INTERVIEW: ADAM CHROMY - Agent - Artists and Artisans Inc. Literary Agency - Exec producer to a upcoming films & TV shows

EI:If you could choose the perfect manuscript you would want to see pop in through the mail slot tomorrow morning, what elements would it contain?

Adam Chromy: A million dollar price tag would be great. Besides that, I like a unique but readable voice telling a great story in a world that is somehow interesting. When I evaluate a book for consideration, I look at the following:

1. The voice or personality of the writing. This is critical because voice can’t be helped or changed. Some take years to get it, other never do – so for me you either have one I like or you don’t.

2. Novelty of the premise. I think readers like archetypal stories, but told in unique settings or worlds. So I look for a premise or setting so interesting that I don’t even realize I am reading a universal/familiar story.

3. Technical quality. Mostly, I am concerned about narrative structure,
dramatic tension, a satisfying resolution etc. I hope the book is good, but I can work on this with the author.

4. Promote-ability. I am looking for an author or premise that is press worthy. If the author is already a success, the press is easy. But for up and coming or debut authors the press potential for the book usually comes out of the author’s connection to the subject of the book, i.e. a debut espionage thriller from an former spy is far more promote-able than the same book from an accountant.

EI: Has any one genre over the past five or ten years gained a greater share of the market? For example, have sci-fi total book sales increased a few points? Any trends to be aware of?

Adam Chromy: I really wouldn’t say genre, but the nonfiction market, especially narrative nonfiction, has grown at the expense of fiction. Many people say that after the Sept. 11 attack, the world has become too serious for fiction. But I think there is more to it than that. So much has
been done in fiction – the potential variety is infinite – but paradoxically that makes it less interesting. The limits placed on nonfiction spurs more creativity while also keeping the work grounded in truth. So I think writers, even novelists, must keep an eye out and be open to spotting real stories in the world around them that could be told as narrative nonfiction.

EI: It's well known that the number of major publishing houses inclined to take a chance on new writers is dwindling. Given that current successful authors were the first novelists of yesterday, where does corporate publishing imagine the authors of tomorrow will come from if they're unwilling to let them in the door today? Are they planning to clone them?

Adam Chromy: Actually, publishers like bestselling author AND breakout debut writers. The problem with most writers is they think publishers are interesting in building them up as authors (as once was the case) and consequently contact agents and publishers prematurely. A smart author will not even attempt to get published until they have written an absolutely great book (that’s right, throw the first 3 mediocre manuscripts away – nobody wants to read them). And while they perfect their craft and great novel, they will work on developing some notoriety by blogging, publishing short pieces, working as journalists, etc. so that when the book is ready they can present themselves to publishers with the media savvy to be that “breakout” debut. And there are enough people smartly executing this plan for publishers to keep their pipelines going, but if you are not hip to this then the publisher couldn’t care less about your talent or potential.

To learn more about Adam Chromy, please visit him at:
http://www.artistsandartisans.com/
http://www.publishersmarketplace.com/members/snapper/

INTERVIEW: Theresa Park - Agent & Founder - The Park Literary Group LLC

Theresa Park - Agent, Owner and Founder of Park Literary Agency was a Silicon Valley attorney turned Literary Agent, in New York. She made her mark representing strong commercial fiction and serious non-fiction.

Her clients include prominent scientist, journalists and established academics venturing into the world of commercial publishing, as well as writers of thrillers, action-adventure novels and modern love stories.

One of her famous client is Nicholas Sparks, an internationally bestselling American author of the number one New York Times bestsellers The Notebook, Message in a Bottle, The Guardian, and many more.

Her list reflects her particular interest in first-time authors, her commitment to the long-term success of her clients’ careers and her love of deal making. Ms. Park is a graduate of Harvard Law School. Ms. Park is one of the founder
The Park Literary Group when she and other colleagues left.

E.I. How do you define a well-crafted commercial fiction? Do you consider commercial fiction as the dessert of all fiction because it sticks to our soul? It’s empty calories, harmless unless overindulged? What is your opinion?

