On Writing : Literary Agent AMA (Ask Me Anything) by Tessa Shaffer

Hi, Tessa, thank you for answering community questions. It's a very broad question that mostly pertains to scripts- what do you look for in feature and/or pilot scripts from potential, new clients? Does a sample script have to be flawless or will you consider pieces that need work but have great potential? Also, would you consider working with a client to turn a script into a short story or novel? Thanks, again, for taking questions, Tessa.

Thanks for answering questions Tessa! I'm actually in the process of querying agents for a novel I wrote, and haven't had much luck. I'm worried that part of it is my word count. It's a scifi comedy aimed at adults, but the word count is 58K. I know that's short, so are most agents going to skip it on word count alone? Would I have more luck going straight to publishers that are interested in novellas?

Hi, Tessa. I'm the protagonist of a true story. Aside from a potential spin off for kids, it will probably be my only screenplay. I'm getting older and not interested in writing any other stories, or a writing career, but the story I'm writing is worldwide blockbuster potential. I always hear how you need to have multiple scripts written for a manager to be interested. Any exceptions? Thanks. .

You're the best. Very generous

Hi E. M. Watson, I've represented material based on potential alone but it has to be something I either connect very strongly with or someone that has the platform but needs help with the craftwork. Because Lit Agents and Lit Managers work on commission though, not everyone will have the time and energy to work on material that isn't at a certain level because they are working 100% for free until something sells. Within my list at the moment, for example, I can only take on projects that are polished and 95% ready to pitch. I don't rep short stories, but I do look for clients who live in both worlds (novels and scripts). Hope that helps!

That helps a lot! Thanks so much for your input, Tessa. So kind of you to do this for the community.

Hi Harry Loeffler-Bell! Great question. Because sci-fi is typically a longer word count (one of those that can get away with 100k if the plot requires) I do think 58k is a little short. Some agents will absolutely decline based on this alone.

Question: Have you had a developmental edit on your novel or a critique partner review it? Often shorter word counts mean the manuscript would benefit from fleshing out the story more, deepening character arcs, etc. There's a great chance you have all the story elements and a complete story there but are in need of a full polish. As far as placing it in the market, completed novels (closer to 80k) are easier to place than novellas, so again, I'd encourage you to share with other writers, beta readers, critique partners, and a developmental editor if you choose.

The other option would be making it Young Adult, rather than Adult as YA word counts can be closer to 70k without a red flag. Feel free to ask any follow-up questions!

Thanks, David Santo ! Hope you have a great weekend!

Jay Johnson typically Lit Managers do want clients who have multiple projects they can work on placing, as the industry is constantly ebbing and flowing, the more projects a client has the more potential there is to sell one of those projects. That said, I've met several people on Stage 32 who have really interesting "one-off" potential and you don't have to be a life-long writer to get a deal BUT you do have to be getting notes on that script and developing a strong pitch.

Jay Johnson The reason managers want to see several scripts is because the first script a screenwriter writes usually isn't their best work--as with any art it's something you develop more talent as you go. So that's why I mentioned getting notes--there are many people on stage 32 willing to help!

Thanks Tessa, Great to hear. I did get first impression notes from Wescreenplay, and they saw the potential, but said I need to write direct to the page, whatever that means. :-)

Basically, I think they mean script is clunky as it transitions from scene to scene and needs to flow and not feel like it's being told. Shamelessly posting the logline in picture form. :-)

you looking for new clients? My drama My Missing Year was optioned. Clubbed! our comedy just won Best Comedy and the Jury award at Nova Fest!

Thanks for your response Tessa! I've done a whole bunch of edits on the manuscript, but I'm unfamiliar with the specific term "developmental edit". In terms of a critique partner, I've struggled to find someone to work with as a writing partner. I have had a bunch of beta readers, though that's been mostly (very intelligent and creative) family and friends. One of those friends did actually suggest maybe looking at it as a YA novel. I am unfamiliar with what makes something specifically YA, and when I asked on the pubtips reddit if I should try pivoting that way based on my query letter, the response I got was "only if you want your audience to be teenage girls." I couldn't tell if that was a dig or if that's just the market for YA. So I guess my follow ups are, what specifically is a developmental edit, and what do I actually need to know about pivoting the project to YA?

