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Interview with agent Brooks Sherman

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Meet Brooks Sherman!

Introducing one more agent coming to this summer’s Midwest Writers Workshop.

Q. Another MWW 2012 faculty member Chuck Sambuchino of Writer’s Digest interviewed you in the past. Is this information still correct?
About Brooks

Brooks : Brooks Sherman is thrilled to be living once more in Brooklyn, after a two-year stint with the Peace Corps in bucolic West Africa and a one-year stint in the savage jungles of Hollywood. He joined FinePrint Literary Management as an intern in 2010 and now, as an associate agent, is actively seeking a range of both fiction and nonfiction projects. You can find him on Twitter at @byobrooks.

He is seeking

: On the adult side, literary and upmarket fiction running the gamut from contemporary (with an eye toward multicultural or satirical) to speculative (particularly urban/contemporary fantasy, horror/dark fantasy, and slipstream). Brooks also has a weakness for historical fiction and a burgeoning interest in crime fiction. For nonfiction, he is particularly interested in works that focus on current events, history, and pop science/sociology. On the children’s side, he is looking to build a list of boy-focused Middle Grade novels (all subgenres, but particularly fantasy adventure and contemporary), and is open to YA fiction of all types except paranormal romance.

Brooks is specifically seeking projects that balance strong voice with gripping plot lines; he particularly enjoys flawed (but sympathetic) protagonists and stories that organically blur the lines between genres. Stories that make him laugh earn extra points. Recent favorites include Whiteman by Tony D’Souza, The Time Traveler’s Wife by Audrey Niffenegger, the Monstrumologist series by Rick Yancey, The Thieves of Manhattan by Adam Langer, and Horns by Joe Hill.
All still true!

Q. How do you think attending a writing conference and speaking with you personally helps an author seeking representation and have you found some of your clients at writing conferences?

I have not yet signed a client from a writing conference, but I am looking forward to the day it happens! I think writing conferences can be invaluable experiences for writers, as they help you network in the larger writing community, as well as give you face-to-face time with publishing professionals and get answers to those questions you’ve been dying to ask. I don’t often give detailed feedback in my responses to queries I receive — I simply don’t have the time in my day-to-day work — but I make a point of giving specific, constructive feedback to any writer I sit down with at a conference.

Q. In addition to the above, please be as specific about the fiction you are seeking as possible, to include whether you represent category romance, thrillers, and women’s fiction? Any type of fiction that is a definite rejection from you or any action or approach that you dislike?

I am seeking thrillers, but I’m afraid I am not the right agent for category romance or women’s fiction. As for approaches I dislike, I’ll echo what a lot of my fellow agents have to say on this matter: if I pass on your query or your manuscript, it does not help your case to argue with me. Also, there are hundreds (if not thousands) of other literary agents out there beyond me — why waste your time trying to convince someone who didn’t connect with your project to work with you? Ideally, you want your agent to be someone who loves your work, and who will champion it to publishers.

Q. What are some insider tips for making a successful pitch to you and how should someone who did not get an official pitch session approach you (if you are okay with that)?

The best advice I can tell you when pitching an agent or editor is simply this: relax! I know it can seem like a lot of pressure, you having to sum up your entire novel or nonfiction project in a few sentences, but believe me, if I see that you’re nervous, it’s going to make me nervous. (Then we’re both going to feel awkward together.) For me, the best pitch is when a writer is simply talking about their project with pride, enthusiasm, and excitement — a pitch with that kind of energy behind it will shine. Also, if I connect with your pitch, I’m probably going to start asking you questions, so be prepared to have a conversation instead of delivering a speech!

Q. Would you like to add anything else about general tips for writers?

Lately, I’ve been receiving a lot of queries for self-published books. I’m afraid I’m almost always going to pass on these projects, and it’s not because I have a problem with self-publishing. (Actually, I’m pleased that the digital revolution has done so much to erase the stigma that self-publishing has labored under.) The hard truth is that unless you’ve already sold thousands of copies of your self-published book, I’m going to have a great deal of difficulty convincing a publisher to buy it, because it already is published, and they aren’t going to acquire it now unless they’re convinced it is worth their investment. So, if you’ve just self-published your book, and you’re looking for the next step, you would probably best be served at this time seeking a publicist or marketing strategist, rather than an agent. Once you’ve garnered some respectable sales, it will be easier to generate some interest from a traditional publisher, and then you can decide whether you want to work with an agent.

 

Pitch Perfect: expert tips to snag an agent

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Meet Chuck Sambuchino!

Chuck Sambuchino is an editor for Writer’s Digest Books (an imprint of F+W Media) and is the editor of Guide to Literary Agents as well as Children’s Writer’s & Illustrator’s Market. He also oversaw the third edition of Formatting & Submitting Your Manuscript. Chuck has instructed on writing and publishing at more than 50 writing events in the past five years, including presentations in Italy and Canada, and he is sometimes one of the conference’s keynote speakers. His humor book, How to Survive a Garden Gnome Attack (2010), was featured by Reader’s Digest, USA Today, The New York Times and AOL News.

Chuck is also a writer and freelance editor. He is a produced playwright, with both original and commissioned works produced. He is a magazine freelancer, with more than 600 of his articles appearing in print. His website–the Guide to Literary Agents blog–is one of the largest blogs on writing & publishing.

