100 Agents to Submit Your YA Novel to Right Now!

A giant list of 100 #agents looking for #YA stories! Plus, a FREE organizer to help you keep track of your submissions! Are you looking for YA literary agents to submit your novel to? You’ve come to the right place!

I’ve rounded up a ginormous list of one hundred literary agents who are looking for the next great YA novel (which is going to be yours, right?).

The links will take you to the agent’s profile or submission guidelines so you can find out more. Some agents listed specific stories they were looking for so I included those here. If there’s nothing specific listed beside an agent they are likely open to all genres, but always double-check and do your research as things may change!

And of course, before you submit your novel to any agent always edit it first! (Preferably until you want to cry. Or sleep for days.)


Giant List of YA Literary Agents

Last updated: April 15, 2015

1. Maria Vicente of P.S. Literary

2. Kurestin Armada of P.S. Literary–select YA

3. Eric Smith of P.S. Literary–seeking diverse YA, particularly Sci-Fi/Fantasy

4. Lydia Blyfield of Carol Mann Agency–seeking YA with strong hooks/modern themes. NO High Fantasy.

5. Pamela Harty of The Knight Agency

6. Elaine Spencer of The Knight Agency

7. Lucienne Diver of The Knight Agency–any, preference toward Sci-Fi/Fantasy & Romance

8. Nephele Tempest of The Knight Agency

9. Melissa Jeglinski of The Knight Agency

10. Luara Zats of Red Sofa Literary–particularly interested in retellings & contemporary. NO dystopia or paranormal/contemporary romance.

11. Dawn Frederick of Red Sofa Literary

12. Kevan Lyon of Marsal Lyon Literary Agency

13. Kathleen Rushall of Marsal Lyon Literary Agency

14. Shannon Hassan of Marsal Lyon Literary Agency–open to a wide range of genres, with particular interest in diversity, contemporary/realistic, magical realism, mystery, horror, and fantasy.

15. Jenny Bent of The Bent Agency

16. Gemma Cooper of The Bent Agency–preference for contemporary settings, standout romance, strong friendships, & sibling relationships

17. Heather Flaherty of The Bent Agency–any YA, but would love to see contemporary stories with Sci-Fi or Fantasy elements, retellings, and horror.

18. Louise Fury of The Bent Agency

19. Molly Ker Hawn of The Bent Agency

20. Susan Hawk of The Bent Agency–open to mystery, fantasy, scifi, humor, boy books, historical, contemporary (really any genre).

21. Victoria Lowes of The Bent Agency–any, but favorite genres include historical fiction, suspense, mysteries, and romance

22. Beth Phelan of The Bent Agency

23. Brooks Sherman of The Bent Agency–seeking “young adult fiction of all types except paranormal romance. I would especially love to get my hands on a creepy and/or funny contemporary young adult project. “

24. Taylor Haggerty of Waxman Leavell Literary Agency

25. Kirsten Carleton of Waxman Leavell Literary Agency

26. Holly Root of Waxman Leavell Literary Agency

27. Scott Waxman of Waxman Leavell Literary Agency

28. Reiko Davis of Miriam Altshuler Literary Agency–“Actively looking for young adult and middle grade fiction—whether it be contemporary, historical, high fantasy, or simply a story with a timeless quality and vibrant characters.”

29. Miriam Altshuler of Miriam Altshuler Literary Agency–“most interested in contemporary and historical YA… She loves dystopian worlds and great stories that have some fantasy to them…but that are not strictly in the fantasy genre.”

30. Sara Crowe of Harvey Klinger Inc.–“She is consistently ranked among the top three YA and MG agents in Publishers Marketplace.”

31. Andrea Somberg of Harvey Klinger Inc.

32. Laura Rennert of Andrea Brown Literary Agency–“particularly seeking contemporary, multicultural, sci-fi/fantasy, paranormal, alternate history, retellings.

33. Caryn Wiseman of Andrea Brown Literary Agency–contemporary YA, NO fantasy

34. Jennifer Laughran of Andrea Brown Literary Agency

35. Jennifer Rofe of Andrea Brown Literary Agency–seeking contemporary, romance, and urban fantasy.

36. Jennifer Mattson of Andrea Brown Literary Agency–particularly drawn to fantasy

37. Stacey Kendall Glick of Dystel and Goderich Literary Management

38. Jim McCarthy of Dystel and Goderich Literary Management

39. Lauren Abramo of Dystel and Goderich Literary Management

40. John Rudolph of Dystel and Goderich Literary Management

41. Rachel Stout of Dystel and Goderich Literary Management–“Believable and thought-provoking YA as well as magical realism.”