Hi Tessa, as a manager what are you looking for?

Very kind of you, Tessa. I've completed a horror anthology (13 IPs) with solid support blurbs from ESQUIRE to industry genre vets. The idea is to avoid getting lost in the self-publishing shuffle, and when we get green-lit on a feature I wrote (and my brand is better established), work together with a rep who can channel it to the right publishing house. Is this a reasonable plan?

Hi All, not looking to use this thread for pitching--this isn't about what I'm looking for but rather to help demystify avenues of the publishing business for those in the lounge. Happy to answer any specific questions about projects/querying/publishing that aren't specific to me. Thanks!

Hi Harry Loeffler-Bell, great questions. The YA market is very large and not only targeted to young women, although for YA with romance elements that is the typical audience (as with all romance books women are the usual target).

A "developmental edit" is also sometimes called a "line edit" and this is where an industry professional (usually a freelance editor who is a successful author themselves and knows the market, an editor with pub house experience, or an agent doing freelance work) will go through your manuscript and give you industry notes. While they can be expensive, a developmental edit is worth its cost and in my opinion the best way to get a step closer to publishing with success. It's important to keep in mind that friends and family are great support but not going to have the industry feedback or critiques work needs to rise to the next level. If you email your first 2 chapters to Authorpreneurs@corvisieroagency.com, I'll have someone on my team review your first pages and give you some more insight about the YA pivot. It's possible with your character and setting it might be a seamless move, but I'd need to see some pages to give you a better idea.

Hi Mike! Congrats on the IP and the great blurb. You're in an interesting position, and I can say that your gut move here is correct--it's better to have something unpublished and ready to go for release with a sale than to have something that's been self-published without success. That being said, you could self publish WITH success (lots of work and expenses this way, but it's not as impossible as some writers believe). The hard part with having unpublished work is sometimes execs want to see the audience's response to the IP before taking a chance on the script. Building your brand in the horror space and networking with other horror authors to help you build a tribe would be my recommendation. Ask any follow up questions you have!

Thanks for taking the time to answer Tessa. I will absolutely take you up on the offer to send some sample chapters in. Much appreciated.

Awesome if you to be so generous with your time and knowledge, Tessa!

How do you get clients? What can we do to get you as our manager?

Hey, who cuts your hair?

Hi Tessa! Do you think that it is worthwhile to try to send scripts to actors or other industry professionals (like directors etc) to garner some interest? Like if you had someone in mind for a specific character to try reaching out to that person to try to see if there is interest?

Good evening Ms. Shaffer,

Do literary agents care if you’ve been a published author? I am a Children’s author and have three books being published this year and looking for an agent. Wasn’t sure if they’d rather represent someone that hasn’t been officially published or not.

Thank you for the help and insight :)

-Kristian James

Hello Tessa.

I have a few scripts completed now and several in the works. I have been told these past 6 months or so that I need to get a lit manager. Ive been told this from industry professionals (through this site and outside of it) as they all say I'm at that stage and its what I need to progress my career and get my work in front on people. But I have had no luck with this despite a lot of trying. Established lit managers don't want to know me and busy with their clients and junior/new managers seem very risk averse and don't want to take a chance. What should I do? Should I just forget a lit manager until I get something optioned, sold or made? ( I do have a producers shopping agreement but that's it. No option or credits)

Hey!! I have been writing scripts for 7 years and I recently built a website to showcase my work (link in my profile). I like it, but I'm not sure if there is something missing that I need to catch an agent's or potential employer's eye. I'd love to hear if you have any tips for what stands out to you in a portfolio!

Hello Tessa. Thank you for answering our questions. I’d like to know whether the budget if a script can/does discourage representation? Does the potential budget of your films even matter?

