An “intriguing story” (Publishers Weekly) set in a futuristic dystopia: When Echo, a clone warrior, develops impossible feelings for rebel leader Lia, she must question everything she was built for in the face of newfound love. Buy on Book Bub for .99.
Check out the awesome cover for FREE SPACE, the second installment of the Evagardian series by Sean Danker! To be released spring of 2017.
In the follow-up to Admiral, the intergalactic war has ended and hostilities between the Evagardian Empire and the Commonwealth are officially over, but the admiral is far from safe. . . .
I’d impersonated a prince, temporarily stopped a war, escaped a deadly planet, and survived more assassination attempts than I could conveniently count. After all that, there shouldn’t have been anything simpler than a nice weekend with a charming Evagardian girl.
However, some corners of the galaxy aren’t as genteel as the Empire, and Evagardians aren’t universally loved, which is how I ended up kidnapped to be traded as a commodity.
Their timing couldn t have been worse. I’m not at my best, but these people have no idea whom they’re dealing with: a highly trained, genetically engineered soldier in the Imperial Service who happens to be my date.
Back in my own submitting days there was nothing quite so agonizing yet exciting about the wait while a literary agent considered my full manuscript. And wait I did, for one in particular. Wait. wait. wait. Until finally, I nervously nudged, it had been six months and everyone said it was okay to nudge, so it was okay right? A few days later there it was, the response. Breathless, heart fluttering, I opened the email and…
Now on the other side of that desk, I have tried hard to be gentle with authors. Queries not for me are form-rejected as quickly as possible and rejections to a full manuscript are personalized to the best of my ability (it’s a difficult balance, because I don’t want to steer the author in the wrong direction editorially and sometimes reasons for passing are simply subjective). But for all my good intentions, the slushpile is a mean mothaf*cker and right now it’s winning. The average amount of submissions I get per day hovers around 15 and is not showing any signs of slowing. My patience and empathy are waning with each badly written query, obviously in the wrong genre submission, or snarky response to my form letter. And I’m slipping into that dreaded hole, the one where I hang onto manuscripts for far too long. I’ve tried requesting less, but there’s that feeling of “if I read just a bit more, I’ll know if I want it or not.”
The reality is, I’ve always got my hands full with client work, and my clients come first. I’m busy editing and shopping their manuscripts, and until I sell another one, I’m hesitant to take on anyone new. I’ve also always got a few potentials that I’ll have been working with over the last year or so and have yet to sign, but all indications point to I probably will. BUT I also don’t want to let go of that small, but ever-growing pile of manuscripts in my inbox. I know there’s a gem in there, I can feel it. But it wouldn’t be possible to sign all of them. So sometimes I’ll go into one, thinking I’ll come up with a reason to pass, but then I find myself 50 pages in, mentally editing it, and have to put it down because I don’t have the time right now to edit a full manuscript that isn’t one of my client’s and besides I’ve already got five or six R&Rs floating out there. I know it would be kinder to simply pass with a form rejection early, rather then sit on them for months at a time, but then I remember the heartbreak I went through and I can’t bring myself to do it. So these fulls languish there, and their authors patiently wait, and wait, and wait…
…at least I hope I can do better for them than a form rejection. But there’s definitely a guilty little gremlin voice in my head who whispers, “you now understand those other agents’ point of view and wish you could just do the same.”
The slushpile is turning me into a mean mothaf*cker.
I hope this confession inspires those of you waiting on a submission response to move forward. Write your next story, and keep pitching your current project in any way you can. Don’t pin your hopes on an agent who has your full, because it could be a long wait.
And maybe, just maybe, if said agent can pull her shit together or sell another book or two, she’ll come back to your manuscript that’s been there for the past 8 months and actually have the space in her head to fall in love with it.
You will get 4 hours over the course of two days to ask any and all questions to the literary agents of Kimberley Cameron & Associates (including me!). Once you’ve asked all the questions, you will craft a query letter and opening 10 pages of a submission, and a KC&A literary agent will critique it for you. A great way to polish your submission package. I’ve had two writers secure an agent after taking this boot camp, so I like to think it’s useful.
