Written by Sebastian A. Melmoth

November has come and gone, and if you participated in National Novel Writing Month, you’ve got a fresh fifty-thousand words to play around with. This new project might still be shiny and new, or maybe it’s lost that luster, but regardless, you’ve written something – whether it’s 5k or 50k – and that’s something to laude! But how do you keep that steam from NaNoWriMo from dying out, especially as holiday season is upon us? Here is a list of some ways to keep that creative flame burning to get you through the next couple of months.
 
Reread what you’ve got:
​Fifty thousand words is a lot, and to write it in thirty days means that you’ve been writing at a pace of approximately 1,700 words a day. That takes a lot out of you. Give yourself a day or two to simply relax, think over what you’ve got, and then read your manuscript like it’s a book off of your shelf. This isn’t a revision so much as a way to get back into what made you fall in love with your story in the first place and encourage you to keep on working even though the majority of it is finished. Burning out at this point is so easy, you’ve done so much, but it still feels like so little. Reading though will inspire that creative genius to keep working.
 
Make a plan:
Did you not reach that 50k word mark? Or maybe 50k is only the hallway point of your story? (Check out some word count guidelines.) If so, rework that outline. If you’re a planner, restarting that original outline will let you rework some of those first ideas and plan out something that is much more accurate to the draft that you’re writing now. Maybe reread your manuscript and really see how it split from the outline, then start an entirely new document to plan all over again. This way the story feels organic in its direction, and not like you’re forcing yourself to adhere your primary outline.

A plan can also refer to a physical plan that you make to keep yourself on track. This would function similarly to NaNoWriMo’s time constraint. If deadlines work for you, then plan out December like you planned out November. Give yourself a daily word goal, and really try and stick to it. Sometimes pretending that November is really two months long will help with keeping up your motivation. And, maybe you’ll get another 50k out of you.
 
Start to revise:
Whether you’re finished or not, sometimes it's beneficial to go back to the beginning and really tease out your first draft. If you’ve finished this first draft, then revising will get you to a more cohesive and better created second draft, and it’s the natural next step in the process. If you aren’t quite finished, but don’t know where to go, revising will help you get a better estimation of where you’re at and provide you directions with where to go. This is will also give you the opportunity to expand some of the plot and development that you have at the beginning of your novel to give you more room to work with toward the end. Stories have a way of getting away from us, and you could be fifty thousand words in and completely unable to recognize your project – and that’s okay. Revision will not only help you get to that original vision, but it will help your project grow and settle into a better version of itself.
 
Try your hand at a new project:
Sometimes the best thing you can do is let your manuscript sit, though I would only recommend this if you’ve completed a first draft. If you haven’t, I’d push yourself to keep going. Even though holiday season is upon us, finding time to finish off that last set of words while your head is still so embedded in the story will do you the greatest good. If you have finished a first draft, though, take a step away. Right now, your emotional connection to the story is too raw and to go into really harsh revisions, so they won’t get where you need to be. Above, I recommend revising, but only if your adding and further developing what you’ve got, not putting your project under the editing scalpel. Give yourself a week or more, Stephen King recommends six months, and focus on your next project. It’s always good to have a second project while you send another one out for submission anyway, so working simultaneous projects, if you can, can be beneficial from a marketing point of view.
 
Just take a break from writing:
Sometimes letting a manuscript sit, and letting your mind wander to a different place is the best thing for you. Read for fun. Journal but in a genre very different from the project you’re working on. Be creative, but with reckless abandon. Do other hobbies that don’t fall in the literary world at all. Remember that creativity is a never ending process, and that writing a book is equal parts exhausting and enthralling. As literary agents, we want to see that enthrallment, though. If taking a break is what you need to complete a project after a month of continuous work, then do that! Your project will still be waiting for you in a month, or a year. And letting yourself breathe will let the story breathe too. Sometimes it needs a break right alongside you.
 
NaNoWriMo is something to be proud of, but also something to look at with a level of objectivity. No one can write a perfect draft of a best-seller in a month – at least not anyone I know, so be gentle with yourself. What you have is a great start, and 2020 will bring twelve new months to let you work on making your project into the best story that it can be. And maybe one day, we’ll get to see it. Good luck!

Written by Ginger McKnight, Esq.

 
When it comes to their creations, writers often resemble candidates for Hoarders, holding onto manuscripts, notes, and random scrap paper scribbles for dear life, unable to let go. 
 