Wow, this is so generous of you to offer! Also - look at all these comments! Y'all rock.

Okay, here are my questions:

1) When putting together an online portfolio, how many samples of a particular type would you expect to see to feel confident in that writer's abilities? Let's say their website has a section for blog writing, another for screenwriting, and a third for commercial/trailer writing. Would you want at least 3 of each? Only 3? As many as possible? Do you want to see summaries or excerpts? ***This feels very close to Anna Woodliff's question, actually.

2) What would you recommend as screenwriting-adjacent jobs? Writer's Assistant or Showrunner's Assistants? Or stay freelance?

3) What kind of media do you recommend for writers to help get their name out there? Should they try to be guests on podcasts or start a TikTok? Or are there more effective ways as writers?

THANK YOU, TESSA!

Hi Tessa, what do you think about publishing screenplays as published books? I have written a historical feature based on the true story of my Great Grandparents. I have had terrible trouble over the years writing it as a novel and found writing it as a screenplay, so much easier. I know that a lot of producers want the least description possible, so that they can use their creative know-how and they just want the basic story, but I've written mine in great detail with the thought that I might like to publish it as a book in it's own right, seeing as it would be extremely difficult for it to be picked up and made into a film. Thank you.

Hi Jeff E. Gregory ! It's always a great idea to get an official copyright on written work when a manuscript is completed. There are additional copyrights through the WGA for scripts, treatments, pitch decks, and ideas that can be registered in the states (I'm not as familiar with the Writers Guild of Canada or in other countries).

Hi @Asia! To answer your question: Have you ever seen a screenplay sell that is not in industry standard format?

No. I'm a big fan of "breaking the rules" in every medium when there is a purpose to bend things like structure and creatively tell the story in your own way, but format isn't something that should be "creative". Execs (everyone from industry readers all the way up the chain) want to know that writers are at a certain level and industry-standard formatting is one of those things.

Hi @E.J.! To answer your question: How do authors get an agent?

The number one thing writers need to secure an agent is a strong unpublished manuscript. Many writers get excited about completing a novel (as they should! It's a big deal!) but they jump right to querying agents before the manuscript has been thoroughly developed. Agents are not beta readers, and unfortunately, this is the number one reason manuscripts are declined.

Once you have a strong manuscript, check out sites like querytracker.net to find literary agents who represent your genre of book.

Hi Brian, to answer your question: Do you think that it is worthwhile to try to send scripts to actors or other industry professionals (like directors etc) to garner some interest? Like if you had someone in mind for a specific character to try reaching out to that person to try to see if there is interest?

Yes and No. Some scripts don't need this and an attachment then can make it more difficult to place if it's not a great fit for the budget/studio/team who's considering it. This goes for actors as well as directors, for example, if the production team looking at picking it up has another director they'd prefer to work with an attachment then could cause pause. Of course, there are attachments that happen just to get other people excited about the script and these are loose attachments and perfectly normal to attract additional team members. When sending your script to talent, be sure to have a SOLID pitch. The pitch itself should entice them enough to hop on board without reading the script. (Too many writers bank on someone reading their entire script, such as "it has a great ending you just have to read it" isn't a great pitch.) A GREAT PITCH is what gets them excited to read the script, and the most important step to getting anyone on board for a project. Hope this helps!

Hi Kristian Hanson ! Congrats on your upcoming books! To answer your question: Do literary agents care if you’ve been a published author? I am a Children’s author and have three books being published this year and looking for an agent. Wasn’t sure if they’d rather represent someone that hasn’t been officially published or not.

Agents are open to representing authors that have been published before (whether it's traditionally or self-published), but they do want to represent unpublished material. So, definitely include your success with past publications in a query letter, but be sure you're sending unpublished manuscripts for their consideration. Does that make sense? Ask any follow up questions.

