GumboWriters Interview with Publisher, Jeremy Townsend from PublishingWorks

What is Publishing Works exactly? We call ourselves an independent publisher because we work very closely with each author independently. In some cases we develop an idea for a book or series with an author. Also we handle every aspect of publishing, including the distribution and sales. That's very unusual for a small press. When did you begin and where do you see the company going? I've been in book publishing since 1981, and started PublishingWorks in 2003 originally as a subsidy press for local authors. We rapidly grew and changed our model to include standard contracts and rights sales. We incorporated in 2007 and bought out our sister company, Revolution Booksellers, to bring the marketing, publicity and sales in house. We also added a digital color printer and now have a digital black & white printer, a perfect binder, and full design staff to handle ARCs and small runs of poetry or memoirs. We are working to expand our sales efforts by adding traveling sales representation next year. We want to be able to service independent booksellers more readily and with fewer hassles and returns. What makes Publishing Works different than any other publishing company? We approach each author and project individually, and specialize in bringing out debut authors. And we don't abandon our authors after the first book. Instead, we strive to build a long-term relationship with each author. How are you modifying your business decisions based on the rapid changes in the publishing industry? We feel we are somewhat ahead of the game because our business model is different from most other small and medium presses, so we are not modifying as much as continuing with what is working. We are moving (slowly) into eBooks, but do not see that growing too much in the coming year. What do you see most of the publishing industry doing wrong and what are you doing to rectify the situation? I've always been amazed at the amount of money book publishers will throw towards "established" authors in terms of advances and advertising budgets, while neglecting the unknown but potentially good selling authors. We work with our authors to find the best way to get a book out and into the marketplace, and rely on our authors to do a great deal of marketing and sales work. We also develop our contracts to be mutually beneficial. The standard contract most publishers use is outdated and not at all motivating to the author or publisher. Is Publishing Works a POD publisher or a vanity press in any way? We do have the facilities to do very short runs for poetry or memoirs (that are not for retail). We have not done POD books, however, because we are really too small for that type of production, and there are plenty of outfits out there who can offer services like that for very little money. We are not in any way a vanity press; however, we do different types of contract arrangements depending on the author's experience, the type of book, and what rights the author wants to retain. What type of books are you looking for at Publishing Works and what type of authors? We are open to almost everything! We are looking for more mysteries, middle reader series (especially those aimed at boys, African Americans, or other "neglected" groups of readers), as well as quality nonfiction. As I mentioned above, we need authors who are go-getters and willing to put themselves out there to push their books. They can't be shy! How do writers contact you if they're interested in submitting? E-mail or phone is best: jeremy@publishingworks.com or 603-778-9883. We will first want to know about the writer, then see some samples or a synopsis of the proposed project. We also need to find out what the writer's goals are and how he/she plans to meet those goals, and where a publisher would fit in.