42. Erin Young of Dystel and Goderich Literary Management–“Interested in all forms of young adult fiction, particularly fantasy, paranormal, and magical realism.”

43. Rachel Kent of Books & Such Literary Management

44. Katie Reed of Andrea Hurst & Associates–any, but particularly seeking contemporary, romance, sci-fi/fantasy, retellings.

45. Genevive Nine of Andrea Hurst & Associates–seeking sci-fi/fantasy, mystery, historical fiction, retellings (classics, fairy/folk tale, myth), contemporary.

46. Sarah Davies of Greenhouse Literary–“currently very keen to find a powerful big YA fantasy (in the vein of Kristin Cashore) and unique contemporary, realistic fiction; also loves historical, so long as it’s got strong appeal to contemporary teens. “

47. John Cusick of Greenhouse Literary–“Particularly keen to see fast-paced/thrilling/heart-breaking stories, contemporary realism, historicals, speculative fiction, sci-fi and fresh fantasy.”

48. Sandy Lu of L. Perkins Agency–particularly seeking Victorian historical thrillers or mysteries.

49. Leon Husock of L. Perkins Agency

50. Rachel Brooks of L. Perkins Agency

51. Laura Bradford of Bradford Literary Agency

52. Natalie Lakosil of Bradford Literary Agency

53. Sarah LaPolla of Bradford Literary Agency

54. Amy Boggs of Donald Maas Literary Agency–“All things fantasy and science fiction, especially high fantasy, urban fantasy, steampunk (and its variations), YA, MG, and alternate history.”

55. Jennifer Jackson of Donald Maas Literary Agency

56. Elizabeth Kracht of Kimberly Cameron and Associates

57. Pooja Menon of Kimberly Cameron and Associates–“looking for stories that deal with the prevalent issues that face teenagers today. She is also interested in fantasy, magical-realism, and historical fiction.”

58. Kathleen Ortiz of New Leaf Literary–“She would love to see a beautifully written YA set within other cultures and experiences.”

59. Suzie Townsend of New Leaf Literary

60. Jess Regel of Foundry Literary + Media

61. Erin Murphy of Erin Murphy Literary Agency

62. Ammi-Joan Paquette of Erin Murphy Literary Agency

63. Tricia Lawrence of Erin Murphy Literary Agency

64. Frank Weiman of Folio Literary Management–endearing characters, strong voice, no paranormal

65. Erin Harris of Folio Literary Management–seeking “Contemporary, voice-driven novels that approach the universal experience of being a teenager from a surprising or an unlikely perspective.” Also, thrillers and mystery.

66. Molly Jaffa of Folio Literary Management–“fiction set in another country…I’d also like to see: Contemporary YA that’s not afraid to explore complex social issues, historical fantasy…and good, old-fashioned YA romance.”

67. Melissa Sarver White of Folio Literary Management–“I’m attracted to realistic contemporary stories with a strong sense of voice…I’m also looking for YA mysteries, thrillers, horror, science fiction, urban fantasy, speculative, historical with a twist (alternate historical or historical with magical realism).”