Writers fear what others might steal if they reveal even a tiny portion of what they have labored over and poured their hearts and souls into producing.  Writers become CIA-secretive about their work, avoiding writers’ groups, editors, beta readers and others that could help them improve their works and enhance their ability to become published.  They send sealed drafts to themselves via snail mail.  They assume that everyone is out to get … their ideas.
 
As an author myself, I understand and often resemble this impulse.  As an attorney, however, I have made it my mission to hold my fellow author’s hands and reassure them that all is well.  You have more control, and rights, as authors than you may realize.
 
Your legal “ownership” rights to your work are triggered you when take the ideas from your head and transfer these original works of authorship onto paper (or, more likely, computer file).  This is the essence of “copyright.”  A term authors hear all the time, and value, but often don’t fully understand.
 
What is copyright? 
 
Copyright is a property right.  You own it, like you own the watch on your wrist or the laptop on which you create your masterpieces.  You can use it yourself, sell it, allow someone to borrow it, or pass it down to your heirs.  But unlike physical property, copyright is not a possession you can hold in your hand.  It’s not the physical book your publisher releases to the world after you sign your blockbuster book deal.  It’s not the physical book that readers will purchase in the store, share with their best friends, and leave on their shelves along with the other contents of the homes they pass down to their children.  Copyright is  “intellectual property,” rather than a piece of physical property.
 
Copyright is a bundle of rights.  Copyright gives authors and other artists/creators the sole and exclusive right to do the following things (or give others permission to do the following things) with the works they create:

• Reproduce them
  • eg, print and publish multiple copies of your original manuscript.
• Distribute them
  • eg, sell them yourself or allow a third party, such as your local bookstore or Barnes & Noble, to sell them on your behalf.
• Publicly perform them
• Display the work publicly
• Perform publicly by digital transmission (if a sound recording)
• Create derivative works based on the original work
  • A “derivative work” is a new original work based on the first original work.  For example, each sequel to the original Harry Potter book by J.K. Rowling is a derivative work.  The screenplays and films based on these literary works are also derivative works.  JK Rowling owns the right to create those sequels, screenplays and films by virtue of having written the original.

 
Copyright gives authors control over decisions regarding their work and how it is used, sold, and presented.  Like other items of personal property, you can transfer ownership of your copyright to someone else (must be done in writing), or you can “license” or give others permission to use all or a portion of your copyright rights for a particular period of time, in a particular territory, or for a particular purpose, as you desire.  All exclusive licenses, and any nonexclusive licenses that last for more than a year, are also required to be in writing.
 
How do I get this copyright?
 
As an author, it’s an easy two-step process.  First, you create an “original work of authorship.”  Second, you “fix” that work “into a tangible medium.”  In plain English, this means you take an original expression or creative idea and capture it in some sort of tangible medium:  you write it down on paper, you put paint brush to canvas, you record or write down the song in your head, you click the shutter on a camera and fix the image onto film or digital file, etc. 
 
And that’s it.  You write your novel rather than just thinking about it.  And by virtue of creating it, you, like JK Rowling, gain that magical and potentially lucrative bundle of rights in your work described earlier.
 
At one time, authors and other artists had to engage in more steps to ensure their copyright rights.  Some of the things that authors continue to do, such as mail a sealed copy of their manuscript to themselves, place a © symbol on every page of their work, etc., are not required or necessary for works created on or after March 1, 1989[1].  Though anything an author does, within reason, to demonstrate notice or keep a record of authorship and relevant dates doesn’t hurt.  In fact, placing a © followed by your date of publication or creation and name on your manuscript helps to provide notice to all who dare touch or read it that it belongs to you.
 
Sharing your work and receiving/incorporating feedback from instructors, writing group members, beta readers and editors does not give them ownership rights in your work.  They only obtain rights in your work if you agree to give them rights in writing. 
 
Joint copyrights with a co-author are possible, if multiple authors intend to create a work together.  To avoid complications later, it is best to agree to the terms of your joint ownership in writing, and to register a joint copyright with the U.S. Copyright Office per the process described below. 
 
Don’t I have to file something to get a copyright?
 
You own the copyright in your work whether you file anything with the U.S. Copyright Office or not.  However, if you want to use the courts to enforce your rights in the event anyone tries to steal or infringe upon your rights, you must first “register” your work with the U.S. Copyright Office.  It is a simple, inexpensive process (online registration available), that involves filling out a brief form and paying a nominal fee.  As of this writing, the fee is typically $35 for online filings, though there is a range for different types of works. 
 
Do I have to file something in other countries to protect my work?
 