Theresa Park: Great commercial fiction simultaneously offers first-rate entertainment and emotional catharsis. Usually plot-driven enough to create a heightened sense of suspense and curiosity (i.e., a page-turner), it also takes the reader on an emotional rollercoaster ride: engagement, euphoria, loss, and redemption / fulfillment; or alternatively, stasis, loss, terror, courage, and triumph. It should make for a transporting experience, even if it’s not always a deeply profound one.

An escapist novel need not be viewed as “empty calories,” since a particularly skilled author can sometimes craft a commercial thriller or love story that incorporates substantive historical or intellectual elements: think of The Instance of the Fingerpost, The Name of the Rose, Memoirs of a Geisha. As with literary fiction, some commercial novels feel generic and forgettable, while others introduce ideas or emotional conflicts that remain with us long after we’ve finished the last page. Many may take issue with a book’s artistic limitations, but who can forget the wrenching emotional dilemma of The Bridges of Madison County, the bold premise of The Bourne Identity, the heartbreaking choices and ravaged landscapes of The Good German, or even the epic complexity of George R.R. Martin’s books?

Commercial fiction may not always rise to the level of “Art,” but I would argue that it requires a highly disciplined sense of craft – at its best, meticulous plotting, precise control of suspense and pacing, universal and yet memorable characters, powerful emotional triggers, and a supremely satisfying ending. A fantastic commercial novel always succeeds in reminding you why books are still a better form of entertainment than movies or TV – easily worth the additional effort and time.

INTERVIEW: Stacey Barney - Editor - Penguin / G.P. Putnam's Son

In lieu of a personal photo, Ms. Barney has supplied a company logo instead.

Stacey Barney, an editor at Putnam Books for Young Readers has held posts in both adult and children's book publishing, beginning her career at Lee & Low Books, a multicultural children's book publisher. She then worked at Farrar, Straus and Giroux with such talented new writers as Chris Abani and Lisa Dierbeck.

At Amistad/HarperCollins, she published LA Times bestselling author Tamara T. Gregory's Passport Diaries as well as the acclaimed memoir, This Voice in My Heart. Before coming onboard Putnam's team, she worked at Dafina/Kensington, where she launched a Young Adult list with such titles as DRAMA HIGH, SO NOT THE DRAMA, BOY SHOPPING, and PERRY SKKY JR, the spin-off to bestseller Christian teen series PAYTON SKKY.

At Putnam, Stacey is looking for multicultural voices in everything from chapter books and middle grade to Young Adult.

EI: How often do you accept an offering because you feel it could be edited into publishable form but then fail to do so—either because of difficulty with the author or it wasn't any good in the first place?

Stacey Barney: I’ve not had this experience. I’ve never taken something on and then failed to publish it. When I take on work it’s because the author has done their job and what I receive on submission is already very polished.

When I take on something less than polished, it’s because I see the potential in it, and have a vision for it that matches the author’s vision. When Penguin/G.P. Putnam's Sons considers a new author's manuscript, does film potential play a role in the decision process? Can you rank the top genre markets in terms of most lucrative to least? Film potential doesn’t play a role in whether we decide to publish something or not.

While I won’t provide a ranking, I will say that Fantasy tends to be a very lucrative side of the business as does commercial teen fiction—books that are issue driven or chick lit type narratives such as the Gossip Girls series.

INTERVIEW: Holly Root - Agent, Waxman Literary Agency NY

EI: Will you explain to us how you make contact with an editor at a major house once you have a manuscript you are excited about? Can you tell the readers so that they can understand the role of an agent? Do you send an editor a formal proposal of some type? Or do you just pick up the phone? Does it vary from house to house, press to press?


Holly Root: When I have a project that’s ready to go out the door—edited, primped, and polished—I start by pulling together a submission list of editors to talk to about the book. The next step is crafting a pitch
letter. This will later be the cover letter for the submission, but it’s also where I begin to refine the pitch. The best pitches, like the best queries, pique the reader’s interest, play up the project’s selling points, and help build excitement about the project.