Hi @Pete! It's a tough business, but keep marching forward. There are many possible paths to success, and I think many writers (both authors and screenwriters) have an idea that when X happens I will be successful, or when X happens I won't have to work so hard. The truth is, with or without a Lit. Manager, you'd still be grinding! Write good material, keep sending out pitches for representation (and revising your pitches as needed), and reach out to producers who are a good fit for the project. Best of luck!

Hi @Anna! Looking at a portfolio is typically the last thing I review, the first and foremost being the pitch, then the script, then if that's amazing I'll see what other work the writer has. If the script is great, I often connect with the writer and ask them directly for more material, so I myself prefer personal connections over stalking a potfolio haha, but I can say big contest wins are always good to include if you have them.

Hi @Renita! To answer your question: I’d like to know whether the budget if a script can/does discourage representation? Does the potential budget of your films even matter?

During covid, due to safety and restrictions, everyone was looking for low-budget single location scripts, but that's lifting a bit and I'm seeing producers and streamers open to content of all budgets. For me, it's not about the budget but about the strength of the script.

Hello Tessa, now this is probably really stupid to ask (considering your an agent) but do you find more people are reverting to self-publishing as opposed to trying to get an agent? I've released a number of my books and self-pitching my screenplays and find myself now at a point where the momentum is growing but I'm sure I'm missing out or seeing slower take-up by going alone...is it worth holding off on releasing solo and pitching books again to agents? Have a great weekend and thanks if you do answer.

There's big merch potential if my script becomes a movie. For you, would it be something to briefly mention or to put some real focus on in a 2-page written pitch?

HI Kevin Morrison to answer how do I get clients: I actually take pitches through Stage32 and it's where I've found the best potential clients to connect with. My list is full at the moment but I'm working ahead and taking pitches now for projects I can possibly take on later this year. Stage 32 is full of amazingly talented writers and I've been so lucky to connect with so many of them!

Hi Tessa. Appreciated -- those were my instincts, as well. To clarify, the thriller I co-wrote is not connected to the anthology IP. My tribe does include established horror industry vets. Their validation and encouragement, like yours, let's me know that things will soon align. Thank you for your time, knowledge and courtesy.

Hi Kay! Good to see you! My thoughts below, but these are just my personal opinions!

1) When putting together an online portfolio, how many samples of a particular type would you expect to see to feel confident in that writer's abilities? Let's say their website has a section for blog writing, another for screenwriting, and a third for commercial/trailer writing. Would you want at least 3 of each? Only 3? As many as possible? Do you want to see summaries or excerpts? ***This feels very close to Anna Woodliff's question, actually.

Usually, when I'm considering a writer I like to read at least 3 scripts, so I think 3 is a good number for a website if someone is going to have a section with examples of writing, more if available. This might be a controversial thing to say but I really don't check out many writer's portfolios (authors or screenwriters)! If a project doesn't hook me from the pitch or query, there's no need/time to do any investigating into a portfolio because I get so many projects a day. If the project DOES hook me, I'll request more samples and leave it to the writer to send their best work. As a last step, I may look at their online portfolio before connecting further, but at that point, I'm already invested. Agents for novels do depend more heavily on a website presence, blog, social media following, mailing lists, etc because an author is more involved in selling their own work when it's published so the agent/publisher want to know they have that foundation. Many book agents check out online portfolios/author websites when even deciding on queries.

2) What would you recommend as screenwriting-adjacent jobs? Writer's Assistant or Showrunner's Assistants? Or stay freelance?

All of the above! Honestly anything within the orbit of the industry.

3) What kind of media do you recommend for writers to help get their name out there? Should they try to be guests on podcasts or start a TikTok? Or are there more effective ways as writers?

Good question and my best advice is to do what aligns with your target audience--who is the writer trying to reach? For someone writing Young Adult novels, this would definitely be tiktok. But whatever aligns with the audience, be sure it also is something you feel good about doing because there are so many avenues but if you're not enjoying it people won't connect with the content. Also, never forget how powerful networking with other writers can be, twitter and Stage 32 are great places to network.