68. Jessica Faust of Bookends Literary Agency–contemporary YA

69. Kim Lionetti of Bookends Literary Agency–any except sci-fi or fantasy

70. Beth Campbell of Bookends Literary Agency

71. Kristin Nelson of Nelson Literary Agency

72. Catherine Drayton of Inkwell Management

73. Stephanie Rostan of Levine Greenberg Literary Agency

74. Kerry Sparks of Levine Greenberg Literary Agency

75. Ginger Clark of Curtis Brown LTD

76. Jonathan Lyons of Curtis Brown LTD

77. Alice Tasman of Jean V. Naggar Literary Agency

78. Laura Biagi of Jean V. Naggar Literary Agency

79. Caitlin Blasdell of Liza Dawson Associates Literary Agency

80. Hannah Bowman of Liza Dawson Associates Literary Agency

81. Lauren E. MacLeod of The Strothman Agency

82. Michelle Andelman of Regal Literary

83. Adrienne Rosado of Nancy Yost Literary Agency

84. Lisa Rodgers of JABerwocky Literary Agency

85. Joanna MacKenzie of Browne & Miller Literary Associates

86. Katie Grimm of Don Congdon Associates

87. Katie Kochman of Don Congdon Associates

88. Maura Kye-Casella of Don Congdon Associates

89. Rosemary Stimola of Stimola Literary Studio

90. Sarah Heller of The Helen Heller Agency

91. Bill Contardi of Brandt & Hochman

92. Emily Forland of Brandt & Hochman

93. Emma Patterson of Brandt & Hochman

94. Faye Bender of Faye Bender Literary Agency

95. Jason Anthony of Lippincott Massie McQuiken Agency

96. Folade Bell of Serendipity Literary Agency

97. John Weber of Serendipity Literary Agency

98. Danielle Chiotti of Upstart Crow Literary

99. Ted Malawar of Upstart Crow Literary

100. Alexandra Penfold of Upstart Crow Literary

You’re welcome. 😉

Now what are you waiting for? Get to querying!

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How to Use Word Choice to Set the Mood of Your Story

word choiceDo you pay attention to mood in your writing? If not, you should!

It’s a subtle and very powerful tool for writers. And not something you want to overlook! By setting the mood of a scene, you can manipulate how you want the reader to feel. It’s like the Jedi mind trick of writing. Pretty cool, huh?

So just how can a writer take advantage of this awesome power? There are several techniques you can use. Let’s get started!

What is Mood?

When you hear “mood” you might be confused or intimated and think it’s some vague literary term. Maybe your English teach forced you to analyze the mood of different novels in the past and you’re now wary of the word. But don’t panic–it’s really simple. Here’s the definition of mood from Dictionary.com:

A state or quality of feeling at a particular time.

When applied to your story, mood means what a certain scene makes a reader feel. The mood of your story should be directed by the feelings of your characters.

Mood Comes from Character

Before you set the mood for your story, reflect on how your character is feeling. What are his thoughts or feelings about this place or moment? Is he awed, frightened, curious, or sad? Sure you could select any mood at random for your scene, but that’s not the point.

The purpose of creating a mood for a scene is to allow the reader to experience the story as the character does. If the character is frightened then you should work to create fear in the reader.

When you don’t match characters’ feelings with the mood, it can hurt your story. If your character is lost in the wilderness and you’re describing the beauty of nature, it won’t flow as well–imagine trying to jam together two puzzle pieces that don’t fit. Your reader might wonder why the character is admiring the trees and squirrels when he’s lost in the middle of nowhere. This will also keep the reader from fully feeling the character’s panic and fear at being lost.

You should also consider your character’s personality, as different people will experience the same place in different ways. For example, for Character A a circus is exciting, but for Character B it’s terrifying, and for Character C it’s a bore. If you love the circus, don’t describe it in a positive way if your character hates it!

So basically, the reader’s feelings of a scene should be filtered through the POV character so the reader can experience the story as the character does.

Techniques for Setting Mood

There are three basic ways to create the mood for a scene: details, similes, and vocabulary choice. Let me show you a couple examples of these techniques in action.

Example #1:

The pine boughs tickled Snow White’s arms as she wandered through the forest. Robins sang and flitted from branch to branch overhead, and a rabbit scampered past. She paused to admire a Dogwood adorned in white blooms so that it looked as though its branches cradled fluffs of cloud. She plucked a blossom and stroked its petals, which were as soft as a mouse’s fur. A squirrel nestled in one of the branches peered at her from behind its bushy tail.

Example #2:

Bare branches scratched at Snow White’s arms as she stumbled through the forest, and. A raven cawed and swooped over her head, startling her. Twisted tree roots snatched at her feet like the fingers of a corpse emerging from a grave, and dragged her to the ground. The damp earth stained her blue dress like thunderclouds smudging out a summer sky. She swallowed back her tears as a wolf’s wail pierced the cold air.

These examples are pretty overdone and melodramatic, but you get the point. Both convey a specific mood, which reflects what the character is feeling and draws the reader in to share her experience.

  • Details

What does your character notice? Different people will notice different things, so it will depend on her personality. You don’t have to include every detail your character might notice. Choose specific details that will be most helpful for setting the mood you want.

In the first example to make the scene feel warm and fuzzy, I mentioned details like robins, bunnies, squirrels, and a tree in bloom. These are also details an animal-lover like Snow White would probably notice.

In the second example, I chose to describe the details of a raven, wolf, twisted tree roots, and damp dirt. These are all things a frightened Snow White might notice while struggling through a forest.

