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DHH Literary Agency is holding its second round of pitching sessions for unrepresented writers in November.
With a view to finding new clients, and following its first successful session held in April this year, five agents will be available for a 10-minute slot for an individual writers to pitch their story and receive "honest and valuable" feedback. The pitch sessions will run from 4pm to 7pm on Monday 27th November at Browns on St. Martins Lane in central London.
Abrams Artists Agency is expanding its talent division, hiring Todd Eisner as Senior Agent in the firm’s Los Angeles Talent department, and Matt Gogal as a Talent Agent. Having joined Abrams in the past few weeks, both will report to SVP and Head of Theatrical in Los Angeles, Marni Rosenzweig.
In addition, Katie Gamelli has been promoted to Theatrical Literary Agent in New York, effective immediately. She is reporting to Sarah Douglas and Charles Kopelman.
Laura Macdougall is joining United Agents next month after two “wonderful” years with Tibor Jones & Associates. She will join on 31st July as a literary agent in the Book Department.
Macdougall's clients at Tibor Jones included actor Jim Broadbent, Ruth Hogan of The Keeper of Lost Things (John Murray Press imprint Two Roads), which has now sold in 19 territories, Labour MP Jess Phillips, author of Everywoman (Hutchinson), and Kaite Welsh whose historical crime trilogy is published by Tinder Press.
Under A Pole Star, my third book, is a novel about late 19th century arctic explorers that features, alongside ice, ambition and rivalry, more than one sexual relationship. And there’s a lot of detail. My central characters fall in love, and yes, they have a lot of sex. I was nervous about how the passages would be received. One Amazon reviewer has already complained about “copious quantities of copulation.” The specter of the Literary Review’s Bad Sex Award, given annually to authors of “poorly written, perfunctory or redundant passages of sexual description in modern fiction,” hovers over us all, tittering. Some judge writing explicitly about sex to be less than literary — or worse, discrediting of female characters. But why should achieving romantic and sexual satisfaction — one of the most difficult challenges we face as humans — be redacted or blurred?
For as long as there have been writers eager to get published, there have been con artists ready to prey upon them for a quick buck. Nowadays, the internet is rife with phony literary agencies offering writers false hope in return for a small (or not-so-small) sum of money. In this article I'll look at some of the ways you can spot a dodgy agency, and avoid your time, money, and aspirations being abused. While none of the points below guarantee by themselves that an agency is dubious, together they can make a compelling case, and they should all make you tread a little more cautiously.
In 2006, Robert W. Morgan acquired an agent using firstwriter.com's database of literary agencies. Eighteen months on, he's repeated the same success by placing his latest work with another agent, again found through firstwriter.com. We asked him about his writing, and how he found success.
Adrienne Schwartz recently acquired an agent using firstwriter.com's database of literary agencies. We asked her about her writing, and how she found success.
James R. Larson recently acquired an agent using firstwriter.com's database of literary agencies. We asked him about his writing, and how he found success.
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