GumboWriters Interview with Penguin Editor, Stacey Barney

How did you get your start as an editor?  I was a high school English teacher for 5 years unhappy with the lack of books available that represented the cohort I taught.  At the same time, I was in Grad School for my MFA, and took a few publishing courses while there.  Through those classes I discovered a whole new career path I didn't know was available to me.  What are some of the exciting books you've acquired that you're most proud of?  I'm proud of all my books.  My job is truly a labor of love.  I've been lucky enough to work on both the adult and children's side of the business with some very talented and dedicated writers.  While I can't mention all the books I've acquired and worked on by name, a few highlights are Obama: From Promise to Power by David Mendell, This Voice in My Heart: A Genocide Survivor's Story of Escape, Faith, and Forgiveness, and on the children's side the Drama High Series for which I was the original acquiring editor.  Upcoming I have some real gems that include a middle grade novel that is truly Huck Finn meets To Kill a Mockingbird.  It's titled The Best Bad Luck I Ever Had and follows the unlikely friendship of a white farm boy and an African American city girl in 1917 small town Alabama .  Next summer, I'm publishing a YA novel titled Donut Days about the daughter of evangelical ministers who is struggling with issues of faith and family.  And next fall, I'm publishing a book that's very special to me as it marks the return of Linda Beatrice Brown who authored the critically acclaimed Crossing Over Jordan; The Washington Post Book World raved about this book calling it "a rewarding journey…[one that] leaves the reader breathless."  Her new book is titled Black Angels and is just as rewarding and poignant a journey.  It follows the bond formed by three unrelated children—2 black and former slaves and the white son of a plantation owner—who are displaced by the Civil War and their struggle to survive.  And the bond they form is stronger than family. When you receive a submission what about it really grabs you and excites you to the point that you'd like to acquire it?   I love working with new writers, and I love when I'm grabbed by a wholly, deliciously, fresh voice from page one.  I fall for those manuscripts that have that IT factor and make it impossible for me to put down.  For me, it usually starts with a wonderful voice that reads distinctly and leaps off the page from word one.  Beyond the voice, I also love inventive stories.  I think the saying is there's only been seven stories ever told.  To some extent I believe that's true, but I love a writer that can reinvent the wheel so to speak in new and exciting ways.  What makes you decide to read a submission overnight compared to it rotting on the bottom of your slush pile?  A lot of factors.  Is it written by an author I already have under contract?  Is the agent a friend that I'd like to keep, and one that has my home # and can harass me on a Saturday if need be?  But an agent's pitch will almost always set the tone.  Agents want to remain credible, so when they are agents I've worked with before or who have a certain reputation for quality and they tell me they think this will move quickly, I'll likely take it home the same night to read.  What's the best way for a writer to contact you? Query letter?  Writers can email me a query letter, though, admittedly, my response time for unsolicited queries or manuscripts has slowed down dramatically as I work with the writers already on my list.  Are you open to receiving submissions from self-published authors?  I am open to receiving submissions from any one as long as the author has done their due diligence and research to ensure they are sending me a project that may truly be a match for me.  I don't respond well or at all to the throwing a dart randomly out into the world mentality. Are you open to receiving unagented submissions?  I am open to receiving unagented submissions, but again, my response time has slowed, so I ask those authors to be patient.  What are you personally doing in order to adapt to the changes in the marketplace? (Changes meaning: lower print runs, shrinking book review outlets, over saturated market and chains stores being more selective about what books they put on their shelves) Ultimately, I'm acquiring less and less books and giving greater focus to growing the authors I already have made a commitment to.  ____________________________________________________________ Jeff Rivera: If you need help with your book promotion contact gumbomarketing@gmail.com and we'll find a way to help you within your budget.

GumboWriters Interview with Reka Simonsen -- Part 2

How should a writer contact you?

Our complete submissions guidelines are on our website: www.HenryHoltKids.com In brief, though, authors should send either full manuscripts or outline plus a few sample chapters to the Submissions Editor at the address below. We do not return manuscripts and do not reply unless we are interested.

Henry Holt Books for Young Readers

175 Fifth Avenue

New York, NY 10010

Can self-published writers send in their books?

Yes, if they are new projects. We are not interested in re-publishing something that has already been self-published, as we find that most often the audience has already found that book.

Are you open to receiving unagented submissions?

Yes—see our website for guidelines.

What are you doing to make sure your titles get the attention they deserve?

We're much more selective about what we sign up. There has to be more going for a manuscript than just the fact that it is, for example, sweet and nicely told—we have to feel that the manuscript has something exceptional that makes it stand out from the pack.

Book Publicity Departments are often overworked what do you do as an editor to make sure your books stand out?

Actually, everyone in publishing is overworked and overwhelmed! All publishing houses have a basic level of standard marketing that they give to every book, even the ones that aren't huge lead titles. For us, one of the biggest parts of this is to make sure that the people in the industry who tend to talk loudly about things they love—the "bigmouth" types—know about our new books. In this age of blogging and children's lit websites, word of mouth can be huge, and it can happen quickly and without requiring a huge marketing campaign.

How much of a book's decision has to do with the talent and trends?

At Holt we don't tend to chase trends. For us, talent has nearly everything to do with it; talent and the sense that there will be an audience of readers who will love that particular book.

If a writer came to you with their own fan base would that be a slam dunk for you?