A quick Google search will bring up a host of useful articles with tips on how to title your novel. Rather than regurgitate the information already easily available, this post will dig into my own personal (and I like to think professional) point of view and focus on those books that are in the manuscript phase, i.e. soon to be out on submission or wallowing in the slushpile.
As I evolve and grow into my occupation, I am surprised by how much I am continually learning and changing. Writing rules that I believed were absolutes in my first year are now not as important to me as writers who have clear longterm career goals. Genres/writing styles that I once thought to be marketable fall behind as marketing trends point me in a different direction. And the amount of time I spend on each submission, has dramatically fallen. Before you get indignant, hear me out. I know, more than ever before, what type of client I’m looking for and what kinds of projects I want. Eighty-five percent of the time I can tell from the query alone that we are not a good match. The other fifteen? Those will eventually get a closer look. They will queue in my inbox (hopefully not too long), waiting for the day I can muster up a few hours to examine them. When that day comes, first I have to recall why the submission is sitting there. Perhaps the author’s website or bio impressed me. Maybe their opening pages caught my interest or their particular writing style intrigued me. But if I have difficulty pinning down why I kept it, odds are I will pass. If it didn’t stick with me after percolating awhile, then I move on to those that did.
One of the biggest aspects of a submission that will help it stick in my memory is the title. If I remember the title, most likely I’ll remember the query, the writing, and the reason I’ve kept it around. And I’m going to boldly make the conjecture that most agents and editors would agree with me.
Titles that tend not to stick are those that are hard to pronounce or have made-up words (here’s looking at you SFF writers!). Long titles will be a problem as well, unless it’s a catchy phrase. In general if people give you a “huh” expression when you tell them the name of your book, time to rethink it.
The takeaway from this? Your title shouldn’t be a half-fast decision nor a personal choice (most titles will change a few times through the publishing process anyway, so you don’t want to get attached), rather it should be considered another tool to market your book, a piece of the submission whole package. Research the craft of titling your book as carefully as you are researching the agents you choose to query (operating under the assumption that if you are reading this, you are researching literary agents) and hopefully you will come up with a title will make your submission stand out in the slush.
And, given my baby girl has let me sleep that night, I’ll remember your submission.
It’s harder than ever for debut books to break into traditional publishing. The struggle is real. And it prompts authors to seek out any and every avenue that will boost their chances. Conferences, webinars, classes, critique partners are all in a writer’s potential arsenal. One of the biggest weapons, and the most dangerous, is the freelance editor. “Will hiring an editor make a difference, and if we did should we mention it in the query?” is a question often posed to agents; which is difficult for us to answer on the spot. One because there are different types of editorial and we aren’t sure what your manuscript needs:
Developmental? An examination of the overall structure/plot/characters/pace etc. Helps a writer find plot holes, fill out flat characters, remove unnecessary tangents, and ensure the story arc is complete. This is the most common type of editorial that agents already do, but if there’s more than a few of these types of issues, it will be rejected.
Copy-editing? An examination of the structure of the prose itself. Helps a writer enhance their prose line by line, streamlining sentences and fleshing out the narrative. If a submission desperately needs this, an agent will pass (unless the project is something they are very specifically seeking or it’s nonfiction). All manuscripts will go through a copy-editing phase before publication, but a basic sound narrative should already be there when submitting.
Proofreading? An examination of grammar and spelling. Helps a writer catch any grammatical or spelling errors. This is the last edit on a manuscript and the first issue noticed by a reader. An agent will not take on a manuscript littered with errors, as they would have to spend valuable time correcting them before submitting it to editors.
Two because, with the internet, the self-publishing revolution, and the economic recession that squeezed the traditional houses, there has been an explosion of freelance editors hanging out their shingle and not all are right for your work. We don’t want to be the one to tell you that you may have wasted your money (if a traditional deal is your goal).
If the author decides to hire an editor, they should tread lightly and do their research.
The Good, The Bad, and The Ugly.