Hi Tessa, thank you for this opportunity! I am developing several ideas based on historical events. Do I need the rights to the books if the research is and stories are available elsewhere? Also, if most of my research comes from two specific books, do I need to get the rights to both books?

Hi Tessa! Thanks for taking everybody's questions! I'm a much-published novelist in multiple genres--horror, thriller, mystery, western, YA, and more, as well as a writer of comics and graphic novels and a former publisher of same. All traditionally published, by Penguin, S&S, HarperCollins, as well as smaller houses, and comics mostly by Image, DC, and IDW. I had a lit manager for a while, but he was not at all aggressive and only got me one (unpaid) option with the late Mace Neufeld. One of my recent novels was a collaboration with a two-time Emmy winning writer/producer, and it got some buzz in the trades, but still no bites. So my question is, how does one go about getting somebody at one of the larger management companies interested? Do I need a big bestseller? I'm kind of at a loss at this point. Thanks for any direction you can provide!

Hello Tessa,

Your website re: current status of taking submissions said you will be accepting queries after May 1 - so check back then...It's May 9th -- so as of this date - are you still closed to queries? If yes - when will you be open again? Please advise.

Hi @Rosalind! To answer your question:

What do you think about publishing screenplays as published books? I have written a historical feature based on the true story of my Great Grandparents. I have had terrible trouble over the years writing it as a novel and found writing it as a screenplay, so much easier. I know that a lot of producers want the least description possible, so that they can use their creative know-how and they just want the basic story, but I've written mine in great detail with the thought that I might like to publish it as a book in it's own right, seeing as it would be extremely difficult for it to be picked up and made into a film. Thank you.

Okay, there are two answers to this one because for me, I believe part of writing is about the unique end goal you have for the project. If your end goal is to share with a select number of readers such as printing copies of the script as a novel for your family (since this is based on your Great Grandparent's true story), then the format is fine for that audience...although, most of the general public won't prefer reading screenplay format so you'll have to make it clear why you've chosen this media as part of the experience for your family.

If however, you'd like the audience for the script to be bigger (managers, producers, studios, contests, etc.) I would encourage you to follow screenwriting guidelines and keep the script from being your practice novel. Keep your descriptions visuals, they don't have to be empty and boring, but they do need to be short and help keep the pacing of the script. Remove any overly flowery language, and above all--do not include feelings or character thoughts in the script--this should all be shown in body language, shown through creative setting, dialogue, etc. Have you gotten any notes on the script yet? Happy to take a look at the first 2 pages and provide direction if you are interested in getting any further feedback.

Screenwriting IS in fact much easier than novel writing, which is why I write all my newer books as scripts first so I can have a strong "living outline" for the work. I then go back and break down the beats and how/where I can tell the story further. Perhaps now that the script is done you can find writing the novel easier, or it could be a matter of needing more support such as a writing coach to help you through it. Let me know what other questions you have!

Tessa - "Living Outline" - what a great way to put it :)

Hi @Toby! To answer your question: now this is probably really stupid to ask (considering your an agent) but do you find more people are reverting to self-publishing as opposed to trying to get an agent? I've released a number of my books and self-pitching my screenplays and find myself now at a point where the momentum is growing but I'm sure I'm missing out or seeing slower take-up by going alone...is it worth holding off on releasing solo and pitching books again to agents? Have a great weekend and thanks if you do answer.

Since the rise of Amazon Kindle and KDP (formally CreateSpace) self-publishing has become easier and many authors find success, especially in genres where kindle downloads are the bulk of book orders, like romance. At the agency, we represent many authors who are "hybrid" and publish both traditionally and self-publish.

Self-publishing doesn't have the same vibe it used to for agents and publishers, you won't get shunned just because you've previously self-published a book or series (especially if you've done so with success), but agents and publishers DO WANT FRESH CONTENT, so do not query agents with a book that has been self-published in the past or a book that's a part of a series where the other books are self-published. Ask any follow-up questions, happy to help.