It's by no means a slam dunk. Many things can change between the manuscript's submission and the book's eventual publication. These things can be good signs, however, and are something that we'll take into consideration. (This is assuming that the manuscript is brilliant and something an editor at Holt wants to acquire in the first place—if not, none of the other stuff matters.)

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Jeff Rivera: If you need help with your book promotion contact gumbomarketing@gmail.com and we'll find a way to help you within your budget.

GumboWriters Interview with Random House Editor, Claudia Gabel

GumboWriters had an opportunity to interview Claudia Gabel, editor at Random House. How did you get your start as an editor? Why become an editor instead of say, a fighter pilot or computer engineer? I always loved to read as a child and I majored in English literature in college. In fact, I went to graduate school with the hopes of becoming a college professor, but changed course when I got an editorial assistant job at HarperCollins while finishing up my degree. I found that helping authors shape their books was incredibly satisfying and fulfilling, and I still feel that way today, even after nine years. What are some of the exciting books you've acquired that you're most proud of? Kiss Me Kill Me by Lauren Henderson. It's a perfect blend of murder mystery and teen chick lit, complete with a relatable yet tragic heroine who unravels a web of secrets. With the exception of some violence, it's also a very clean read, which the author and I are very happy about. What makes this book so special is because the idea for the novel (and the two that will follow) came out of a news article that Lauren and I had read. From there on, we collaborated very closely on the concept and plot development, so when the book pubbed, both of us felt like we'd just given birth to a baby. LOL. When you receive a submission what about it really grabs you and excites you to the point that you'd like to acquire it? If I'm reading a submission and I can't put it down, it's usually because the narrative voice has totally captivated me. As many writers know, creating a unique and distinctive voice is quite difficult, but when it's done right, readers will find themselves finishing the book in one sitting. In my opinion, that's the bar that manuscripts have to meet. If I read it from start to finish in one day, an offer will soon follow. What makes you decide to read a submission overnight compared to it rotting on the bottom of your slush pile? If the concept of the book is described in a catchy, memorable way, I'll pick it up much quicker than if the novel is pitched as something generic like "a coming of age story" or "the next Harry Potter." What's the best way for a writer to contact you? Query letter? Query letters are a good way to get in touch, but since I receive so many, I only reply to those that are of interest. Personally, I think the best way to get face-time with editors and agents are through writer's conferences. I know it's an expense, but the amount of business contacts that one can make are worth it. Are you open to receiving submissions from self-published authors? Yes, I am, but writers should be aware that many editors check sales figures of these types of publications, and if the numbers are low, that can influence the editor's opinion of the project. Are you open to receiving unagented submissions? Random House Children's Books policy is that we don't accepted unsolicited manuscripts. However, I can say that slush mail does get reviewed, but very infrequently. What are you personally doing in order to adapt to the changes in the marketplace? (Changes meaning: lower print runs, shrinking book review outlets, oversaturated market and chains stores being more selective about what books they put on their shelves) It's definitely a tough market out there, especially because of the downturn in the economy. While I'm being a bit more picky about what titles I put on my list, I don't feel as though I should shy away from publishing books that will find an audience, even if it's only a small one. I also think that many publishers are trying to find new formats, especially digital, that will reinvigorate the marketplace, which I believe will make a big impact in the children's book world. Young people are more technologically savvy than ever and it's exciting to think about how these kids are motivating booksellers and publishers to embrace change. ____________________________________________________________ Jeff Rivera: If you need help with your book promotion contact gumbomarketing@gmail.com and we'll find a way to help you within your budget.

