Frequently Asked Questions:

Q: “Teresa, how do I find an agent?”
 A: Take a look at www.aar-online.org; read acknowledgment pages in books (most authors thank their agents); look through directories of agents and the Literary Market Place; go to writers' club meetings, conferences, and authors' events; ask everyone you know if they know any agents; hang out with writers; use the Internet--you can find an agent's name by searching the author's name and book title and the word "agent".  [ Do your homework and seek agents who love to sell the genre you are writing; if you write young-adult novels, then you'd want an agent who can sell young-adult novels.]

How to: pitch to agents; query agents; select the right one for yourself; work with the agent; hire a literary attorney—those are other mega subjects. Ask Teresa for a consultation.

 Q: "Teresa, how did you find your agent?"
 
A:  I did everything listed in the previous answer. Then I sent out query letters to dozens of agents who wanted novels. Don't forget to include the SASE (self-addressed stamped envelope) if you want a response. Some agencies get so many queries that they don't have staff time to send "no thank you" letters even when you enclose a SASE.  I call them "no thank you" letters instead of "rejection" letters.

So, early 1999 an agent wanted to represent me!  I was thrilled.  Somebody wanted me!  But I realized later . . . this agent was not right for me. I was the rookie; the agent was also a rookie.  At the time, this agent had no contacts with editors at publishing houses.  The only advantage this agent had over my pitching myself to editors was that her letterhead had the words "literary agent."  This agent was a kind person, but I just needed someone with experience and contacts.  So we terminated our agreement. 

In the summer of 1999 I sent out over 60 query letters.  Two to four months later, many agents asked to see more chapters; 4 asked to see the entire manuscript (ms.).  I gave one agent a 3-week exclusive reading time. That agent didn't "fall in love" with it.  Then, next agent, next 3-week exclusive; this agent said he couldn't connect with the themes.

Agent Stacey Glick at Jane Dystel Literary Mgmt. read my ms. over the holidays.  She called me and said what every writer dreams of hearing:  "Teresa, you're a talented writer, and I would like to represent you."  Then she proceeded to tell me what she loved about my ms. and what needed further work.  "Would you be willing to do some rewrites?" Stacey asked.  "Yes!" I replied. I was on Cloud-Nine for weeks.  Yes, I worked hard on the rewrites.

Stacey was a new agent at the time, but she was with a well-established agency, and she was not new to the book industry.  The agent/author relationship is like any business relationship.  Each party weighs the benefits and the risks and decides to enter or not to enter into an agreement.

Funny anecdote: When I finally met Stacey in the summer of 2002 (though we had developed the relationship via e-mails and phone calls), she told me how she found me.  She said that because she was a new agent to the firm and wanted to build her clientele, she went to the "slush pile" to find "nuggets."  She liked what was in my query letter and first 2 chapters. [Thank you, Stacey, for going to the "slush pile" that day!]

 Q: "How do I handle rejections from agents?"
 A:  Who in the book industry first used the word "rejection" in describing a "no, thank you" letter?   Luck has a lot to do with finding the agent who feels passionate about your work; and in turn the agent has to find the acquisition editor who feels the same way.

So, keep on sending query letters. Look at acknowledgement pages of books you love to read and are similar to what you're writing; authors usually thank their agents and editors.  Most agents have websites; get their submission guidelines that way. Go to AAR (web link on my website--page for writers).

Pitch, pitch, pitch.  Polish, polish, polish the ms.  Make time to read.

Take a deep breath, brave writer.

 Q: "Can someone steal my ideas or book title?"
 A:  Titles and ideas cannot be copyrighted. Brilliant thinkers are everywhere.  But, who finishes the project and gets it published? YOU can be that writer.  How?  By polishing your work, getting some pieces published in local newspapers, and making a reputation for yourself in writers' organizations and in the community, so that YOU will be recognized as the "creator" of that work.

Also, the “working title” of a ms. (manuscript) doesn’t have to be the final title.

As in any field, there are people who are inexperienced or unethical. Don't send out your entire ms. to just anyone. Check out their references. [For example: When you query agents, find out if the agent or the agency they're from is a member of AAR (Association of Authors' Representatives); AAR follows a code of ethics.]

You can get your work copyrighted through the U.S. Copyright Office at the Library of Congress. Go to www.loc.gov/copyright

(If you have multiple short stories, give the collection a name and copyright the collection to save money.) Processing time could be 6 months or longer.

 OR a cheaper way to copyright your work is to mail (via U.S. mail) the ms. to yourself and not open the envelope.

 LOVE MADE OF HEART was not the original title of my novel. The first title I thought of was Grace (there were already books with that title, and I could have still used it); the second title was fabulous, but it didn't “fit” the novel. Everyone who played a role in the "marketing" of the novel liked LOVE MADE OF HEART, so that's that. Plus, there is a poetic reason for the title... The Chinese word for "love" is made up of many brush strokes. In the center of the word "love" is the word "heart."  Love is made of heart…

Gather advice from people, weigh the pros and cons, and decide for yourself.

Risk: Writers who want to be published are risk-takers. Anytime we want other people to read our work is taking a risk (even when the intention is to write for our family so that we can leave a legacy).  Will they like  my work?  How will I be judged?  Will anyone steal my work?  Will they . . . ?  Will I  . . .  ?  As in any adventure, sometimes we get to the next spot on the map first, sometimes we don't. Create your own map, your own adventure, and follow your heart.

 Q: "Should I quit my day-job and focus on the writing?"
 A:  Being a writer can be a thankless job, since a project can take years to produce and then years to sell.  A day-job is a good thing because it helps pay bills, provide medical insurance, gives us vacation and sick days.  However, if the day-job is toxic to your mental health, then, it's time to line up a new job, move on. 

I did write Love Made of Heart while working full-time. I had started the project in 1990, bringing pages to my Critique Group (we met every other week for ten years).

I entered a contest in 1997 (sponsored by the Jack London Writers Conference); on the day of the conference, I was astounded to see so many writers gathered at one place. From this conference I met members from the California Writers Club whom later became friends and mentors.

I couldn't stand it anymore. In 1999 I took two leaves of absence (3 weeks each) from my full-time job to rewrite the book.

With the help of Luisa Adams (who encouraged me to go "deeper" with the writing) and Martha Alderson (who taught me how to plot a front-story so as to give my protagonist a character arc) and a personal friend Susan (who read with fresh and unbiased eyes and gave constructive feedback)... I had a marketable manuscript.

These days, I work part-time at a wonderful organization.  How can we focus on the writing if we're constantly worrying about money and medical and dental coverage, right?

  Teresa welcomes your questions about how to find writing communities and get your work published.

www.LoveMadeOfHeart.com