  • Similes

The second technique you can use to convey mood is similes. Comparing one thing to another can evoke emotion and give the reader a vivid picture of how the character is feeling/perceiving the scene.

In the same way you would consider what details your character might notice, consider what he/she might use as a comparison for something. For example, an art lover might express themselves through art comparisons, or a sports player might make athletic comparisons.

In the first example I compared the spring blossoms to fluffs of cloud, and the petals to a mouse’s fur. In the second, I compared tree roots to a corpse’s fingers, and the dirt staining her dress to thunderclouds blotting out a clear sky. The comparisons in each example reflect the character’s mood.

  • Vocabulary choice

The last tactic you can use is vocabulary choice. Consider what words you will include to create a specific mood and how a reader will react to them emotionally.

Notice how in the first example I used words like tickled, sang, flitted, scampered, admire, adorned, blossom, fluffs, bloom, stroked, soft, nestled, and bushy. Each of these word conveys a feeling of tranquility.

In the second example, I used bare, scratched, stumbled, swooped, startling, twisted, snatched, dragged, damp, wail, pierced, and cold. Notice how these words make you feel…not very pleasant, right?

It takes practice to become aware of and intentional with your word choice but it’s well worth the effort. Words are powerful, and you should take advantage of your word choice to manipulate how you want the reader to feel about a scene.

Do you pay attention to mood in your writing? What techniques do you use to set the mood?

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7 Writers Share Their Writing Secrets

7 WritersWriting is a long, difficult journey (one that never really ends), and you tend to pick up a lot of things along the way.

Like always keep a notepad on your nightstand. Or act out scenes to help you describe them (even if it makes you feel like a crazy person).

I’ve asked 7 awesome writers/bloggers to share their writing “secrets.” What tips and tricks have they discovered? Read on to find out!

Secrets for Writers

Brett Michael Orr is a young writer and blogger from Australia. He has been writing for several years, and is currently working on a Young Adult Science-Fiction novel.

Drafting is always a difficult process. There’s a lot of pressure when you’re staring at the infamous white page, that this your chance to write a scene from scratch, and it can be paralysing. There’s also pressure on word count–if you’ve only written a hundred words, it’s easy to feel really bad about yourself.
     Here’s the secret though–your book will go through at least one, if not four or five, major edits and rewrites–and that’s before it arrives at a publisher. There will be many, many opportunities to edit and ‘perfect’ that scene. You can’t perfect a blank page.
     Just write, take the quickest path through the scene to move your characters where they should be, and move on. When you edit, you’ll be deleting (or adding) paragraphs at a time, so don’t agonize over your draft. After all, first drafts are meant to be rewritten!
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Heather from BitsNBooks enjoys writing Historical Fiction. Her research for her stories always allows her to learn something new.  She also adds, “my aim is to make people cry (is that mean?).” Not at all, Heather 😉

If you have an idea for something but can’t seem to get it right, put yourself in the scene. What can you see, hear, smell, feel? I don’t know if it’s a thing all writers do, or if it’s just a weird me thing, but I try to imagine what the scene would look like if it were being made into a film (one day…I can dream, right?).

I know this definitely won’t work for everyone, but I always know what my ending is before I get too far into a piece of writing. The more I write the more I realise that a story will grow and change of its own accord. I think it’s for this reason that I need to have an ending so that I can keep it largely on track.

It’s like going on holiday–your plane might get delayed and you miss a connecting flight, but you still want to get to a particular destination eventually, so you’ll make new plans according to that destination.

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E.K. Moore from A Cup of English Tea is a college student from the northwest of the United States. She writes an eclectic mix of genres and forms including (but not limited to): fantasy, realistic fiction, romance, magical realism, short stories, novels, novellas, flash fiction etc. She has finished five novels but has yet to be published. Regardless, writing is one of her favorite pastimes, and likely will be for many years to come.

Take breaks when you’re having writer’s block. Best options for me are hot showers or long walks to get creativity flowing again. For editing I recommend reading out loud. It helps you catch your own mistakes and often helps solidify first person voice if using that.

line dividerMichelle from The Writing Hufflepuff  lives in The Netherlands and has been making up stories for as long as she can remember; as soon as she learned to write she wrote them down. She mostly writes fantasy with a lot of angst and death, but also some lighthearted humor. She hopes to write for a living, but for now strives toward studying journalism next school year.

A lot of people give the advice that you should always write, even if you don’t feel like it. I would like to give the opposite advice: if you’re not feeling it, because you’re tired or for any other reason–don’t write.