Once that submission list is final and the letter is set, I’ll get in touch with the editors and personally pitch them the book, then send over the manuscript or proposal with that cover letter. The exact kind of pitch does vary; some people prefer to have the details about projects over email, others by phone. My pitch gets the book in the door, but ultimately it is the work that sells. My role as the agent is to get that work into the right person’s hands and highlight the potential for that book’s success.

FAMOUS LITERARY AGENT: ELLEN LEVINE - Executive Vice President - Trident Media Group

Ellen Levine is an Executive Vice President of Trident Media Group. Her famous client’s books have become major films,

Ms. Levine's career with two publishers: New American Library and Harper; Row (now HarperCollins). She then worked at other agencies before forming Ellen Levine Literary Agency in 1980.

Ellen has appeared on numerous publishing panels and spoken at many writers’ conferences. Many of her clients have appeared on the NY Times Bestseller List and have won major awards and prizes, including the Pulitzer Prize, the National Book Award, the National Book Critics Circle Award, the P.E.N. Faulkner Award, the P.E.N. Hemingway Award, The Booker Prize, and The L.A. Times Book Award among others.
Many of her clients’ books have become major feature films, including The English Patient, Holes, The Sweet Hereafter, Affliction, Housekeeping, and Ride With the Devil.

The English Patient is a 1992 novel by Sri Lankan Canadian novelist Michael Ondaatje. The film was directed by Anthony Minghella, featured Ralph Fiennes and Juliette Binoche. “The English Patient” won 9 Oscars and 37 nominations.

The Sweet Hereafter is a 1991 novel by Russel Banks. It became a 1997 Canadian film and it was written and directed by Oscar-nominated Atom Egoyan. The film was nominated for two Oscars, won Grand Prize at the Cannes Film Festival and 29 more other nominations

Affliction is a 1989 novel by Russel Banks and it became a 1997 film starring Nick Nolte, Academy award winner for best actress Sissy Spacek, James Coburn and two time Academy award-winning nominated, William Dafoe. The film was written and directed by former film critic,screenwriter director Paul Schrader

Housekeeping is a 1987 Novel by Marilynn Robin the winner of the 2005 Pulitzer Prize for Fiction, for "Gilead". Housekeeping became a 1988 film starring Academy Award winner Christine Lahti.

Ride with the Devila coming of age novelby Daniel Woodrell. It became a 1997 film, directed by one of todays greatest contemporary filmmaker 'Ang Lee'.

Ellen enjoys representing both literary and popular fiction, including thrillers and women's fiction. She is particularly interested in narrative non-fiction, history, biography, popular culture, world affairs, and politics. She also has a select list of children’s and young adult authors.

She is a member of the Association of Authors’ Representatives where she was Chair of the Contracts Committee for many years. http://www.tridentmediagroup.com/ellen_levine.html

EI: How do you feel about working with first-time authors? How many and what kinds of first-time authors have become published through your efforts with Trident Media Literary Agency?

Ellen Lavine: Since my current list keeps me very busy, and because the climate for new fiction is very competitive, I need to be very selective about taking on first-time authors. That said, one of the most exciting aspects of my work is discovering an exceptionally talented new writer with a distinctive voice. I've handled many first works of fiction - a couple of examples: A collection of short stories published by Farrar, Straus and Giroux entitled GET DOWN by Asali Solomon, an Iowa Writer's Workshop grad, and a first novel to be published this Fall by Tin House Books entitled OVENMAN by Jeff Parker.

EI: Your taste in books is obviously eclectic based on the genre categories you are willing to represent, including literary, popular fiction, thrillers, women’s fiction, narrative non-fiction, historical, biography, popular culture, world affairs, politics, selected list of children and young adults. That's a lot to juggle. What particular qualities do you look for in work by a first time young adult writer, for example?

Ellen Lavine: The same qualities to which I'm attracted in adult fiction: appealing voice, great storytelling, well-developed characters, quality prose; and if there's a strong theme or handle, that helps. I've recently sold a first YA novel to Knopf, FERN VERDANT, by Diana Leszczysnki, to which all of this applies.

To learn more about Ellen Levine, please visit their website