By Sara Karnish
Marie Lamba is author of the young adult novels What I Meant… (Random House), Over My Head, and Drawn, and of the picture books Green Green: A Community Gardening Story (Farrar Straus Giroux) and A Day So Gray (Clarion). Her articles appear in more than 100 publications, and she’s a frequent contributor to Writer’s Digest. Marie has worked as an editor, an award-winning public relations writer, and a book publicist, and has taught classes on novel writing and on author promotion.
As a senior literary agent at the Jennifer De Chiara Literary Agency, she represents picture books, middle grade, YA, and adult novels, and memoir, as well as graphic novels and nonfiction for all ages.
I talked to Marie about the difference between an agent and an editor, pitching do’s and don’ts, and a wide range of other topics.
SK: Thank you for speaking with me! First, can you explain an agent’s role and how you work with authors?
MARIE: There are a lot of things to it—it has so many pieces. First, I want to make sure I’m representing someone I can stick with for the long haul. Next, we work with the manuscript to get it where it needs to be for submission. I’ve been an author, editor, and publicist, so I understand how important this is. Over the years, I’ve only seen one or two manuscripts that needed no changes before submitting to publishers, so most need at least some editing.
Next, I create a pitch for the book, and create an editor list. Editors change their interests all the time, plus they are often moving to different houses, so I’m always researching to find the very best fit for that work at that moment. Then I pitch the work to those editors and follow up with them. When we get offers, I negotiate the deal and the contract points. After that, I oversee everything that happens with your editor, even after we hand off the manuscript.
Throughout all of this, I keep the author informed. As an author myself, I hate not knowing what’s going on.
I’m also by the author’s side beyond the first deal, for all subsequent projects, and advocating for them throughout their entire career.
SK: How many authors do you represent?
MARIE: I’ve been an agent since 2011 and have 30 clients on my list.
While 30 may sound like a lot, there is an ebb and flow to the work. Some authors wrote a few novels a number of years ago, but have been less active lately. Others write several works a year.
SK: Self-publishing has grown tremendously over the past decade or so. What are the benefits of pitching to an agent and pursuing “traditional” publishing versus self-publishing?
MARIE: It depends on your goals. As an author, I’ve been traditionally published, and I have been self-published. With self-publishing, there is great control in doing your own work, but it’s a lot of work. And the downside is you have to be a full-time marketer. Every time I focused on my books and promotion, sales went up. When I looked away, sales went down.
Some things lend themselves to self-publishing, like short stories, something regional, and poetry/chapbooks. When you’re published by the mainstream publishers, you’re seen—you’re getting reviews, librarians see the work. That’s hard to replicate with self-publishing.
One thing I always say—whether you self-publish or work with a traditional publisher, make sure whatever manuscript you put out is as good or better than what’s on the market. You want to be really proud of your product.
SK: What are some of the most in-demand genres right now?
MARIE: Because publishing is so slow-moving, “trends” are often over by the time writers notice them on the shelves. That glut of trendy titles coming out now, were often acquired 2 to 3 years ago, and those editors likely have moved on to the next “trend.”
That said, I see more editors asking for “romantasy” (fantasy with romantic elements). Graphic novels have seen a huge surge, although there is a caveat—they are a lot of work and expensive to produce. They are trending upward in the middle-grade space. Overall, the fantasy and sci-fi market is picking up, especially when it comes to female authors, diversity, and authentic voices.
In children’s [books]—those that have social/emotional learning within a plot, or mental health aspects are highly sought after. That goes for middle grade as well as picture books.
SK: You are also an author. How does that inform your “agent” hat and working with other authors?
MARIE: I started out as an author and worked with an agent, so I definitely have a lot of empathy for authors. Even with the Internet, there are so many things a beginning author doesn’t even know to ask about. Suddenly you have an agent, and an editor wants to talk to you on the phone—gah! Having all of that experience allows me to anticipate the author’s needs, and offer them the information and reassurance they want at each step.
SK: What makes you want to represent an author?
MARIE: First of all, I need to feel the work is something I’d be proud to represent—it’s something I’m excited about and I feel needs to be shared with the world.
Then, I need to make sure I can work with this person. It’s a professional relationship—it’s being able to work together, not just about the work. There are times when I’ve been absolutely crazy about the work, but passed because I just didn’t connect with the author.
And I need to feel the author is in it for their career. It’s not just a hobby.
SK: Similarly, what do you look for in a manuscript?
MARIE: Something that makes me sit up and take notice. That gives me the feeling that I’ve got to finish it! Give me a character I care about, then mess them up so bad I worry about them.
I’m also looking for a great point of view and great way of telling the story.
SK: What are some “don’ts” for authors hoping to land an agent (whether it’s you or someone else)?
MARIE: When pitching at a conference, don’t think this is your only chance. Sometimes we put too much pressure on ourselves and think it’s our only shot to get an agent. You can always query other people. Take that pressure off—instead, think of it as an opportunity and learning experience.
Also, don’t spend your whole time telling me how you wrote the manuscript; tell me what it’s about. Sometimes an author gets so caught up in the process, they don’t actually tell me anything about the plot.
And finally, don’t squander your time at a pitch. Come with extra questions—use any extra time to learn some more info and help jump-start your career.
SK: Any words of advice for the authors you’ll be meeting with?
MARIE: Use this conference in every way you can. It’s not just about talking to the editors/agents/authors. For me, some of the best information and career-jumping things I’ve learned have been from chatting with people I happened to sit next to. They are your peers, doing what you’re trying to do. You can learn a lot from the other people at the event. Don’t miss that opportunity.
And, it may go without saying, but please don’t stalk the agent. Make the most of your appointment, but don’t hang out in the lobby before or afterward hoping to talk to them for a few more minutes, and definitely don’t hang out by the ladies room door waiting to pounce!
There’s still time to register for this year’s Write Stuff conference! You can do so here.