Hi Jay, To answer your question: There's big merch potential if my script becomes a movie. For you, would it be something to briefly mention or to put some real focus on in a 2-page written pitch?

I wouldn't add more than a mention of this. It's not something that is a deciding factor, if anything it will take focus away from the heart of your story at this level. When an exec and team love your script they will see all the potential avenues for marketing. ALSO, "merchandising and commercial rights" are going to be in a contract and you may or may not retain these rights depending on your agent and the agreement.

Hi Kimberly! To answer your question: I am developing several ideas based on historical events. Do I need the rights to the books if the research is and stories are available elsewhere? Also, if most of my research comes from two specific books, do I need to get the rights to both books?

I would have to know more about the project to give better, more specific, advice here, but if you are borrowing heavily from those two specific books I would consider that an adaptation, and yes, connecting with the author and getting an option from the work would be best.

Hi Jeffrey, To answer your question: I'm a much-published novelist in multiple genres--horror, thriller, mystery, western, YA, and more, as well as a writer of comics and graphic novels and a former publisher of same. All traditionally published, by Penguin, S&S, HarperCollins, as well as smaller houses, and comics mostly by Image, DC, and IDW. I had a lit manager for a while, but he was not at all aggressive and only got me one (unpaid) option with the late Mace Neufeld. One of my recent novels was a collaboration with a two-time Emmy winning writer/producer, and it got some buzz in the trades, but still no bites. So my question is, how does one go about getting somebody at one of the larger management companies interested? Do I need a big bestseller? I'm kind of at a loss at this point. Thanks for any direction you can provide!

WOW, great bio right here. I don't think you need a best seller to get anyone's attention, just a strong unpublished project, a great pitch for that project, and include the bio and more about what you've done that makes you an ideal client for them. Find people in the industry who align with what you've done in the past and where you want to go (ex: agents who represent thrillers but also graphic novels). Let me know what follow up questions you have.

Hi @Franklin, to answer your question: Your website re: current status of taking submissions said you will be accepting queries after May 1 - so check back then...It's May 9th -- so as of this date - are you still closed to queries? If yes - when will you be open again? Please advise.

My query box and the main Query Portal at the agency will re-open June 1st. Thanks!

Great! I will follow-up accordingly. Thanks!

Hi Tessa, wow, thank you so much for your detailed reply, that is very much appreciated.

Yes, I have had a few rounds of feedback on the script through Stage 32 and it has all been very helpful and positive and I have certainly used most of the tips that I received. I have used 'show, don't tell' throughout the script, I just meant that I might have used too much description about what is in a room for instance, but I haven't used feelings, or thought, like you would in a novel, I'm sorry that I didn't explain properly. The idea was to publish it as a book not just for my family, but for anyone at all who might be interested, but I see what you mean about the general public not understanding the format of a script, so I think you've persuaded me that it might not be such a good idea to publish it as a book. I would be absolutely delighted if you could read the first two pages for me, thank you so much, how do I send them to you?

This is an incredible thread Tessa and I have read all the questions and answers. It's all extremely interesting, educational and enlightening. Thank you so much for the time you have taken to do this for all of us.

Hello, Tessa. I have published 14 sci-fi books (four separate series and a one-shot) that I think will make great movies and or TV/streaming. I only got a few reviews for different books (on Amazon, Goodreads and Audible) but they were largely positive, praising my voice, the positive messages and humor. How do I go about finding someone who would be interested in my books as film/TV and pitching it? (Obviously I'll only pitch one at a time. Lol)

Hi Tessa, I had another question I thought of after watching your pitch tank. Being someone who works with novelists as well as screenwriters, have you ever read someone's screenplay and thought "You should really be writing novels and not screenplays?"' How do you know if a screenwriter is better suited as a "traditional" writer/novelist?