Writing should be something you love, not a chore. If you’d rather lie in bed and watch TV shows all day long, then go do that. That doesn’t make you a bad writer, it makes you a writer who just rather relaxes that day instead of forcing theirselves to write.

Do write whenever you can and want to, though, but not because you have to, or because you’re not a writer or a bad writer when you don’t, but because you love doing it.

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B.A. Wilson is a Missouri librarian with a rather serious One-Click addiction. She enjoys reading and writing YA novels, consuming caffeinated beverages, and spending too much time on Twitter.

I like to carry blank name tags in my purse and coat pockets. When an idea comes to me, I write it down on a name tag. Once I get home, I peel and stick the note into my project sketchbook or outline. It saves me from having to rewrite or transfer notes.

I stole this idea (can’t even remember from where), but it’s great! When I’m writing or editing and either don’t have internet access or don’t want to stop my forward motion to research something, I insert the word FLIBBIT into my manuscript.

Sometimes I tag a note after it (FLIBBIT: research bomb construction). Sometimes I even use it for parts I’m dissatisfied with (FLIBBIT: This character’s name sucks. Try again), or for situations I don’t have a solution for yet (FLIBBIT: Fix gaping plot hole to correct timeline inaccuracy).

It’s far enough away from being a real word that it’s easy to spot. When I have more time to address the problem, I search for all the FLIBBITs in my manuscript and update, correct, or rewrite those sections.

It makes me feeling better knowing I tagged the issue, even if I’m not going to fix it immediately. That gives me the peace of mind to work forward, and I know never to send out a manuscript to readers without addressing all those FLIBBITs first.

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line dividerRae from What Happened to the Wallflower is a student at New Mexico State University studying English with an Emphasis in Creative Writing. She reads everything, writes strange things, edits, blogs, tweets, and drinks way too much coffee.

Okay, so it’s not really a “secret,” but I wake up at 5 a.m. on the weekdays  and spend until nearly 7 a.m. at my laptop, writing. This means that I don’t have the distraction of my roommate being awake, so my apartment is calm and quiet enough to give myself the kind of environment I can concentrate on my writing in.

It also gives me the added plus of making writing the first thing I do during the day, so I can concentrate on other matters later: school, work, homework. Scheduling my writing time like this has given me a lot more structure, and has forced me to be a lot more accountable toward what I write, and how much I get down a day.

line dividerBriana Mae Morgan has been writing for as long as she can remember. Genre-wise she has settled into YA and NA fiction. She is currently writing a novel called BLOOD AND WATER. You can find out more about her novel and get writing advice on her website, and follow her on Twitter.

I have a couple of tips and tricks for writing. One is a website, focus@will. It plays ambient music that helps me concentrate and really get down to the business of writing. Also, there’s Write or Die, which is great for helping me avoid distractions while I write.

Above all, what helps me produce is remembering not to get it right, but to get it written. After all, you can’t edit a blank page. Turn off your inner editor while writing and you’ll be amazed how much more you get done.

Have you ever used any of the tricks in this post? Do you have some secrets of your own? Share them in the comments below!

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How to Use Paragraphs to Control Pacing

paragraph pacing 2Many writers may not pay attention to paragraphs, especially when starting out, but they hold a subtle power over your novel.

But don’t underestimate them–paragraphs can invite a reader into your novel or drive them away. And if you learn how to manipulate them, you can use their power to your advantage.

Beware Unwieldy Paragraphs

When you pick up a book at the store and thumb through the pages only to find unbroken blocks of text spanning an entire page or more, how do you feel? I don’t know about you, but when I see back-to-back giant paragraphs, I don’t get the warm and fuzzies.

Giant paragraphs are hard on the eyes. All that text going on and on and on…it’s intimidating to readers and can scare them off.  Your readers might think your book will be a tough read and decide to drift away to something easier. The last thing you want is to make your novel look like a textbook!

White Space is Your Friend

Using paragraph breaks more frequently creates more white space, which invites readers to linger on the page. Readers need white space because it gives the eye a place to rest.  That’s why when you skim through a book, you’re probably drawn right to the dialogue–switching between speakers offers more white space.

