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Agent Brooks Sherman returning

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brooks-pic3Literary agent Brooks Sherman of Fineprint Literary Management is returning to our 2013 summer workshop!

Says Brooks: “In all honesty, I wanted to come back to MWW because it was hands-down the most enjoyable writers’ conference I attended last year. The conference organizers were friendly and helpful, my fellow faculty members were collegial, and the conference participants were welcoming and receptive to feedback. I’ve made many friends from last year’s conference, and I’m looking forward to seeing them again and making new acquaintances.”

Glad to have you back, Brooks!

What he’s looking for … adult fiction that runs the gamut from literary and upmarket to speculative (particularly urban/contemporary fantasy rooted in realistic settings, horror/dark fantasy, and magical realism), as well as historical and crime fiction. On the children’s side, he is seeking middle grade novels of all genres (but particularly fantasy adventure and contemporary), and is open to YA fiction of all types except paranormal romance. He would especially love to get his hands on a dark and/or funny contemporary YA project.

Read more about Brooks here.

Meet Literary Agent Suzie Townsend

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Townsend

 

We caught up with Suzie and asked her a few questions about her 2010 MWW presentation THE DREADED SYNOPSIS… (Part II, Friday, July 30)1) Why do you think the synopsis gives writers so many problems and do you find confusion about length is common?

The synopsis is evil. Everyone hates them. Writer’s hate them because they’re so hard to write. The question of what to include and what to leave out is especially hard because a writer is so close to their own work. Length and tone can sometimes also be a source of confusion because sometimes editors or agents will ask for different specifics in a synopsis if they have a specific purpose in mind for it.


2) How important is being able to write an effective synopsis to a writer’s career?

Very. Editors and agents use synopses to generate in house excitement for a project that will help get more people behind the project and the author – which is so important at all stages of the publication process. Film and subrights agents also often ask for a synopsis when they’re looking at purchasing rights to a manuscript.  And as an author’s career progresses, they’ll need to write a longer synopsis and book proposal for later projects.  Since that’s more in depth, it’s much harder to write especially if an author doesn’t have a basic synopsis to start from.


3) Do you think there are “secrets” to writing a good synopsis and will you be sharing specific tips?

I don’t know if they’re “secrets” per say, but there are rules and an easy formula to “demystify” the synopsis writing process. 


For people who have an appointment with you and for those who are considering registering for one, please share what you are currently looking for. Also, please mention a couple of your clients and their most recent books.

For adult fiction, I’m currently looking for a really great urban fantasy or paranormal romance series with a strong voice and characters I can fall in love with (Patricia Briggs or JR Ward are two of my favorites).  In YA and Middle Grade, I’d love to find beautifully written literary projects with a speculative twist (like How I Live Now or Before I Fall or When You Reach Me). I’m also looking for an author/illustrator who does quirky and unique picture books.
 
Some of my clients with books out:
Hannah Moskowitz, BREAK (Simon Pulse 8/2009), INVINCIBLE SUMMER (Simon Pulse, forthcoming)
Nicola Marsh, MARRIAGE: FOR BUSINESS OR PLEASURE (Harlequin, 2/2010), OVER TIME IN THE BOSS’ BED (Harlequin, 6/2010), THREE TIMES A BRIDESMAID (Harlequin 6/2010)
Lisa Desrochers, PERSONAL DEMONS (Tor, forthcoming)