(More properly I consider fiction 'on referral or by solicitation', which includes me saying sure okay here on Twitter, so if you don't have a way of getting a referral feel free to ask here. I am not trying to put obstacles in your way, I just need to stem the volume.) #AskFuse
I also was closed to queries for much of this year, so that skews things a bit. In general over the course of my career I'd say about 75% of my fiction clients have come out of the slush pile. These days I only consider fiction on referral, because it's v time-intensive! #AskFuse
Connor Goldsmith @dreamoforgononOh, thousands. How many I sign out of the slush really varies, though. This year only one so far, but in part that's because I did a lot more nonfiction this year, and NF more frequently involves solicitation on the agent's part than fiction does. #AskFuse twitter.com/thelindsayelli…
For reference, of my nine current fiction clients: 4 came out of the slush, 3 were referrals, and 2 were people I met at conventions whose shorter-form work I'd already read. #AskFuse
Lindsay Ellis @thelindsayellis@dreamoforgonon @FuseLiterary How many queries on average do you get in a year (including the ones that get autochucked for not following instruction), and how many clients do you generally take on per year just from the slush?
Sara Read @sarafinn11@dreamoforgonon @FuseLiterary If you request a full & love the voice/story—I.e. u r psyched about the book—how much do more line-level problems matter? E.g. a chunk of slow pacing, a sequencing issue, etc. I want to make the ms as good as it can be, but I could edit forever and need an idea of when to stop:)
Tiffany Hamilton @feathersandwax@dreamoforgonon @FuseLiterary How does one go about finding an agent? Do you need to know someone who knows someone, or can you just google around for one?
Christopher Buecheler @cwbuecheler@dreamoforgonon @FuseLiterary I missed it this Saturday but was meaning to ask: if a writer looking to connect with agents or editors could go to any two conferences in the continental US in a given year, which two would you recommend?
Mike P @MasterOfGum@dreamoforgonon @FuseLiterary Is it advisable for unpublished writers to seek an editor before submitting?
That said, I think there's still a need for "issue books" that tackle all sorts of marginal experiences. But I think at this point most would agree that presenting a variety of experiences is a good thing. #AskFuse (8/8)
As for the 2nd question: I don't typically do YA/MG, so I can't comment on kids' specifically, but in adult I think there's been a strong shift toward letting marginalized chars have fun instead of needing to Confront Issues. I'd hope that's true across categories. #AskFuse (7/8)
This isn't about agents or editors exclusively, mind you. The acquisition of any book relies on signoffs from higher-ups, sales, etc. You sometimes need a dozen people to say yes, and most of those people won't be personally attuned to whatever marginalization. #AskFuse (6/?)
So I would say that's the biggest problem, is that the industry itself is not diverse enough and it's not enough for privileged people to start maybe repping or acquiring books about marginalized people. #AskFuse (5/?)
So part of "what's going on in the industry" is that the industry is inhospitable & does not pay well, so it self-selects, ideally, for a rich kid from NYC who can live w/their parents & work for pennies for years. And statistically those kids are more often white. #AskFuse (3/?)
Connor Goldsmith @dreamoforgononThis will take a thread, so bear with me. This is a topic I'm passionate about, and one of the primary goals of my work since I got into publishing in 2012. I'm thrilled activism from orgs like WNDB has made this a more commonplace ideal... (1/?) #AskFuse twitter.com/ShanaHartmann/…
The problem is that for a lot of white, or straight, or [whatever other majority category] people, diversity is just that: a nice ideal, rather than something they think a great deal about. And overall, publishing is VERY white and very upper-middle to upper class. #AskFuse (2/?)
Spartacus Prime @ShanaHartmann@dreamoforgonon @FuseLiterary It seems every agent these days is open to diverse voices, so why do we still see so little racial diversity especially? And what about racially diverse MG & YA books that AREN’T issue oriented? Can black kids just have fun too? What is really going on in the industry? #askagent
Connor Goldsmith @dreamoforgononThat's called tie-in work (or "IP") and it's case-by-case. If a client is *looking* for IP work, I'll reach out to editors who specialize in tie-ins and ask about their licenses. Sometimes a license (or an ed on its behalf) approaches the author. #AskFuse twitter.com/cwbuecheler/st…
Tie-ins aren't usually v. lucrative contracts, but they get your name out to loyal franchise fans who could potentially also become loyal fans of *yours*. I only encourage it if you can make time between original projects. You need your own IP to direct the new fans to. #AskFuse
Chris B-eeeek!-ler 👻 @cwbuecheler@dreamoforgonon I've got one: if you have a client that wants to do work in an existing franchise (can't think of the name for this), do you try to make that connection for them? Or is it more that you find out something like that's available and mention it to your writers?
Double Bones with Doctor Skelebone @hatchingphoenix@dreamoforgonon Am I better off pursuing representation for Novellas or subbing directly to slush piles? #askfuse