When you’re writing, look for subtle shifts in topic where you can break paragraphs. Let me show you what I mean using Edgar Allen Poe’s the Tell-Tale Heart. Here is the original without paragraph breaks:

Example 1

“I was never kinder to the old man than during the whole week before I killed him. And every night, about midnight, I turned the latch of his door and opened it –oh so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern, all closed, closed, that no light shone out, and then I thrust in my head. Oh, you would have laughed to see how cunningly I thrust it in! I moved it slowly –very, very slowly, so that I might not disturb the old man’s sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. Ha! would a madman have been so wise as this, And then, when my head was well in the room, I undid the lantern cautiously-oh, so cautiously –cautiously (for the hinges creaked) –I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights –every night just at midnight –but I found the eye always closed; and so it was impossible to do the work; for it was not the old man who vexed me, but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber, and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he has passed the night. So you see he would have been a very profound old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept.”

That’s a giant paragraph if I ever saw one. Now, here’s the same paragraph again, but with breaks:

Example 2

“I was never kinder to the old man than during the whole week before I killed him.

And every night, about midnight, I turned the latch of his door and opened it –oh so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern, all closed, closed, that no light shone out, and then I thrust in my head.

Oh, you would have laughed to see how cunningly I thrust it in! I moved it slowly –very, very slowly, so that I might not disturb the old man’s sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed.

Ha! would a madman have been so wise as this, And then, when my head was well in the room, I undid the lantern cautiously-oh, so cautiously –cautiously (for the hinges creaked) –I undid it just so much that a single thin ray fell upon the vulture eye.

And this I did for seven long nights –every night just at midnight –but I found the eye always closed; and so it was impossible to do the work; for it was not the old man who vexed me, but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber, and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he has passed the night.

So you see he would have been a very profound old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept.”

Paragraph Lengths

Which one would you rather read? I’m betting the second example. It’s easier to read and less intimidating. But how exactly does it work its magic?

By controlling the pacing.

Readers hate giant paragraphs because it takes longer to get through them–it can feel like forever. White space allows the eye to move through more quickly. And in our modern times, readers are impatient and like things fast.

But how long is too long? I’d aim for an average paragraph length of 3-4 lines, but don’t go any longer than 7 or 8 lines. And you can never go too short–you can even do single-line paragraphs for dramatic impact.

Controlling Pacing

Now that you understand the subtle effects paragraphs have on readers you can use them to your advantage. Paragraphs are an effective technique for controlling pacing, and one you definitely shouldn’t overlook.

When you want to slow things down in your story, like making a romantic moment linger, lengthen your paragraphs. It will take your reader longer to get through them, and make them feel like the scene is lasting longer.

When you want to speed things up, keep your paragraphs short and punchy. This is perfect for action scenes. More white space and fewer words means your reader will be flying through the pages, and the scene will feel like it’s moving quickly. The shorter you go, the faster things will move–you can even go down to single lines if you want.

Do you take advantage of paragraphs in your writing?

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How to Make Readers Care

how to make readers careWhy do readers read? What makes a story stick with them after they’ve turned the final page?

The secret lies in the characters. Sure the story might be interesting, but it’s the characters we connect with and experience it through.

They become our friends and we love to care about them. They make us laugh, cry, get angry, and fear for their well-being.

We keep reading a story because we care about the characters, and therefore care about what happens to them. If the reader doesn’t care about your characters, she won’t care to finish your novel. Which is not what you want!

So how do you make readers care about fictional people?

You engage their emotions.

“In order for a reader to connect with a story, he must feel that he has a stake in the character’s plight and must care about the outcome.” — from Emotion Tension, and Conflict by Cheryl St. John

No matter how spectacular of a plot you have, your story will fall flat if your reader cannot connect with the characters on an emotional level. What keeps a reader turning the pages is the desire to find out what will happen to the characters that she cares about.

So how do you make a reader care about your character so that she will root for him/her to achieve his/her goal? You must make your characters sympathetic, relatable, likeable, flawed, and interesting. Let’s look at an example—Ana from Frozen.

Sympathetic

Straight away we see that Ana is isolated from her sister, whom she loves. When the girls’ parents die they are left alone. With no friends and a sister who won’t speak to her for reasons she doesn’t understand, Ana is lonely and desperate for love.

Likable

Ana has a fun personality—she’s bubbly, outgoing, and optimistic. She also has a strong love for her sister, even though Elsa has shut her out for so many years.

Note that not all characters have to be “nice” to be likable. For example, Katniss isn’t sociable or friendly, but she has positive qualities. Your character needs at least one positive quality to make readers like them, and you need to show it as early as possible.

