Literary Agency, Kim Perel the managing editorial department of Sarah’s list is comprised of a variety Wendy Sherman Associates, Inc. Henry Holt and Company. Prior to of commercial women’s fiction, and www.wsherman.com his publishing career, Brooks worked she is looking for more romance, in the entertainment industry in New YA, NA, women’s fiction, historical Kim Perel joined Wendy Sherman York and Los Angeles, and he served fiction, and light cozy mysteries. page 27 the pitch fall 2014

ELECTRONIC and “Non-curated” publishers. arrangements with e-booksellers. Curated publishers are set up more Non-curated distributors will take PUBLISHERS like traditional book publishers: You any ready-to-publish file (e-pub) submit a book, they might do some and will make it available for sale, The Digital Committee editorial work, they pay you royalties, if you follow their submission has created the below spreadsheet of usually a share of net receipts, and policies. There’s no commitment to the electronic publishers that we’ve they don’t involve you all that much sales or marketing. encountered; many of them continue in the production details. They can This industry remains very new to change and update their policies accept or reject your book at will, and volatile, so please make sure and procedures, so it’s always best and they may have ideas of what to call or write these publishers for to contact them directly to confirm. they want their list to look like. Some more information and guidelines We’ve divided the list into “Curated” pay advances; some have marketing before making any submission.

CURATED NAME WEBSITE & PHONE # CONTACT PERSON NOTES Arc Manor www.arcmanor.com Shahid Mahmud, publisher, Mostly SF & Fantasy Reprint 240-645-2214 [email protected] Aspen Mountain Press www.aspenmountainpress.com Scott Waxman, publisher; Mary Cummings, Both print and e-book, new and backlist; www.diversionbooks.com editorial director, [email protected]; in fiction: romance, chick lit, thrillers, Diversion Books 212-961-6390 Randall Klein, acquisitions editor, Randall@ mystery, SF/Fantasy; nonfiction: business, diversionbooks.com; Laura Duane, senior editor, sports, health and platform-based general [email protected] interest. Publication within 4–6 weeks. Dzanc Books www.dzancbooks.org Steven Gillis, founder & publisher, Literary fiction, short story collections, [email protected] and poetry only. Entangled Publishing www.entangledpublishing.com Timothy Travaglini, director of children’s acquisitions, [email protected], 212-691-0900 Open Road Integrated www.openroadmedia.com x139; Betsy Mitchell, strategic advisor of SF/Fantasy, New books and “author brands;” prefer Media 212-691-0900 [email protected]; multiple books at a time. Maggie Crawford, strategic advisor of commercial fiction, [email protected] OR Books www.orbooks.com John Oakes, co-founder, Quick publications; history, politics, [email protected] culture, and offbeat fiction. Polis Books www.polisbooks.com Jason Pinter, founder and publisher, (646) 306-4865, [email protected] Arthur Klebanoff, CEO, aklebanoff@rosettabooks. www.rosettabooks.com com; Roger Cooper, associate publisher at large, Literary excavators, brand-name authors, Rosetta Books 646-274-1970 [email protected], 917-952-6480; Judy institutions or organizations, or full Gitenstein, associate publisher at large of children’s backlists. books, [email protected], 212-242-1241 Treble Heart Books Lee Emory, 520-458-5602, [email protected] K.D. Sullivan, CEO, [email protected]; Untreed Reads www.untreedreads.com Jay A. Hartman, editor in chief, Mystery, SF, and romance. [email protected] Whiskey Creek Press www.whiskeycreekpress.com Debra Womack, publisher 307-265-8585