Although the movie that inspired this title has some gorgeous cinematography, stellar story arc, and an awesome theme song, due to its casual racism and utter lack of female characters, here the Good, Bad, and Ugly have been replaced by real-life badass female wild westerners.*
The Good.Mary Fields, often called “Stagecoach Mary,” was born into slavery around 1832, and after being emancipated at the age of 30, made her way west to Montana. Fields, who was very tall and extremely strong, worked as a general handyman and laborer at a school for Native American girls. She had a reputation for being strong, blunt, and more than willing to get in fights with people who annoyed her. At one point the local medical examiner claimed, she had “broken more noses than any other person in central Montana.”
Hiring a freelance editor can absolutely help whip your manuscript into shape. With the right editor, your story will be polished until it gleams, trad-publishing-ready, thus appealing to agents. How to find these miracle workers? Look for editors who are experienced publishing professionals in your genre. They have either worked as an editor for one of the traditional houses for a few-plus years or they are a traditionally-published successful author. They may even be literary agents (but be careful, more on this under The Bad). If they do not have the prerequisite publishing experience, then they will have a resume of books that they edited which have gone on to be successfully published. These editors are costly, but they will give you the highest odds of producing a manuscript that will eventually make it to the top. Often agencies will have a list of these editors on hand that you can ask for if an agent shows interest in your work. If you work with one of these editors, then yes, definitely mention it in the query letter.
The Bad.From a young age, Laura Bullion was destined to be an outlaw. Her father was a bank robber, and while working as a prostitute in Texas she joined the Wild Bunch gang, where she ran with outlaws like Butch Cassidy and the Sundance Kid. Bullion helped the gang with their robberies, and came to be known as “Rose of the Wild Bunch.” Bullion would help sell the stolen items, forge checks, and is suspected to have disguised herself as a man to help with heists.
These editors you want to avoid at all costs. They are predators eager to take advantage of the vulnerable author. If an editor solicits you and/or promises you will be published at their “house” after hiring them, it’s probably a vanity press scheme. If an agent offers to edit your manuscript, claiming they will represent you after you’ve paid them for said editing, this goes against AAR’s (Association of Authors’ Representatives) Canon of Ethics. If an agent pressures you to work with a freelance editor and is insistent on a specific company, or an editor claims they can get you signed by a specific agent, be wary.** This is an old scam in which the agent gets a kickback from sending authors to said editor and visa versa. A quick online search of any suspicious person with “scam” in the search line will usually bring up red flags right away. Also be sure to check out Writer Beware on the SFWA website. They are constantly updating publishing scams to watch out for.
The Ugly.Eleanor Dumont was called Madame Moustache because of her appearance later in life. But when she was young, she was regarded as exceedingly beautiful. Dumont first made her reputation as a gambler in San Francisco in 1849, determined to cash in on the California Gold Rush. Her casino in Nevada City was a success, and led to Dumont opening a second casino with additional games of chance. After the Gold Rush subsided, Dumont bought a ranch, but lost her fortune when she fell in love with a con man named Jack McKnight. When he sold the ranch and absconded with the proceeds, Dumont tracked him down and shot him dead.
These are the editors that are perhaps qualified to edit, but have never edited in the traditional publishing world. MFA students, other writers, English teachers, librarians, etc. fall into this category. To be clear, these are not actually ugly editors (just using the name to make it fit my oh-so-clever blog structure). They are often great proofreaders and much cheaper than The Good. Because of their lower rates, hiring them for a developmental edit over the more expensive experienced editors, is tempting. However, due to their lack of traditional publishing experience, they may not steer your manuscript in the direction someone in the industry would. These editors are more of a financial gamble, and you could be better off finding a critique partner that will do the same work in exchange for a critique from you. But you also may get lucky and stumble on someone who has a natural knack for developmental editing. If you hire one of these editors, it’s not necessary to mention this in the query.
As always, your best weapon is research. Before making a decision to partner financially with anyone in the industry, do your research to determine if they are the best option for your writing career.