For the time being, no.  The United States is still party to international treaties that require other countries to respect and uphold the copyright rights you have been granted under U.S. law.
 
It should be noted that U.S. filings and treaties do not 100% guarantee that you will never become a victim of theft or plagiarism.  However, they provide you with rights that you can enforce in courts of law domestically and abroad.
 
If someone hires me to write something, do I own the copyright?
 
It depends.
 
Authors usually own the copyright in whatever they create, just by virtue of creating it.  However, if that work is a “work-made-for-hire,” then a third party owns the work.  A “work-made-for-hire” is (1) a work created for your employer as a part of your regular duties in the course of your employment; or (2) a work that a third party commissions you to write for them as an independent contractor, which arrangement must be agreed in writing, with an express statement that you are creating the work as a “work-made-for-hire” which will be owned by the third party instead of you.  Typical freelance writing work is owned by the author unless the author expressly agrees to a work-for-hire or copyright transfer in writing.
 
Does my copyright last forever?
 
No.  But it lasts long enough to enable you and your heirs to greatly benefit from the fruits of your labors.  Copyright in a work created on or after January 1, 1978 lasts for the author’s lifetime + 70 years.  Works created by corporations, works made for hire, and works created anonymously or under a pseudonym last 95 years from publication or 120 years from creation, whichever is shorter.
 
When your copyright expires, your work, like Shakespeare’s before you, goes into the public domain.
 
Can I copyright my title too?
 
No.  Copyright does not protect names, titles, slogans or short phrases.  It also doesn’t protect ideas, lists of ingredients or contents, or other things that are not full expressions or fixed in tangible media.[2]
 
If you develop a brand name or logo that you use in commerce, this can be protected by trademark.  If you develop a scientific invention or process, this can be protected by patent.  These are very different types of intellectual property than copyright, with different application processes and terms of existence.[3]
 
Anything else?
 
There are instances where others can use works that are protected by copyright without permission, either by contract under the doctrine of “fair use.”  Fair use is an expansive topic, but essentially allows use of limited excerpts from copyright-protected works for purposes of criticism, commentary, news reporting, teaching, scholarship, research and parody.[4]
 
These are the basics to get you started.  For more information, the U.S. Copyright Office provides a wealth of plain-English information on all things copyright on their website at www.copyright.gov. 
 
In the meantime, get to work on your masterpieces.  And don’t fear sharing your work with the rest of us.


[1] For more information regarding older works, and other information regarding copyright, see the U.S. Copyright Office’s Circular on Copyright Basics, https://www.copyright.gov/circs/circ01.pdf.

[2] For more info, see the U.S. Copyright’s Circular on Works Not Protected by Copyright, https://www.copyright.gov/circs/circ33.pdf.

[3] For more info, see the U.S. Patent & Trademark Office, https://www.uspto.gov.

[4] For more information, see https://www.copyright.gov/fair-use/more-info.html

This season has been one of epic growth for Ladderbird, as we continue to drive our message through all part of the business. By staying true to our vision and focused our goal of changing the world one story at a time, we have attracted some incredible people as both clients and team members. Our new Foreign Rights Agent has worked at both Trident Media and Simon & Schuster. 

Please welcome, Katelin Spector. 


What made you decide to join the Ladderbird team?

It's my professional mission to help get an author's voice heard around the world. It's my personal mission to use literature with Jewish themes to facilitate conversation on current issues between Jews and those who align themselves with Jews in order to create a more inclusive community. In Ladderbird, I saw an opportunity to combine my professional and personal interests while working with a wonderful group of like minded individuals who are equally interested in diversity of all kinds.

Tell us a little about  your background?

I was born in Louisiana and remained there through law school. I have a BA in English and a J.D./D.C.L. from Louisiana State University. By my final year, I knew law wasn't the right fit and looked for something else to pursue. I didn't need to look far. The paperback novels (bodice ripper romances, if you must know) stashed in my bookbag were the answer. I moved to New York the day I graduated and completed a certificate course in publishing at NYU. Since then, I've had a wonderful and fulfilling six-year career in foreign rights working at a literary agency, Big 5 publishing house, and publishing startup. 

What kinds of stories and writers really capture your attention?

I'm still a devoted reader of all things romance. I most enjoy a story that gives the reader time to learn about each character individually before knitting them together as a couple. Characters don't have to be perfect, but each does have to be a complete person--faults and all. Having complementary strengths and weaknesses can be a great foundation for the characters' relationship. 

I can always tell when a writer puts a little grain of themselves or someone close to them in a story. It shows in the attention to detail and wholeness of the characters which is necessary to truly transport the reader to the world the writer has created.