GumboWriters Interview with Henry Holt Editor, Reka Simonsen -- Part 1

GumboWriters had an opportunity to speak with Reka Simonsen, editor at Henry Holt. Here's what Reka had to say:

Why did you decide to become an editor, Reka? I'd always loved children's books but didn't want to be a writer or a teacher. I wasn't really aware that there was a third option until I was working in a children's bookstore and learned more about the process of turning a rough manuscript into a finished book. A coworker there did freelance editorial work for a publishing company, and he gave me a chance to get my foot in the door. What are some books you've acquired that you're most excited about? Glass Slipper, Gold Sandal: A Worldwide Cinderella by Paul Fleischman, illustrated by Julie Paschkis The Poet Slave of Cuba by Margarita Engle, illustrated by Sean Qualls The Hollow Kingdom by Clare Dunkle The Golden Dream of Carlo Chuchio by Lloyd Alexander The Melvin Beederman, Superhero series by Greg Trine, illustrated by Rhode Montijo Also Known As Harper by Ann Haywood Leal (will be published next spring) When an author agent sends you a manuscript what makes you get excited about it? It always comes down to the writing. Brilliant writing, whether the style is lyrical or painful or fantastical or funny or terrifying, is what makes a book sink or swim. How can a writer keep from being at the bottom of the slush pile? I try to look at the first page of everything pretty quickly, so if that first page piques my interest, I'm likely to bring it home to read overnight, or at least as quickly as I can. ____________________________________________________________ Jeff Rivera: If you need help with your book promotion contact gumbomarketing@gmail.com and we'll find a way to help you within your budget.

RichWriters Interview with the Publisher of Harper Studios, Robert S. Miller -- Part 1

Jeff Rivera Interview with Harper Collins' Imprint Publisher Robert S. Miller:   Robert S. Miller joined with Jane Friedman at HarperCollins to form a new publishing studio that is said to revolutionize not only the way books are sold and distribute but the readers experience. Mr. Miller was gracious enough to make the time for author and journalist Jeff Rivera to answer some questions authors have been posing about this new endeavor.   Jeff Rivera:       Thank you for your time Bob. First of all, how did this all begin?   Robert Miller:   Well Jeff, I have known Jane Friedman for decades and I have gotten to know HarperCollins better over the past year. They are very forward thinking and I was having a drink with Jane actually and I was telling her how, if I have to all start over again, how I would do it differently. And she really seemed interested.  We talked about how I would like to eliminate some of the things in the business that I had become frustrated with over the years. And she said, �Well, why don�t we do it?� and I realized that, yes, it would certainly be challenging but given her support and the fact that I have HarperCollins behind me, I thought it would be an interesting experience..   Jeff Rivera:            Was ABC [the owners of Hyperion] open to these ideas?   Robert Miller:   Yes, there was nothing about this that ABC would not have been interested in but I think the idea of low advances against profit shares in terms of author agreement and non returnable selling to book sellers, those are things that it is, I think are easier to do from scratch. Those are pretty significant adjustments to make that I think require a start up.     Jeff Rivera:       I think these ideas are brilliant actually and the first time anyone with that kind of support has put their money where their mouth is With all these new ideas is that why you called it a studio rather than an imprint?   Robert Miller:   Thank you and yes, exactly. That's why we're calling it a studio.   Jeff Rivera:       Let's talk about this no-advance business and how it affects authors. Many authors are open to the idea but there others are a little frightened with the concept. How will they be able to live without an advance or use the monies to help promote their book if they have no advance?   Robert Miller:   Well, it is not necessarily no advance it can be low advance.  I understand why for some authors that model would not work but for the authors that it would work, it is something that I am interested in trying.   Jeff Rivera:       But what do you mean exactly by a share of profits. Is this a "Hollywood Studio Model" where basically no one ever sees any profits?   Robert Miller:            No, it is an actual, true profit share without overhead deductive. What you are talking about is what we call �fatal subtraction� where there actually ends up being supposedly no profit but this is just simply taking all revenues and deducting all direct cost and splitting the difference, but no overhead.   Jeff Rivera:            Would that include distribution costs as well?   Robert Miller:   No, distribution say would be an overhead. It is an actual cost such as the cost paper printing, binding, publicity, freight that it cost to ship a book something you are spending money to do. This does not include staff salary.   Jeff Rivera:       What do you plan on doing to help promote books and break through the noisy advertising environment?   Robert Miller:   Well one thing we know as publishers is that consumer advertising hasn't had the affect on sales that we would like. Paid print ads, television ads we will not be doing here at the studio.  However, we will be spending our money and time on online marketing, for example spreading pieces of the book on websites. We are also open to satellite tours and talks on videos that are disseminated by electronic press kits or internet marketing. There�s a lot that can be done for books that can be effective without paid you know consumer ads.   Jeff Rivera:       How has been the response of agents and authors have been receiving any submissions?   Robert Miller:   Yes. A lot of people have come to talk and a lot of submissions so I have a lot of work ahead.

