I got a literary agent
An interview with
author James R. Larson
R. Larson recently acquired an agent using firstwriter.com's
database of literary
agencies. We asked him about his writing, and how he found
fw: Congratulations on
securing an agent to represent your book, James. Tell us a
little about the book you've placed.
JRL: The title of the novel is Wolfgar. It’s a work of fiction, loosely based on the
Heimskringla sagas, (the sagas of the Norwegian kings). Wolfgar takes place in
the tenth century during the time of the Viking expansion in northern Europe and
fw: Where did you get your inspiration from?
JRL: My inspiration came from various sources. Actually my first inspiration was from
a High School English teacher. Miss Novak told me that someday I’d be a writer.
Although that was nearly forty years ago, I’ve never forgotten her words.
Also, being of Scandinavian descent, I’ve always been interested in stories
about the Viking times. My first novel, The Eye of Odin, is an historical
fiction about the life and times of Erik the Red.
fw: How did you go about writing it, and how
long did it take?
JRL: It took me approximately nine months to write Wolfgar. The first draft
manuscript topped out at about 240,000 words. Editing took roughly seven months.
The final word edit numbered about 215,000 words, so my ten percent reduction
target was pretty close to the mark.
I tried to write a minimum of 2000 words per day. Each day I entered the
information on an excel spreadsheet to keep track of dates, word count, and
goals. I thought it important to see the daily progress as a spur to keep on
track. Some days I couldn’t wait to get home from my day job so I could continue
writing the story. Other days I had to force myself to sit down at the laptop. I
think it’s very important to have a place to write that’s free of interruption.
I try to write every day. When I miss a day the open spot on the spreadsheet is
a glaring reminder that I didn’t write that day. A blank spot makes me feel as
though I cheated myself. I believe a writer has to be regimented and produce
every single day. I’ve found there’s no other way. I did it with my first novel
as well as my second and third. All I can say is that it works for me.
fw: You mention having written other novels – what were the others
about, and did you try to get them published?
JRL: Wolfgar is my second full-length novel. My first, The Eye of Odin, was vanity
published. I chalk up my experience with vanity publishing as a tough lesson and
a somewhat bitter reality check. The real world is a much different place. The
main issue, I believe, is vanity publishing’s complete lack of credibility.
After my tunnel vision cleared, I learned what everyone else seemed to know
already – that vanity publishers will publish anything submitted to them, and
are not considered “real” publishers. Sure, one can purchase packages that
include editorial reviewing, copy editing, “how to” help guides in marketing and
promotions, and innumerable other services. The key word is purchase. All vanity
services come at a price. The prices vary somewhat, and they’re expensive. So
what’s my advice to someone considering a vanity publisher? Don’t do it.
Instead, grow some very thick skin, get ready for an avalanche of rejection
letters, and find an agent.
fw: You describe vanity publishing's lack of credibility. Did you find
that a lack of credible publishing history made it harder to secure a literary
JRL: I believe that being previously published is a huge point in an author’s favour.
In regard to novels I think it means, probably in the majority of cases, that at
one time an agent did agree to represent the author’s work.
But is it necessary to have been published in order to secure an agent? No, it
isn’t. In my own experience I was able to sign a contract with an agent despite
the fact that I’d never truly been published. The catch-22 says that in order to
secure an agent, one must have been published, and in order to find a publisher
one must have an agent. It’s very difficult.
fw: How did you go about trying to get your book published? Did you start trying
to find a literary agent straight away?
JRL: The first thing I did was read. I joined a writer’s book club and found a wealth
of books pertinent to the subject. When I felt that my book was ready for
submission, I realised that finding an agent to represent my work was the only
fw: And how did you go about trying to find an agent?
JRL: I bought the latest issue of Writers Market and read the details of every agency
listed. I began listing potential agency contacts. I found books on formatting
and submitting that describe exactly what agents and publishers want to see, and
learned that there are very specific rules. The internet provided a wealth of
information. I began sending query letters. If I had questions I’d usually call
the agency for information. While researching on the internet I came across firstwriter.com. It proved to be tailor-made tool for what I was trying to
fw: What was it about firstwriter.com that made it so effective
JRL: I liked the way the site was laid out. The navigation bar allows searchers to
pigeonhole exactly what they’re looking for. Clicking on “Literary Agents” and
“Advanced Search” takes you to sub menus designed to further narrow down the
search by type, area, market, and style. When the various items describing an
author’s work are selected, a list of agents catering to the chosen particulars
is provided. Comprehensive information about individual agencies is given,
including addresses, phone numbers, and exactly what the agency expects. The
“InstantAlert” feature arranged to provide information to a subscriber’s email
address keeps one up to date with any additions or changes to the agent
databases. I found my agent via an “InstantAlert” email.
fw: When you'd found your list of potential agents, how did you go
about approaching them?