What types of stories do you think do well on the foreign market? 

Stories of love, loss, coming of age, and family are universal. The particulars of each of our stories may be unique to us, but this core group of four life experiences is something that pervades across time, distance, language, and culture. Everyone can relate to these themes.

What do you like to do when your not agenting, reading or doing all things bookish?

I'm an avid hiker. I was lucky enough to find a partner who loves it too, and we travel as often as possible to find the most beautiful vistas. If travel isn't an option, you can find me hiking around Central Park. 

Is there anything else clients and fans of Ladderbird should know about you?
​
I'm a tireless advocate for your book. Foreign rights is a long game and takes a lot of persistence (even more than getting the initial deal for English rights, if you can believe it). However, nothing makes me happier than finding that perfect publishing house for your book whether it be in Romania, Mongolia, or other equally awesome countries.

Compassion, drive and a fierce intelligence were just some of the factors that attracted the team at Ladderbird to new agent Elle McKenzie. Elle's background on the editorial side as well as her experience with book-to-film made her an essential addition to our growing team. We are over the moon to have her on board. 

Let's get to know Elle McKenzie!

What made you decide to join the Ladderbird team?

While deeply submerged in this explosive movement of expressionism with my fellow POCs simply advocating for a voice, I knew I wanted to join an allied agency equally vying for change and visibility for all marginalized groups. Like all great manifestations, Ladderbird entered my life at exactly the right time. Upon discovering that our passions aligned to form a dedicated team of agents shining a light on underrepresented voices, naturally, it didn’t take much more convincing for me to solidify our alliance. And the rest — one might say — is history.

Tell us a little about your background.

I was born in Louisville, Kentucky where I lived for the first eight years of my life before moving to Upper Marlboro, Maryland in the year 2000. It was around this time when I discovered my passion for storytelling while submerged in fictional literary worlds. My father, an immigrant from Jamaica, instilled very early on in his first-generation American children the importance of hardwork and determination. My mother, an award-winning journalist, spoonfed us the immense value and power words can have on humanity. Following high school, I attended Drexel University where I obtained my B.A in Screenwriting & Playwriting. True to my millennial “slash” generation, I have professional experience in various industries that include film, digital media, and publishing.

What makes you excited about taking on a new author? What kind of stories and writers really capture your attention?

Besides the thrill that overcomes my senses when diving headfirst into a new literary world, I’m most excited to expand my community of like-minded individuals who share a passion for storytelling. The goal of every creative (I believe) is to uplift and extend their passion as a willful, lending hand. As a proud member of the QTPOC community, I’m easily enamored by writers unapologetic to live out their truth. And truth, as we all know, can be conveyed in many ways. No matter how a writer identifies, if their story is able to tap into my emotions and make me feel, then I want to do everything in my power to bring their vision to full fruition.

Talk about your editorial process.

Always, at the root of my desire is to honor the values of the writer. I believe in creating a positive and constructive creative experience that allows the sharing of ideas and suggestions. As an editor, I will work diligently to enhance the manuscript and supply aiding resources that align with the writer’s overall vision. All in all, we are a team both striving to share the story with the world.
 
What’s are your top three all time favorite books? Or what are three books that have moved you?

Oh, man… it’s difficult for me to settle on my all time favorite books. But, the two most recent books that have moved me are Pleasure Activism: The Politics of Feeling Good by adrienne marie brown and Freshwater by Akwaeke Emezi. And the book I will always accredit to moving me in my late teen years is The Perks of Being a Wallflower by Stephen Chobosky.

What do you like to do when you’re not agenting, reading and editing?

Find me in my words. When I’m not agenting/reading/editing, I’m writing. Screenwriting, prose writing or journaling, I’m somewhere filling blank pages with the intent to tell a story. I also love going on various adventures with my friends or simply browsing new true crime docs to binge. 

Is there anything else writers should know before they query you?

I’m a compassionate person and consider myself someone very easy to talk to. Please feel free to communicate with me any questions and/or concerns you have with your manuscript before submitting.
Happy writing <3


Thanks so much for letting us get to know you!

Writers, remember, Elle accepts queries through Query Manager at QueryMe.Online/ElleMcKenzie

When we decided to expand the agency, we didn't just want incredible talent from diverse backgrounds. We wanted agents who represent the full gamut of genres. So, when we found Leah Pierre, we were ecstatic to find out that she acquires Romance and number of other genres that Ladderbird did not previously represent.