Chuck is the the keynote speaker for the opening of MWW Part II on Thursday evening. You will not want to miss his presentation, Mastering the In-person Pitch.  This is a chance for Part II participants to practice their “agent pitch.”  Chuck will critique the pitch for all to hear. Individuals can pitch or simply attend to listen in on other pitches. It’s an opportunity for writers to rehearse their elevator pitch before sitting face-to-face with agents. This session targets fiction and nonfiction writers, both novice and intermediate; and it breaks down what needs to be in a pitch, and what NOT to include in a pitch. Chuck will listen to sample pitches to help you prepare for your pitch with an agent on Friday or Saturday.

New this year, MWW offers a Query Critique with Chuck Sambuchino (or Jane Friedman). For an additional fee of $35, you can meet for a 10-minute one-on-one consultation with either Chuck or Jane. The deadline is July 1st, so register NOW if you want to take advantage of this great opportunity!

MWW intern Linda Taylor recently interviewed Chuck about his appearance at this summer’s workshop.

Q. First and most important, my husband and I have a few garden gnomes in our yard, several around our house, and one on the flag out front that says “Welcome Gnome.” I assume we should be worried?

Very worried. Gnomes cannot be trusted under any circumstances. These gnomes outside are no doubt probing your outer defenses at this very minute, looking for weaknesses.

Q. Second, and more on a serious note, how does such an unusual and interesting idea like that become a book? What do you tell potential authors about their ideas for books–even the really unusual ideas? (After all, someone thought putting Jane Austen with zombies would be a good idea . . .)

Nonfiction books simply need three elements to come to life: 1) a unique or interesting idea, 2) proof that an audience exists to buy it, and 3) an author with platform who can sell books. Even very unusual ideas, such as GNOME, can come to life, as long as those three elements are in place. From a writing perspective, you would pitch a book on New York architecture the same way you would pitch one on a history of unicorns: by addressing elements 1, 2 and 3.

Q. Briefly describe your journey as a writer–from your bio on your blog, you appear to have done a lot of types of writing from newspapers and magazines, to writing scripts, to writing articles and books (the latter ranging from resource manuals to humor). When did you first decide to become a writer and how did your path lead you to where you are today?

In high school, I was always the one in the group who could tell a story the best. I didn’t realize it, but that was the origin of me as a writer. In college, I majored in public relations and then decided I didn’t want a job in PR, so I took an entry-level position with a weekly newspaper when out of school. I got promoted to reporter and also started freelancing for magazines on the side. This gave me some writing cred when I applied to Writer’s Digest Books. Once I joined WD books, I started writing plays and books, and saw success with both. During the day, I am an editor for WD Books, and during the night, I write humor books and screenplays. (That’s the short version, but no one would have the desire, nor patience to read the long version.)

Q. What advice, then, do you have for young writers? for older writers?

I could speak on this question for one week straight and still have advice to give. But I will say this: No matter if you are old or young, some across-the-board pieces of advice for writers include 1) keep moving forward and do not give up, 2) build your writer platform and make connections with other people, and 3) always write the best book possible, because the cream rises to the top.

Q. At the Midwest Writers Workshop, you’re teaching on several topics, including “Mastering the In-Person Pitch.” That’s probably one of the most frightening parts of being a writer–working on a computer composing pages is one thing, having to then do a “sales job” in order to get that book published is quite another. What do you say to allay those fears and help even the most introverted writer?

I will cover the nuts & bolts of all this in my speech at the event. But writers should know that agents understand how nervous writers get, so they’re pretty patient with everything. Also, pitching a book means following a step-by-step formula. Once you know what to address, then it’s all a matter of filling in the blanks.

Q. Another session topic is “Chapter 1 Do’s and Don’ts.” What’s the worst way to start a book? Do you have an example (beyond Snoopy’s “It was a dark and stormy night . . .”)?

Avoid descriptions of the weather. Don’t start with a dream. Try not to be inside of a character’s head for very long or at all.

Q. Your third topic is “The Business of Scriptwriting.” Did you find it to be an easy or natural transition to scriptwriting from all of the other types of writing you do? What is most rewarding and/or most challenging about scriptwriting?

“Scriptwriting” means writing plays and/or screenplays. I wrote plays before I did anything else. Now I’m trying screenplays. It’s an unusual transition, but there are upsides. When your work becomes a play, then the written dialogue is king, and it’s very rewarding to hear an audience erupt in laughter or be as quiet as can be when listening to your words. The reward with screenwriting is writing in a visual medium, and that the pay is much better than most writing assignments.

Q. Is there anything else you would like to add, which might include hints on your philosophy/approach to writing and/or your teaching style?

Not really. I teach at a lot of writers conferences. I love meeting writers. I am happy to talk with anyone at the event who has a question or five about their journey. I will see you all soon!

Note: Chuck’s Part II Sessions:

  • Chapter 1 Dos and Don’ts – This workshop examines that all-important Chapter 1.  It spends a lot of time going over what not to do-listing clichés and overused techniques that repeatedly pop up in chapter 1 manuscripts, with comments from agents and editors alike. Following a discussion of agent pet peeves, the workshop addresses what writers should be doing to draw readers in.
  • Start Here: How to Get Your Book Published Panel [Cathy Day, moderator]; with Jane Friedman, Kathleen Rooney, JL Stermer
  • The Business of Scriptwriting: You’ve Written a Play or Screenplay-Now What? – This workshop examines what writers need to do if they’ve finished that play or screenplay and don’t know what to do now.  We’ll address targeting markets, getting plays read/workshopped, writing script queries, the difference between agents and managers, and more.  Everything is discussed, from writing and rewriting to contests and dealing with directors. Handouts provided.  It’s not a session about craft; it’s a session about business-for writers who have a script and no idea what to do with it.