JRL: My list numbered 113 agencies to query. firstwriter.com provided
most of the contact information I needed. I separated the list by which agencies
accepted email queries and which agencies did not. I learned that response to
email queries was limited or ignored, so I concentrated on agencies requiring a
hard copy query and an SASE. Also, I targeted agencies accepting a chapter or
two in addition to the initial query.
I bought various books on the subject. I couldn’t believe the number of
self-help books available on writing and finding an agent. For the most part,
they helped quite a bit.
I wrote my query based on tips from the various books I read. Each query was
somewhat different, catered to the particular agent, but they pretty much
contained the same information. The book Formatting and Submitting your
Manuscript by Cynthia Laufenberg proved to be a big help.
fw: It's interesting that you targeted agencies who don't
accept email queries, and personalised each approach. Often writers do exactly
the opposite and start off by sending identical emails to all the agencies who
have email addresses listed (regardless of whether they accept email queries or
JRL: Yes, I sent out queries, synopses, and sample chapters tailored to agency submission
guidelines. Some wanted a query letter only; others agreed to accept the first
chapter, the first fifty pages, or perhaps three chapters. They’re rather
explicit about what they want to see.
fw: That's right – but making inappropriate submissions is still the
biggest mistake writers make, often meaning years of fruitless searching for an
agent. By carefully conforming to submission guidelines, how long did it take you to find an agent?
I began looking for an agent in the fall of 2003, after I finished my first
book. However it was in November of 2004 that I began to search for an agent in
earnest. Once I made a serious effort, it took about 4 months. At that point, I
had approached 28 agencies. I found an agent in February of 2005.
fw: That's really quick! It really demonstrates the benefits of good
research, personalised approaches, and conforming to submission guidelines.
Nonetheless, 27 rejection letters is enough to wear anyone down. How did you deal with this?
JRL: In the beginning when the SASE’s arrived in the mail, I opened them with
confidence and high hopes. As time went on, I opened them with dread. A few were
courteous and polite, even helpful. Most were very impersonal. Many send form
letter rejections. When you’ve devoted time, energy, and creativity to a
project, it’s a humbling experience, and a bleak reality, to have your work
rejected out of hand. One agent said that she liked my writing, and not to
despair, and remember that each “no” brings you that much closer to a “yes.” I
took that advice to heart.
fw: Which agency signed you?
JRL: On February 25, 2005, owner and agent Terry Dubbs of the Running Water
Literary Agency in Topeka, Kansas, signed me to a one-year contract.
fw: What do you think was the reason you succeeded in securing this
JRL: I think Mrs Dubbs accepted me as a client because of the book, and the style in
which it is written. I believe her agency is interested in the genre and subject
matter. I think we are a good match because of Terry’s professionalism, support,
and drive. It’s a blessing, and a validation, to have someone working with you
who is as enthusiastic and supportive of your work as you are yourself.
fw: Securing an agent is a dream for a lot of writers. How do things
change once you've got one on board?
JRL: It’s great to have an agent. Writers can expect encouragement, support, and help
from one who is savvy to the business. Although I believe promoting the work is
a major responsibility of the writer, it’s nice to be able to concentrate more
on the writing end. It’s great to have someone in your corner.
Terry recently finished the editing and synopsis projects for my book, and has
sent first round queries to 26 publishing houses. So far one publisher has shown
interest. At the present time Terry is in the process of creating a marketing
plan to send with the complete manuscript.
fw: What advice would you have for writers trying to get an agent?
JRL: Devote time to your writing. Set aside the same amount of time each day if
possible. Read books on the subject. I think in order to be a novelist, which
for me is an evolving, learning experience, one must put in many years of hard
work and study. There’s no other way.
fw: What next? Do you have any more books in the pipeline? Where are you taking
your writing now?