Coming to you from the City of Brotherly Love. We are delighted to introduce Leah Pierre.

What made you decide to join the Ladderbird team?

I joined the team because I love that Ladderbird is committed to diversifying the industry by representing marginalized voices and unique work. As a young African American woman who did not see myself in books while growing up, diversity means a lot to me and it is the reason I decided I wanted to go into the publishing industry. I want to be a part of the process that helps get diverse books past the gatekeepers within the industry and into the hands of children and/or adults of color so that they can finally see themselves represented in a positive light.

Tell us a little about your background.

I was born and raised in Houston, Texas! As a bibliophile, I knew that publishing was the industry for me to work in so after high school I moved to the East Coast to pursue my dream. However, I also knew that New York was not for me so I settled in the Philadelphia area for college. I graduated from Rosemont College with my bachelor’s in English and History this past May. In addition to agenting, I am pursuing my M.A. in Publishing from Rosemont.

What makes you excited about taking on a new author? What kind of stories and writers really capture your attention?

I am excited to guide them through this maze of a process and to not only help them achieve their dream but fight for their dreams! I have always found the idea of working closely with authors appealing as I am very interested in the creative process behind writing books. I strongly believe that authors should write the books they’ve always wanted to read and I cannot wait to help them share their book with others.

I love stories that have a meaning behind them and will leave such an impact upon the reader that they are still thinking about the book days after they have finished. Stories that capture my attention are those that that will leave me in tears or blown away, and that have good plot twists and complex character. Writers who capture my attention are the ones with unique and realistic voices such as Ta-Nehisi Coates and those who can build fantasy worlds like Sarah J. Maas.

Talk about your editorial process.
​
Editing is my first love! I initially wanted to be an editor in the industry.

I like to do a lot of developmental editing so when I edit, I like to take a deep dive into the plot, the characters, and the setting. I look at big-picture things such as wording, organization, and consistency as well as plot and character development. I use track changes, but I tend to switch to the good ole’ red pen and paper some time. My edits are always suggestions and I do my best to stay true to the tone and voice of the author.

Fun fact: I am currently a part of the Tessera Editorial Mentorship. I am super excited to be a part of this mentorship. 

What’s your top three all-time favorite books? Or what are three books that have moved you?

My top three favorite books of all time? Oh, man, that’s tough. I’m going to have to answer in series which are:

1. Throne of Glass Series by Sarah J. Maas
2. Ember in the Ashes Quartet by Sabaa Tahir
3. And I Darken Trilogy by Kiersten White

Although, I am currently reading Red Rising by Pierce Brown, and it is quickly rising to the top of the list.
Three books that moved me are:

1. Sadie by Courtney Summers
2. Maus by Art Spiegelman
3. The Girl Who Smiled Beads by Clementine Wamariya

What do you like to do when you’re not agenting, reading and editing?

When I’m not agenting, reading, and editing, I like to keep busy! But when I do get down time, I like to catch up on all the movies and tv shows I’m always behind on. I also enjoy traveling, cooking, trying to exercise, journaling, and spending time with friends and family.

Is there anything else writers should know before they query you?

I think the relationship between an agent and an author is extremely important so know that I will be completely open, honest, and transparent with you. I don’t believe there is such a thing as stupid questions so please don’t hesitate to come to me for anything. Ladderbird seeks to foster long-term relationships with its authors. I am all for that and it is another of the many reasons I wanted to work for the Agency as I am here for the long-haul.

Thanks so much for letting us get to know you! Writers, remember, Leah accepts queries through Query Manager at queryme.online/leahpierre

We looked all over the country to find literary agents who shared a deep love of words and a passion for our mission to bring diversity to the publishing industry. When we first spoke to Kianna, we knew she had to join our team. Her knowledge and enthusiasm bubbled out of her like magic. She lives on the West coast and has experience in film as well as literature.  

Let's get to know Kianna Shore.


What made you decide to join the Ladderbird team?
I love writing, writers, and working with writers. I decided to join the Ladderbird team after reading their mission to champion underrepresented voices. As a bi-romantic Jewish Korean-American woman (say that five times fast), I understand the importance of good representation. I want to help jumpstart the writing careers of underrepresented authors and get their stories out into the world.
 
Tell us a little about your background.
I was born in South Korea and adopted to a Jewish family in Texas, where I lived for the rest of my very active childhood. Wanting to move to a big city, I studied International Relations, Film & Television, and Japanese Language & Literature at Boston University. While at BU, I studied abroad in Tokyo for a year and London for a semester. After falling in love with the stories of the world and storytelling itself, I decided to attend UCLA to receive an MFA in TV Writing. I currently live in Los Angeles and am a writer for a webseries.
 