RichWriters Interview with the Publisher of Harper Studios, Robert S. Miller -- Part 2

Jeff Rivera Interview with Harper Collins' Imprint Publisher Robert S. Miller: PART 2   Author and journalist Jeff Rivera interviewed Robert S. Miller about how his groundbreaking new publishing "studio", which he has just opened at Harper Collins will affect booksellers. Mr. Miller has announced he will be working with booksellers to introduce a workable non-return policy and other new ideas that some have welcomed and have raised a few eyebrows with others.   Jeff Rivera:   How have booksellers been responding to your innovative ideas about selling books to them? What do they say about a no-return policy?   Bob Miller:    Well, booksellers have certainly all have been in touch and are interested in talking about it. Nobody has rejected it because for booksellers return is an enormous problem as well.  Not only is it the publisher that suffers from returns, but the bookseller. They spend an enormous amount of time and money processing returns so they would also like to find ways to reduce that problem. It is just an enormous amount of waste for publishers, for booksellers environmentally. When you are part of that 40% return pattern which is an industry average return of books that you print, it is unbelievable. I mean it is really not an acceptable standard for anybody and if you take the savings that you will receive by not doing things in such a way, you will hopefully find by eliminating that waste a nice profit. Booksellers are certainly open to the conversation. No one has rejected it on this end.   Jeff Rivera:   How do you think this will this affect the amount of books the booksellers order?   Bob Miller:     Well, yes I assume it will result in them being more selective in ordering more or ordering more cautiously.  They will likely shift into reordering based on need.   Jeff Rivera:  Do you think they will be more open to ordering from publishers who do allow a return policy?    Bob Miller: I assume that they will continue to buy from my peers, It's a twenty billion dollar business.  I mean what I am doing is just a piece of it. I'm doing twenty-five books a year with this new venture and book sellers will take them or not take them based on what potential they see in each book and if they keep the potential they will order more.   Jeff Rivera:    What type of books do you expect to release?   Bob Miller:    Absolutely, if you look back to see what I did at Hyperion you'll have a sense about what I will be doing at this new venture.  Especially some of the shorter non-fiction that we have done and some short fiction .