continued on page 28 page 28 the pitch fall 2014 continued from page 27

NON-CURATED NAME WEBSITE & PHONE # CONTACT PERSON NOTES Amazon www.kdp.amazon.com Jason Kuykendall, Price must be between $2.99 and $9.99 [email protected] for 70%. Apple iBooks www.apple.com/ibooks Must have a Mac to submit directly; not especially user-friendly. Argo Navis Author Sabrina McCarthy, president of Perseus Distribution Agency-only titles. Argo can create files Services www.argonavisauthorservices.com Client Services, (at author’s cost), or just distribute final files. [email protected] Audiobook Creation www.acx.com Exchange (ACX) NOOK Press by Barnes www.nookpress.com [email protected] List price must be between $2.99 and & Noble $9.99 for 65% net earnings. Steven Spatz, president, Conversion, covers, direct sales and BookBaby www.bookbaby.com [email protected] distribution, and websites; part of the CD Baby, Inc. family. www.bookbrewer.com Conversion by hand, distribution, and BookBrewer 303-945-3827 Dan Pacheco, founder and CEO direct sales; prices must be between $2.99 and $9.99. BookMasters www.bookmasters.com Claire Holloway, director of data management and Conversion through distribution. 877-312-3520 e-book services, [email protected] eBookIt www.ebookit.com Bo Bennet, CEO and founder, Conversion, distribution, and marketing [email protected] packages. FastPencil www.fastpencil.com Steve Wilson, CEO & president, Conversion, editorial, design, distribution, [email protected] and direct sales. Fran Toolan, CEO, Conversion with e-book architects, Firebrand Technologies www.firebrandtech.com [email protected] metadata dissemination, and distribution to Barnes & Noble; NetGalley press. Google Play www.play.google.com/books Kate Zeman, [email protected] Auto-conversion, direct sales, and sales through independent booksellers. Larry Norton, SVP of business development, Larry@ Working largely with agents and publishers INscribe Digital www.inscribedigital.com inscribedigital.com for now; $1,000–$3,500 for conversion, $2,500–$5,000 for marketing. Kobo Books www.kobobooks.com Christine Munroe, [email protected] MintRight www.mintright.com Stanislav Mamonov, CEO, Conversion and distribution. 646-368-8090 [email protected] OverDrive www.overdrive.com Alexis Petric-Black, manager of publisher partner Earnings based on purchase/license 216-573-6886 services, [email protected] of book by libraries. Smashwords www.smashwords.com Mark Coker, founder Vook www.vook.com Matthew Cavnar, co-founder and publisher, 510-735-7904 [email protected] page 29 the pitch fall 2014

ASSOCIATION OF AUTHORS’ REPRESENTATIVES, INC. BOARD OF DIRECTORS – 2014-2015

Gail Hochman, President Ginger Clark (’16 end of second term) Brandt & Hochman Literary Agents Curtis Brown, Ltd. 1501 Broadway, Suite 2310 Ten Astor Place New York, NY 10036 New York, NY 10003 (212) 840-5760/ Fax (212) 840-5776 (212) 473-5400 [email protected] [email protected] President Liaison: Contracts Committee

Cynthia Cannell (’15 end of first term) Wendy Sherman (’15 end of first term) Cynthia Cannell Literary Agency Wendy Sherman Associates, Inc. 833 Madison Avenue 27 West 24th Street, Suite 700B New York, NY 10021 New York, NY 10010 (212) 396-9595 (212) 279-9027 [email protected] [email protected] Liaison: Newsletter Committee Liaison: Membership Committee

Brian DeFiore (’16 end of first term) Liza Dawson (’16 end of first term) DeFiore and Company Liza Dawson Associates 47 East 19th Street, Third Floor 350 Seventh Avenue, Suite 2003 New York, NY 10003 New York, NY 10001 (212) 925-7744 (212) 465-9071 [email protected] [email protected] Liaison: Digital Committee Liaison: Program Committee

Anne Edelstein (’16 end of first term) Gina Maccoby (’16 end of second term) Anne Edelstein Literary Agency Gina Maccoby Literary Agency 404 Riverside Drive #12D P.O. Box 60 New York, NY 10025 Chappaqua, NY 10514 (212) 414-4923 (914) 238-5630 [email protected] [email protected] Liaison: Program Committee Liaison: Royalties Committee

Jennifer Weltz (’15 end of first term) Susan Ramer (’16 end of first term) Jean V. Naggar Literary Agency, Inc. Don Congdon Associates, Inc. 216 East 75th Street, Suite 1E 110 William Street, Suite 2202 New York, NY 10021 New York, NY 10038 (212) 794-1082 (212) 645-1229 [email protected] [email protected] Liaison: International Committee Barbara Hogenson (’15 end of second term) Zoe Pagnamenta (’15 end of first term) Barbara Hogenson Agency The Zoe Pagnamenta Agency 165 West End Avenue, Suite 19-C 20 West 22nd Street, Suite 1603 New York, NY 10023 New York, NY 10010 (212) 874-8084/Fax (212) 362-3011 (212) 253-1074 [email protected] [email protected] Liaison: Dramatic Committee

Marta Praeger (’15 end of first term) Jody Kahn (Administrative Secretary) Robert A. Freedman Dramatic Agency, Inc. Brandt & Hochman Literary Agents, Inc. 1501 Broadway, Suite 2310 1501 Broadway, Suite 2310 New York, NY 10036 New York, NY 10036 (212) 840-5766 (212) 840-5770/ Fax (212) 840-5776 [email protected] [email protected]; [email protected] Ken Norwick, Esq. (Attorney-Literary) Norwick, Schad & Goering Elliot H. Brown, Esq. (Attorney-Dramatic) 110 East 59th Street Franklin Weinrib Rudell Vassallo New York, NY 10022 488 Madison Avenue (212) 751-4440/ Fax (212) 604-9997 New York, NY 10022 [email protected] (212) 935-5500 [email protected] Jeff Gerecke (OFF THE BOARD POSITION), Treasurer Gina Maccoby Literary Agency P.O. Box 60 Chappaqua, NY 10514 (718) 664-4504 [email protected]