How To Find Literary Agent

How To Find Literary Agent – Authors have more options than ever when it comes to getting their books published, but if you want a traditional publishing deal, it’s worth considering how an agent can help market your book. In today’s interview, literary agent Barbara Paul shares tips on pitching stories, query letters, how to find and land an agent, and what to expect from the publishing industry.

In the introduction, I will discuss some of the findings of the Authors Guild report, The Author’s Profession in the 21st Century: Rebecca Giblin’s work on copyright in Australian publishing contracts; Additionally, Google Play Books has made it easier than ever for publishers to sign up, and has increased royalty payments and added affiliate links. Additionally, I share my walk along the Kennet and Avon Canal and my talk about self-publishing on the NaNoWriMo YouTube channel, as well as my writing updates.

How To Find Literary Agent

Join me and Mark Dawson for a free webinar on “How to get your first (or next) 10 book reviews” on Thursday, March 5 at 3:00pm EST / 8:00pm UK. Click here to register for your free seat or watch the replay.

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Today’s show is sponsored by my course, How to Write a Novel. from idea to finished manuscript”. Is it your dream to write a novel but don’t know where to start? Did you start writing to run out of ideas? Do you suffer from self-doubt about whether you’re good enough to write a novel? Are you feeling overwhelmed by all the information and craft books out there? Want to strip everything back to basics and learn the step-by-step process of writing your novel? If so, this course may be for you. Check out my courses /learn

Barbara Paul is a literary agent at the Irene Goodman Literary Agency in New York. He is also a columnist for Writer’s Digest and author of Funny You Should Ask. author of usually serious answers to usually serious questions about the book publishing industry.

You can listen above or on your favorite podcast app, or read the notes and links below. Below are the highlights and a full transcript.

Joanna: Barbara Paul is a literary agent at the Irene Goodman Literary Agency in New York. He is also a columnist and author for Writer’s Digest magazine

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Tell us more about yourself and your publishing journey, and what do you love about being an agent?

I have a secret history as an actor in film and television in Los Angeles, but when the buzz about being on stage died down, I did a lot of comedy and improv and stand-up, I started looking around to see what else was out there. I am. want to do I had just gotten married at the time, and my husband really insisted that I become a major literary agent. And I said: why? And he said: “Well, you like to read and like your opinion.” Enough.

So I did what I think everyone should do when considering a career change, I took advantage of every avenue to set up informational interviews. I interviewed editors and agents to figure out what area I wanted to focus on.

It became clear very, very quickly that the agency side was the right side for me. I love the agent, I love the industry.

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So, feast or famine, it’s up to you and only you. So there’s a lot of unknowns in it, and there’s a lot of risk involved, and my personality is very well suited to that.

On the editorial side, you’re very creatively overwhelmed, which is great, and you have a paycheck that you can count on, and you have a 401(k), and you have health insurance. Just the idea of ​​relying on myself for my income is more appealing.

And the idea that I can get anything I want, I can get a photo book, I can get a memoir, I can get anything I want, I can get it. So my journey as an agent is the same. And the idea of ​​what I like about publishing is that it can be a channel to facilitate art, no matter what genre it is.

Joanna: It’s amazing and it’s exciting. You talk about improv and comedy there. I guess I was surprised because I know your reputation in the field and this book is ridiculous. So tell us a little bit more about that.

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Barbara: I think it’s interesting that you say you know my reputation, because yes, I can be rude, but I think it’s one of the most important things in life and career, and no matter what you do, you have to do with two laughs on the way.

I have a history of standup, sketch and improv. And I know even as an agent that helps when you’re in different situations. We could all use a little laughter.

It was a natural evolution for me to start incorporating more of my comedy into my business because why not? We all always take it very seriously and making people’s art and their dreams come true. So it’s fun to bring a little silliness to this situation.

, the same thing. There are so many questions and there are so many resources for those questions, but I want it to be fun and also eliminate a little self-publicity. So doing that and having a little laugh makes everyone feel better, right?

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Joanna. Yes. And I think I enjoyed it more. There are many books about publishing, but I say yours. “Oh hey, this is different!” So it was quite unexpected, I really liked it.

You talk about immersing yourself deeply in creativity, and the book begins with craft. I think that’s really important because a lot of people are involved in some of the other aspects of publishing, but the craft is actually really important.

What are some things about landing pages or posts that immediately make you reject the author from a craft perspective?

Barbara: That’s a great question. I think one of the most obvious is of course the basic concept of core construction. So if it’s just sloppy writing, lots of spelling mistakes, not a lot of attention to detail, it can be a bit overwhelming.

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But in reality, sometimes it can be more subtle. For example, I’m sure all authors know this, but the idea of ​​storytelling and exposition is that you let the character explore themselves and the plot instead of just talking about the character.

If you open the book and it’s a woman looking in the mirror and she says, “I’m Barbara Poel. And I’m five feet tall with blonde hair and blue eyes. Talking, it’s information dumping that usually turns me off right away if you’re just getting info-dumped and talking.

And again, the dialogue-to-narrative ratio, while subtle, can sometimes hinder the pacing. So when you have too much dialogue and not enough narrative, we just skim the surface like a rock skimming the edge of a lake to get to know these characters.

Where you have the ratio of narrative dialogue, where we can really immerse ourselves in the atmosphere and engage our five senses to tell us what’s going on in the story, that’s a stronger foot forward.

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Joanna: Very interesting. You’re talking about mixing dialogue and narrative there. I really notice that in books, especially thrillers, because I know thriller writers and I’ve read a lot of thrillers, and I think that’s why there’s so much dialogue. It’s almost like a script. Very interesting that you mentioned that.

How about the things that make you think “yeah, I want to read, I want to read another page and another page?”

Barbara: You make a great point there about thrillers, because in all books, let’s be honest, the overarching statement is that pacing is important, but in thrillers, pacing is king. So you can see some authors, especially when they’re in book 18, 19, 20, and they break down, it’s more dialogue heavy and more reliant on short chapters to give the audience a sense of fast movement. .

For me, pacing is important, but also, I don’t want to read about plots, I want to read about characters doing things that make the plots happen. So my favorite type of book is every person, male or female, when the ordinary becomes extraordinary and

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