What makes you excited about taking on a new author? What kind of stories and writers really capture your attention?
I absolutely adore great characters and dynamic character relations. They don’t have to be good people or empathetic characters, but I do have to understand who they are. Really make me fall in love with the characters and have their internal struggles weigh heavily on them and the plot. I love stories of identity, coming of age tales, and found family narratives. I am looking for a great story that is a fast and fun read and from a unique perspective.
 
Talk about your editorial process.
As an editor, I’m going to make sure that this is the best MS possible before sending it out on submission. I won’t sugarcoat things and will call out anything that might be problematic. However, I’m not here to be a critic. I won’t just point out what’s wrong, but will offer suggestions and we can brainstorm solutions together.
 
All my notes and suggestions are all done with love. Working within the writer’s vision and tone is of the utmost importance to me and it’s understood that we both want the MS to be the best it can be. We’re a team and my goal is to work with you, not against you.
 
What are your top three all time favorite books? Or what are three books that have moved you?
As a young millennial / old Gen-z’er, it would be a crime to not mention Harry Potter. Harry Potter began a lifelong love of reading and I definitely have an annual pass to Universal because of it.
 
I love the Throne of Glass series. I love how badass and skilled the protagonist is and the worldbuilding involved. The balance of character driven and plot driven elements works really well.
 
A non-fantasy book that I found incredibly moving is In Order to Live, a memoir about a North Korean defector’s journey to freedom. Although it is non-fiction, it reads like dystopian fiction, which makes it all the more harrowing.
 
What do you like to do when you’re not agenting, reading and editing?
When I’m not agenting, I write! I can’t escape my love of words. I am a writer for a popular web series and am working on my own television pilots. I love running, learning languages, playing my Nintendo Switch, and watching TV.
 
Is there anything else writers should know before they query you?
Please send me your most polished MS possible! Have you had someone that is not a friend or family member read it? Do you have a critique partner (or two)? It takes a lot of courage to query agents and I want to make sure you have the best chance possible.
 
Thanks so much for letting us get to know you! Writers, remember, Kianna accepts queries through Query Manager at queryme.online/KiannaShore

The whole team is thrilled to welcome Trevor Ketner to the Ladderbird family. Trevor has an extensive background in publishing and has a deep commitment to our mission! 
 
So, without further ado, I present Trevor Ketner:
 
What made you decide to join the Ladderbird team?
After quite a few years in different publishing roles I realized just how tailored my experience is to being a literary agent. So I’ve been on the lookout for a position with an agency for a long time. When I read about Ladderbird’s commitment to uplifting, supporting, and fighting for a more inclusive literature I knew I had to become part of the team Beth is building.
 
Tell us a little about your background.
Originally from New Mexico, my first solid food almost certainly was green chile chicken enchiladas. After going to high school in a small mountain town in southern New Mexico, I returned to my hometown of Albuquerque to attend the University of New Mexico. As I worked my way toward an English and Philosophy degree, I discovered just how much I loved writing—poetry especially. I worked on the long-respected Blue Mesa Review and, upon graduation was accepted as a poet into the MFA program at the University of Minnesota. My three years in Minneapolis and the amazing literary scene there were wonderful. I was lucky enough to intern and work full-time at Graywolf Press in marketing and editorial capacities. I was also teaching and editing poetry for Slice Magazine. While in Minneapolis I met my husband and when we had both graduated we moved to New York where he had been accepted into an amazing museum and library science program. I was taken on as a publishing intern at Catapult where I got my first real taste of New York literary life. Now I’ve been in New York for three years which means I have my favorite gay dives, bookstores, and a bodega guy near my office who reserves a bagel for me every day. I currently live in Washington Heights with my husband, our roommate, and our roommate’s cat, Cat. I have three poetry chapbooks out in the world, the most recent about Robert Rauschenberg. And I’m the publisher and founder of the micro, poetry press Skull + Wind Press. 
 
What makes you excited about taking on a new author? What kind of stories and writers really capture your attention?
I am always excited by the work of fellow LGBTQ writers. As we as a community begin to fight harder and more openly for affirmation and our own happiness, we’ve seen a huge, diverse groundswell of amazing writing from queer people. As a nonbinary person who uses they/them pronouns, I am always interested in work about gender, but especially when a writer is looking very squarely and transparently at the intersection of gender and something else whether it’s race, culture, economic concerns, whatever resonates most with them and how they think about their identity. Part of the work of being in such a lush queer lit scene is making sure you’re writing something new or a new approach to something familiar. That’s how you stand out.
I also love fighting for people I believe are doing important work of any kind, queer-focused or not. There’s something so impossibly invigorating about getting behind someone else’s work. I’m a Taurus, so my ability to believe in other people is, I think, one of my great personal strengths.
 