**I have recommended on occasion that an author work with a freelance editor because I really loved their story concept, but it needed too much editorial for me to take on. I also have a client who went to an editor on their own after I passed with notes, a year later the manuscript was in fantastic shape. I signed them immediately and sold the manuscript within three months.
It turns out it was a popular request with quite a few claiming to fit the bill. I was stoked to discover there were so many epic fantasy writers out there, as it’s one of the most difficult and time-consuming genres to master. Since I am currently closed to submissions to catch up on my slushpile, a few writers tweeted/pitched me asking if they could submit anyway. Hell yes they could, if they really did fit my MSWL! More questions rolled in as did submissions, and my enthusiasm waned. Turns out, most were not in fact epic fantasy but rather more traditional fantasy. Some landed in the high fantasy realm, but weren’t quite epic enough. I realized my tweet needed to be clearer.
I’m craving fantasy that is epic with a capital E.
The biggest difference between epic and traditional fantasy is the size of the cast and the scope of the plot. Generally, epic fantasy is a sweeping saga of a secondary magical world and its people. They run long (hundreds of pages per book) and world-building is paramount, think detailed maps in the front matter and comprehensive family trees in the back. There are multiple characters and multiple storylines and a lot of history and lore is woven in. Usually they are set in a Western European medieval type background. The most famous of this subgenre are LORD OF THE RINGS and GAME OF THRONES.
On my particular wish list is epic fantasy that is not set in the standard European-inspired world. I want matriarchy and magical beasts that are atypical. Weapons that are not swords and guerrilla warfare over bloody battles. I want the people to be colorful, and diverse. Magic that is thoughtful and wild. Jungles and deserts and tropical oceans. I want epic fantasy that chews up the tropes and spits them out again.
But I do want it to be EPIC.
Sidenote: Anxious writers should be reassured that the lines between subgenres are often blurry, and there is no harm in pitching what you think is a space opera but is actually a military scifi thriller to an agent who represents science fiction. We may mumble to correct you, but as long as you are under the main genre umbrella, we’re happy to consider. However, when it comes to #MSWL, at least in my particular case, what we are looking for is pretty focused. So a gentle reminder, when you are following up with an agent on their manuscript wish list, make sure your submission actually fits their MSWL. Otherwise you’re getting their hopes up, and then letting them down. Better off submitting through their regular channels where there are no expectations that it fall true to a subgenre. On the flip side, if you’re positive your manuscript fits, then make sure to let them know!
On the surface we agents may seem cold-hearted. We crush dreams on a daily basis after all. But dig a little deeper and you’ll find we truly do care. Sometimes too much. One of the hardest things I face in the slushpile is letting go of manuscripts that I know are good, but I just can’t take on. And the reason is frustrating. There are so many authors out there and so few agents. I just don’t have the space for all of the good ones.
Right now I’ve whittled my submission pile down to 33 full manuscripts. And that’s a win for me. It was at 80. My goal is to have answers for them by the end of August, but I can only take on 1-2 more clients this summer. As I whittle the decisions get harder and harder. Occasionally I can spot a needed revision, pass notes along to the author, and hope that they will take long enough with the edits that by the time they resubmit there is space for them. But more often than not, I have to let it go. I loved it, but not enough. Perhaps it was a bit too quiet, or the author didn’t have enough of an online presence, or I’ve already got a client with a similar style. All of these seem like silly reasons to pass, but they are reason enough. And so, with a sadly inadequate letter, I say goodbye, hoping that the author will persevere and find a home for their writing.
Then I turn around and submit my clients’ work to editors who are faced with the same damn dilemma. Who not only have to fall in love but also have to make the decision to champion the manuscript, fight for it in acquisitions and convince others, such as marketing, to take it on. So no surprise agents get a lot of rejections too.
This business can be heartbreaking, causing us agents to form an icy defensive layer. But we are not cold-hearted. We wouldn’t be in this if we didn’t love books and the artists who create them. I hope this perspective, for those of you in the query trenches, inspires you that we are cheering you on even as we let it go.