RichWriters Interview with Grand Central Executive Editor, Jaime Levine

Jeff Rivera: What is a platform exactly in the mindset of someone who acquires books? Jaime Levine: A platform is something that starts the writer from a higher level promotionally and makes them stand out from the crowd. In Nonfiction, the platform is the mechanism an author has or activities they participate in that enable them to help promote their own book. Is there a way in which people seek them out to hear what they think? Has the author already got an established audience that would be interested in reading a book? (Note: it's important that the book be about the subject the person is known for). E.g. are they a journalist who already has a popular column or steady work publishing articles, a segment on a tv show, or website on which they can talk about their book? Are they signed up with a speaker's bureau and regularly speaking publicly? Are they already sought after for interviews or articles on their subject by the press or media or relevant organizations? Another element that goes into having or establishing a platform is the author's credentials. I.e. the aspects of the person's life that make him or her relevant to write about their subject and create the perception that they are a reliable resource. E.g. a doctor writing about a medical issue. A chef writing a cookbook. The leader of a successful company writing about his business style or leadership style or managerial style. An academic or a person who has done tremendous research on a subject writing about a historical moment. In the world of Fiction, a platform is not a requirement. In fact, I don't think I ever talk about platforms when I'm discussing acquisition of fiction novels. My decisions are based on my response to reading the manuscript. However, for purposes of discussion: Having a platform as a fiction writer can mean a couple of things, but always they are mechanisms for getting attention for a new book. A platform can therefore be an already established reputation as a writer by having published other books successfully. Another way of having a platform as a fiction writer are having the means to help by doing your own promotion. I.e. someone who has an active online presence and will draw attention to themselves. (Note: Every author should at the very least build their own personal websites, no excuses. In this day and age, there's no reason not to have posted a couple of pages of information about your books, when the next one is coming and when/where you'll be appearing in public.) Online is not the only mechanism for self-promotion, though, there's also attending and networking at professional or consumer conventions. Or simply being creative and coming up with marketing ideas, then implementing them. The catch is that this sort of thing can't be taught. I mean, one can take a seminar on marketing or buy a book on marketing, but then one has to think outside the box and come up with something that hasn't been done before, and have the energy to pursue it. Brad Meltzer is an amazing self-marketer and he is his own platform. He's creative and innovative and willing to consider any idea, no matter how outlandish. He then takes action on his ideas by networking and developing the sort of contacts that enable his ideas to come to fruition. A part of having a platform as a fiction writer is also about credentials--having some basis for knowledge of your fictional subject. E.g. John Grisham and Scott Turow were both lawyers before they turned to novel writing, and they write legal thrillers. Nelson Demille did a tremendous amount of research on the investigation of the July 1996 crash of TWA Flight 800 that was the basis for his novel Nightfall. This kind of professional/personal history for the author merely gives interviewers and features writers something to hook their questions on when getting to know an author in an interview--the author essentially bills themselves as an expert on the subject. It's really difficult to get publicity for fiction writers in part because it would be boring to interview a writer who is merely going to sit and describe the plot of their book. Interviewers want to know more about the author, how they got published, why they got into writing, and what they know that lends itself to writing great novels. For these purposes, it can help to have lived the experience you are writing about. I want to stress that in the world of fiction, the platform is really not a requirement. It doesn't matter what the author can or would do to promote themselves if I don't actually enjoy reading their manuscript. And when I find a novel that I love and want to publish, I only hope the author is open to self-marketing, but I don't need to know what they'd do in advance to win me to buying their book. 3. Jeff Rivera: Why is it so important to have a platform in today's marketplace compared to years ago? Jaime Levine: This has to do with how differently books are marketed today than the were in the past. Once upon a time, books were really marketed straight to people who were already readers and already interested in books. (Probably it was a lot of the same people over and over again). Readers knew where to go for the information that would tell them about books they might want to read. The actual marketing was in the form of things like book reviews, public appearances and book signings, and handselling by booksellers in independent stores (which is what the market largely consisted of). Nowadays we are marketing to any and all consumers, so we draw interest based on the topic of the book. I.e. we are appealing to people who are interested in a subject or person or event and want to read more about it, even if they don't otherwise ordinarily read many books. To do this, we have to approach those consumers in the place where they are getting information about that subject, peson, event etc. This often means advertising or publicizing online or on tv or on radio. It's a process that's grown difficult because there's so much more information, media and noise coming at people, so it can be hard to get across the message of the book. But that's why it's important to be creative and innovative. 