Talk about your editorial process.
I can be a heavy editor (though I promise I edit with love). Additionally, all of my edits (aside from copy edits and fact checking) are merely suggestions—the book will always be the writer’s book, not mine. My job as an editor is to fall in love with a project, to find the core of that project, evaluate that potential, and shape the project to realize that potential as much as possible. My job as an agent is then to find the best home for the work—a home whose values and resources line up with the values and goals of my author and their project. It certainly sounds simple and in some ways it is. But it’s also a massive amount of work (with a lot of using track changes in Word).
 
What are your top three all time favorite books? Or what are three books that have moved you?
I could never name favorites, but here are three books that were crucial in my development as a person and my understanding of worlds within and outside my own experience:
Written on the Body by Jeanette Winterson
Crush by Richard Siken
Notes of a Native Son by James Baldwin
 
What do you like to do when you’re not agenting, reading and editing?
There are other things?
Kidding (mostly).
I love to cook which is weird for someone living in New York. My favorite way to unwind is to come home after a long day, put on some sweats and a podcast (Reply All is always a good choice) and set to learning some new dish. Have lately been trying to perfect my carbonara recipe which, like writing and agenting, seems so simple but takes a great deal of expertise to get just right.
 
Is there anything else writers should know before they query you?
I prefer the use of the honorific Mx. By no means will a query that has the incorrect honorific be immediately rejected (I’m not like that). However, if you use Mx. it shows me you did your research and actually thought about how we would be a good team, which means you will likely get more of my time and a greater benefit of the doubt. Also it’s respectful and makes me feel nice.
 
Thanks so much for letting us get to know you! Writers, remember, Trevor accepts queries through Query Manager at queryme.online/TrevorKetner

Since I'm heading down to Richmond, VA to attend the James River Writers Conference this weekend, where I'll be on a panel discussing what makes a great query, I thought I'd offer some advice here. The trick is that every agent is drawn in by something different, so I can only speak to my own experience. 

Querying is an incredibly difficult art form, mostly because you need to say an awful lot in very few words. This is not the primary skill set of most longform writers. But, let's take a look and see if we can make the process any easier. 

TIP #1 Boil it down to the basics by following the action. 
I get queries all the time that meander through dates and names and definitions of terms and all kinds of extraneous detail that can be very important in the manuscript itself, but serve to be dull and often confusing in a query. 

Take a look at these examples (these are not from anyone who has ever queried me):

"Belinda turned sixteen on March 23, 2018, three days after her mother died. Her mother, who was actually a Zolifant- a feline/fish hybrid, was born on November 22, 1984. Heligrade, Belinda's mother was an avid lyre player. Belinda hated the lyre because of all the strings and had given it up back in 2016. Now, three months later Belinda was upset because she'd lost touch with some of her friends who were also sixteen."

We can see this isn't a very engaging way to write. Think of writing your query as writing the back copy of your book. In fact, go pick up your favorite books and see what their back copy says to get an idea of what makes a good pitch. You have about two paragraphs, maybe three to get an agent to see what is new, interesting and brilliant about your book. 

Back to poor Belinda, what if we wrote all that nonsense a little more succinctly?

"Sweet sixteen isn't so sweet when you're the daughter of a feline/fish hybrid. Belinda had never been like the other kids, but after the death of her mother, Belinda finds herself adrift and struggling with friendships that she thought she could count on."

I'm a lot more interested when I can parse out where the drama is without having to read the query more than once. Hint: we don't read them more than once. 

Tip #2 The Hook
I know you've heard this one before. You have to have a hook! It's not just your query letter that needs it. It's whole darn book! Yipes. But, what is a hook, really? 

It's the thing that makes your book stand out from all the rest! A great place to check out some one-line hooks is Publisher's Marketplace. Every day they list deals with information about who sold what and to whom, but they also give a one or two line description of the work. These tell you exactly what's exciting about any particular novel. 

Here's one from  October 1st that does a nice job:
"Marianne Cronin's THE ONE HUNDRED YEARS OF LENNI AND MARGOT, about an exceptional friendship between a 17-year old girl and 83-year old woman, both with a terminal illness, who paint a picture for each of the years that they have lived, pitched as THE FAULT IN OUR STARS meets THE ELEGANCE OF THE HEDGEHOG."