Hi @Chad, to answer your question: I have published 14 sci-fi books (four separate series and a one-shot) that I think will make great movies and or TV/streaming. I only got a few reviews for different books (on Amazon, Goodreads and Audible) but they were largely positive, praising my voice, the positive messages and humor. How do I go about finding someone who would be interested in my books as film/TV and pitching it? (Obviously I'll only pitch one at a time. Lol)

Unfortunately, gaining only a few reviews on a book is all too common and the first thing execs tend to look at for films/tv based on IP. The reason for this is simple: if something has been published, execs all the way up the chain want to know what the risk/reward is to the material, and something that hasn't been received well (talking about the number of reviews, not the amount of a star ratings here. 10 reviews even at all 5 stars tell us that the book hasn't been received like it should be whether that's marketing or otherwise,) by one market isn't a good financial decision for another market. The bottom line to any IP is that you want to exhaust all your resources on making that step into the first industry successful so that you can then cross over. Look at ebook giveaways and other marketing you can do to generate buzz for your series. Prove first that the books are worthy by sales and reader responses, and then you will have no trouble pitching them for adaptations.

Hi Tessa, just chiming in to say that your generous and detailed answers to the many questions posed by your readers are really very helpful to All of us. You are a blessing. Thank you.

Hi Tessa! I just got in here and saw this, so hopefully you're still answering questions? I'm a novelist with 4 decades of stage acting and several years of film acting (just as extras in a few Hollywood feature films) So when I wrote my novels a natural progression was to write the scripts for them. I have several series, but trying to figure out how to divide my novels into pilot + episodes. Once I get the scripts written do I need to acquire an agent? I'm a hybrid author with Indie published books and a trad publisher for my romantic comedy series. Should I start pitching to streamers now before I write the script? Or write it first then pitch? I have 4 more titles hitting the market by the end of the year, so taking time to write screenplays will be a squeeze. I know it's a longshot plus I live in Alaska. I would appreciate any advice you may have for approaching this. I own 100% of all rights to the series I want to pitch. Thank you! LoLo Paige

Hi Tessa! Thanks for the q&a. I had a producer read my script ( coming of age drama) and she advised me to change it so that it can be sold as a thriller because it is easier to sell than drama. Do you agree with her?

Thanks Jeff, appreciate that info :)

Hi Tessa!

I have written a novel and I want to be seen, what can I do to be seen?

Hi Tessa, do you find it the most efficient to rep most clients within one particular format? For example, repping an artist purely as a novelist while. she/he repped elsewhere as a screenwriter?

Tessa, I'm adapting two of my earlier books to screenplays following a nod as a finalist in the Boston Screenplay Awards this month for my first attempt at a screenplay. The award was for the adaptation of my 2020 novel, Only the Women are Burning. Would you like a new client? I'm seeking an agent. I do not have a lit agent. My earlier work was published by small presses.

Wow Nancy, I want to read your book, I peeked at it on Amazon. If I were a producer, I'd be interested in this one! Good luck!

Thanks! Publishing mid pandemic was not easy. No live events, just Zoom and interviews and podcast appearances. I'm trying to make up for lost time.

Nancy, just remember to pace yourself. I too published my first during the first lockdown in 2020, and shot out of the gate ready to conquer the world. I burned out and hit the wall. I tried to do too much. Now I'm focused on building my backlist and writing a good screenplay for my series..

Hi Tessa. Sorry I'm late to the party. I have written a 90-page epic poem (YA Fantasy in unrhymed verse) and have adapted it to a feature screenplay. My question is: would a literary agent be interested in an epic poem or is poetry a non-starter?

Hi Tessa. I've had agents for alternative media but I know that is quite different than Literary Agents. I also had success years ago with a small publisher and a niche book. Recently I independently published a fiction novel which has been getting good reviews on Amazon and I've had feedback asking if there will be more books with these characters. My question is: Is it bad practice to pitch a book to a literary agent if you have already self published it? Or can you use it as a calling card to see if they may be interested in publishing the follow up books?

I started with 'WRITERS LITERARY AND SERVICES INC.' in September of '08; subsequently signed with my Publisher since Jan. of '09.