4. Jeff Rivera: If someone has an amazing book proposal but practically no platform would you still be interested? Jaime Levine: We make our decisions based on a lot of factors. There's no one detail that makes or breaks the book. 5.Jeff Rivera: If I am Joe Blow from Smallville, Kentucky how can I create a platform from scratch? Jaime Levine: It's so specific to the individual and their book that I don't know where to begin to answer this. A platform cannot be created around just anyone, but any platform that is created is based on who the author is, what they do, and what their book is. My advice: I think the first and most important thing a "Joe Blow from Smallville" can do is research and networking. One of the things I say most often to writers is "Do Your Homework." Be a sponge for information and advice. Read books about marketing (of anything, not just books). Read books about networking. Read articles about authors who do self-promotion and see what they've done. Go to professional events for writers and pay attention in the seminars that have to do with self-marketing (e.g. go to a writers conference or if you are a genre writer, go to a consumer convention and look for the panels on the business of publishing.) Or join a professional organization for writers. (E.g. all the main commercial genres like SF/Fantasy, romance, mysteries and thrillers all have their own supportive trade organizations.) I haven't looked, but I'm sure that there's got to be plenty of advice online about self-promotion and building a platform. I bet there have been writers who probably wrote about self-promotion on their own websites or who engage in discussions about it online. There are ways to gather this information, one just has to start. A good tip, regardless of what subject your book is on or whether you publish in nonfiction or fiction--go seek the authors and information about the authors who are already writing in the area you plan to write in and see what they do, how they do it etc. Whether you are a writer, a dentist, or running a restaurant or any other business, one always has to know what one's competition is doing, so start early. 6. Jeff Rivera: What absolutely needs to be in a book proposal that would blow your socks off compared to the thousands of others that might be rotting on an editor's desk? (besides the obvious like an overview, chapter summary, etc.) Jaime Levine: I like an overview, chapter summary, and sample of the writing (as much as possible of the latter). I like it when things are neatly organized so I can quickly get the picture. I don't want to have to sift to know what I'm reading. Otherwise, there's no right answer. 7. Jeff Rivera: What would make you read a book proposal overnight compared to one you'll "get to when you get to..."? Jaime Levine: A great initial pitch in their cover letter (which should be brief and to the point). Basically -- give me the hook. Learn to distill your book into it's most important parts and then tell it to me at the start. Make sure to state plainly what exactly the book is (category, style etc) E.g. Here's the pitch that got me interested in my author Carrie Vaughn -- "It's a supernatural fantasy about a radio DJ who is also a werewolf---it's like Buffy the Vampire Slayer crossed with Frazier. If you like early Laurell K. Hamilton, you'll like Carrie Vaughn" That was the pitch. You'll notice a) they tell me exactly what the book is by category -- it's a supernatural fantasy. b) they further clarify what the book is by denoting another popular author who is similar. c) they tell me what makes this book stand out from other supernatural fantasies -- she's a radio DJ. All of this is about defining for me what the book is and why it is special in the simplest, but most exciting terms. Marketing in general is about clear and consistent messaging. I know that sometimes writers get frustrated by the way that publishers always seem to be reducing them to categories and pigeon-holing them. Or it can feel uncomfortable to speak about one's art in language that sounds like a marketing gimick. But the truth is that everyone talks about books (or movies, or tv shows or music) in this way this all the time. Readers making recommendations to their friends don't spend hours boring and confusing their friends by describing all the intricacies of the plot of a book (they probably wouldn't keep their friends if they did!). Instead readers focus on what the book is and what they know about their friend that would make them interested. E.g. "Hey, I know that you love Laurell Hamilton and books about werewolves, and I just read someone new you should try!" Booksellers (who are often readers themselves) handsell to their customers by talking in these same sorts of soundbites. Our Sales Representatives sell to the Booksellers this way, I pitch to my Sales Reps this way, and Literary Agents pitch to me in this way. It's a very natural daisy-chain. Another thing that will win me to reading a proposal more quickly is the enthusiasm of the literary agent. (I don't look at unsolicited materials). Enthusiasm is infectious. It's infections when it comes to anything -- agents pitching books, a movie review inspiring me to see a movie, even a friend suggesting a restaurant for dinner etc. 8.Jeff Rivera: If having a blog is a form of a platform what numbers of visitors would actually mean something to someone like you? And what numbers would you scoff at? Jaime Levine: This really depends on what the book is and what else the platform consists of. And if the author is fiction or nonfiction. But first, having a blog isn't the only piece to the internet puzzle. One has to be networked and linked and just generally involved in the world of the internet. One has to be going and spending time on other people's sites and participating in larger discussions. Read a book about the basics of business networking, and I bet you can apply those principles in some way to the internet. Beyond that, I don't know what to say about specific numbers. It's got to feel like this person is drawing notice from more than just their friends and family. 9. Jeff Rivera: If someone has self-published their book first and it really does look professional (rather than Kinko's bound) what would make you sit up and take notice and what would make you roll your eyes? Jaime Levine: The sales would catch my eye. If an author has self-published and managed to sell copies to more than just their friends and family, then we take notice. I may roll my eyes at ugly covers, but I don't dismiss books cause of them. Self-publishing by its nature means a different set of resources, so I don't expect the author to do things our way.