We've seen plenty of terminal disease books about family, romance, or friends, but this one adds one more layer by making a May/December friendship. It's not earth shatteringly different, as evidenced by the easy use of current comps. But, it's different enough to keep us interested. 

You don't have to reinvent the wheel, but you could change the material, or add a different rotor, give it some new spokes (I'll stop beating the metaphor now. Make sure the agent you're querying knows why this book is special and more importantly, why they should keep reading. If your hook is a teenager who is 1/4 fish and 1/4 feline, you may need to dig a little deeper. 

Tip #3 Be honest
This is a big one! At Ladderbird, we're super excited to find new authors who we can work with to build their careers, but the foundation of trust starts with honesty. I love a query that tells me why you chose me or my agency, but not one that predicts the future! 

Good Example:
"I chose Ladderbird Literary Agency because their mission to support marginalized voices is also important to me, and your obsession with Helen Oyeyemi solidified that choice! White is for Witching is my favorite book."

Bad Example: 
"Beth Marshea, you and I are basically soulmates and I know that my book BORING TROPE #THREE is going to be an instant bestseller with your careful guidance."

Overselling your work doesn't make agents think it's great. It's a red flag. It shows that you're probably pretty naive about the process and possibly difficult to work with. Hint: I only choose to work with writers who I want to hug. That's just one non-negotiable criteria I have. 

In the same vein, if you tell me you have published books in the past I will look them up. Every. Single. Time. So, don't lie and say you've published something when you have not. If it was traditionally published, let me know who published and in what year. If it was self published let me know. I'm basing the majority of my decision off the story you're submitting, not your past work. 

If the story you are submitting to me is currently self-published and available for purchase, you should not submit it. 

Tip# 4 Be clear about what the manuscript is
This one is probably a no brainer for most, but I have gotten a number of queries that haven't specified what genre the manuscript is, or have left off a word count, or I've  received queries where there was no title. So, let's address these things one at a time. 

Genre- For some books this is really simple and for some it's a giant pain in the butt that no one wants to deal with. Let's start with simple. You wrote a contemporary story about a sixteen year old girl whose enemy at their boarding school ends up in detention with her and becomes her lover. Their love is on fire and most of the plot centers around sexy scenes where they're together (whether or not they actually have sex). Congratulations, you have written a YA Romance. Please mention that in your query. 

Okay, let's kick it up a level or two. Same time period, same girl, same enemy, but it's a boarding school for witches, the enemy is also a girl and although their relationship plays a major part in the story, the plot is centered around investigating a murder on the school grounds. Is it a fantasy? Is paranormal romance? Is it mystery? It is definitely YA. What do you do? You could leave off the genre and use comps to help set your book in the market correctly. But I like to see where authors think their book belong. So, really think about what the most important aspect of your story is? If you took away everything that wasn't the main focus, where would the story sit? Or, if you're using comps (and I love it when authors do), see what genres those books are listed under. Personally, I'd call this one a YA Paranormal Romance, but there's a case to be made for several other categories.

In the end, the genre isn't going to make or break the agent continuing forward with reading, but it helps them know what to expect. 

Word Count- This is about as basic as it gets, but please do include the manuscript's words count. We like to know what we're getting into when we request a manuscript. More than that, there are general rules of thumb. Most books fall between 75k-100k, much less than that is likely too short and has issues that need to be fleshed out. High word counts usually means that the author hasn't been tough enough with their editing blade! It's true that now and then there's a book that is either high or low and still hits all the right notes. But, they're rare. So, if you find your novel outside these parameters, go back through a few more times and see where things could be added or cut. 

Title- Yes, the title will change. Of course, we know this. Maybe I'll change it. Your editor at the publishing house will almost certainly change it. If they don't, the marketing team likely will. But, I still want to know what you're calling this incredible tale! It helps give it life in my mind and gives me a way to refer to it when I think back. That may not seem important, but when I am choosing between two stories and I can't remember the name of one, I'm more likely the pick the one with the title I remember. 

Tip #5 Who are you?
I love to know my writers! Your writing credits are important to me and I especially want to know if you've been published in any outstanding magazines, or if you've won any awards. But, I also want to know you! Have you ever had a strange job? Been a forklift operator for a foreign entity? Ever modeled necklaces? Do you hate dogs, but adore chinchillas? Let me know. I like to feel like I have a personal connection with everyone who submits to our agency.