JRL: Last week I completed the first draft of my third novel. Now the editing process
begins. It will be months before the book is presentable to the agent, so I have
my work cut out for me. In the meantime I’ve started my fourth novel. I have
plans for a fifth and a sixth book. My goal is to write one novel each year. I
have a regular full time job so I have to juggle time when I can. But I’ll
continue my writing – It’s just something I love to do.
fw: Thank you for
taking the time to talk to us, James. I'm sure your experience
and tips will prove useful to other writers. Good luck with your
new novel and all you other endeavours.
To search firstwriter.com's
database of over 600 literary agencies yourself, click
"author tours" still valuable?
By Marsha Friedman
President, Event Management Services
In the simpler days – before radio interviews were conducted by phone and the
technology of satellite TV and the internet – book sales relied heavily on book
reviews and “author tours”.
So, in today’s world, does the “author tour” still make sense? We believe the
answer is "yes"!
A publicity campaign should be viewed as a two-part strategy. The first part
is a publisher’s in-house efforts. These usually consist of book reviews
(minimally) and sometimes an effort is made to obtain media in an author’s home
town. These promotional activities are priceless for jump-starting book sales
and providing an author the opportunity to ramp-up his interview skills.
Taking a campaign on the road
But, once a publisher’s campaign is over, how is the book “buzz” maintained?
This is where author tours come in. They can be very effective, if you know
how to squeeze the most mileage out of every city. However, too often we hear of
an author run ragged by a tour composed of flimsy itineraries and exorbitant
Authors can avoid this experience by knowing the five criteria of a
successful tour and sticking to them:
- Anchor each city with at least one interview on a major network TV
affiliate. If a major network affiliate show can’t be landed, cancel that city
and move on to the next one.
- Schedule at least one book signing. This will guarantee availability of
your book in that city. Plus the book is often given free prominent display
that would otherwise cost a small fortune.
- Utilise downtime by visiting area bookstores. Offer to sign any books in
stock. If none are on the shelf, let the manager know the author is in town on
a tour and urge them to order books.
- Obtain a minimum of two to three media appearances in each market. Try to
schedule these within a one day period if possible – reducing travel costs and
- Generate local word-of-mouth by arranging speaking engagements at the
local library, Chamber of Commerce or professional affiliations, etc.
Keep in mind that after a book is published, an author’s role is that of a promoter,
and they should
utilise every moment doing just that – promoting! Although it can be exhausting,
it’s the only way to gain control over book sales and at the same time, maximize
the benefit of a tour.
Scheduling interviews with the media takes a lot of perseverance. You need to
make sure that you're contacting appropriate outlets for your topic, but once
you are don’t give up if a producer or journalist doesn’t call back at first.
Sometimes it takes up to fifteen calls to one producer to get a call back and
schedule an interview. You need a good pitch and a lot of persistence. Point is – don’t give up!
If you need help with your campaign(s) you can contact Marsha Friedman via
the contact details below:
Event Management Services
1127 Grove Street
Clearwater, FL 33755
+1 (727) 443-7115 x 208
+1 (727) 443-0835 fax
writers at firstwriter.com
for the following invaluable resources for writers:
on this newsletter for as little as $30 / £20 click
uses English spelling conventions.
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Leaf Books are launching a new series of A6
pocket-sized books, each containing just one short fiction or nonfiction story.
They are running a
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of World Literature Society
Dr Bhaskar Roy Barman, an internationally published poet, short story writer,
novelist and translator, critic and book-reviewer, has conceived the idea of
forming the World Literature Society with the object of bringing on a common
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The West Cork Literary Festival's "Writers' Day Out" is taking place on July 1, 2005.
This year it is being run in conjunction with US writer, teacher, and actor,
Richard Grunn. The programme of events includes workshops, seminars,
performance, and readings.
The day kicks off with a creative writing workshop in the morning, followed
by a seminar on the style and structures of synopses, each at a cost of €20. In
the evening there is a free reading by Mary Kenny, a reading by Nell McCafferty
costing €10, and an open session including performance from Richard Grunn and an
For more details go to
The St Margaret’s Institute in Oxford, United
Kingdom, is planning a poetry reading evening in aid of the community centre.
The theme of the event would be “in celebration of angels”. Anyone with
angel-related work, or who would like to write angel-related work, and would be
able to perform it in Oxford, should contact Ian Williams at
hotmail.com. No firm date has yet been set as the organisers are
wishing to first gauge the level of potential interest.
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