Relatable

Ana is just like any girl—she loves chocolate and dreams of meeting “the one.” She’s also a bit of a dork.

Flawed

Ana isn’t perfect. She’s a little naive (you can’t marry a man you just met!) and she also tends to be clumsy and has a habit of babbling. She can also be a little over-confident at times. No one wants to read about a perfect character—perfect is boring! Ana’s flaws make her charming and realistic.

Interesting

Ana’s quirky personality makes her interesting and likable.

All of these qualities make us care about Ana. We want her to achieve her goal of bringing her sister Elsa home and repairing their relationship. We root for her along every step of the way.

Let’s look at another example.

Let’s say you’re reading a story about a Halloween party. Turns out there’s a real vampire in the room, and it murders a young woman. Interesting, exciting maybe, but other than that you’re indifferent about the situation because you don’t know the woman.

Let’s say beforehand you were shown that the woman is a single mother of two small children. She recently divorced her abusive husband and her girlfriends have talked her into going out with them tonight. Then she is murdered. Now some feelings might be stirred.

Think back to the last book you didn’t like. For me, it was The Maze Runner by James Dashner. Why didn’t you like the book?

I’m willing to bet you had an issue with the characters. The concept for The Maze Runner was interesting, but the characters were flat and I couldn’t connect with them emotionally. I didn’t care about them, so I didn’t care about what happened to them and I skimmed.

Conflict will not matter if the reader doesn’t care about your characters. So take the time to flesh out your characters, give them personalities, strengths, flaws, interests, and pasts so that your reader will connect with them and care about their fate.

What characters do you care about in books you’ve read? What makes you care about them?

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The Ultimate Dystopian Playlist to Write a Killer Story

dystopian playlistHow would you like to listen to some awesome tunes that will help you keep writer’s block at bay and craft that dystopian story you’re dying to tell? *enticing eyebrow waggle*

Well luckily for you, I have spent hours scouring the far reaches of the internet and even braved the corners of the weird part of youtube in order to find the perfect songs to build a sweet dystopian-themed playlist. And because I am a nice person, I am going to share this playlist with you! 😉

I tried to choose songs that had futuristic or electronic sounds, or whose lyrics I thought could fit a dystopian/post apocalyptic world. Some of the songs have a darker feel to them, but I didn’t want the entire playlist to be completely depressing and hopeless so there are upbeat songs as well. I also included several scores without lyrics.

You can listen to the playlist here on youtube, or you can browse the songs below. Enjoy!

The Ultimate Dystopian Playlist

#1: Uprising by Muse

#2: Radioactive by Imagine Dragons

#3: Run Boy Run by Woodkid

#4: Stranger by Skrillex

#5: Who We Are by Imagine Dragons

#6: Everybody Wants to Rule the World by Lorde

#7: The Resistance by Muse

#8: Time is Running Out by Muse

#9: Hanging On by Ellie Goulding

#10: Pompeii by Bastille

#11: From Myself by Paul Hovermale

#12: Hey Brother by Aviichi

#13: Glory and Gore by Lorde

#14: Is Your Love Strong Enough by Trent Reznor, Atticus Ross

#15: Oblivion (featuring Susanne Sundfor) from the Oblivion soundtrack

#16: Midnight City by M83

#17: Intruder by Collide

#18: Help I’m Alive by Metric

#19: Unsustainable by Muse

#20: Apocalypse Please by Muse

Pt. II: Scores Without Lyrics

#1: Panoramic by Atticus Ross

#2: Outland by Atticus Ross

#3: Varuna by E.S. Posthumus

#4: Uprising by Audiomachine

#5: A Thousand Details from Girl with the Dragon Tattoo

So there you have it! How did I do? What songs would you have included on the playlist?

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How to Write from a Girl’s POV

 

How to Write from a Girl's POV | Writing from the #POV of the opposite gender can be challenging. Here are some tips for guys for writing female characters! Earlier this week we looked at How to Write From a Guy’s point of view. This time, we’re going to explore how to write from a girl’s point of view.

Fellas, I’m going to try to help you out the best I can here. I know a lot of you are confused by us females and the thought of getting into a girl’s head to write a story from her perspective might be kind of scary.

But I’m going to try to help you understand us girls a little better, and give you pointers for writing convincing female characters.

Now, into the fray!

Person First, Girl Second

To help take some of the pressure off, remember that a girl is a person just like a guy. Be sure to write a person first and a girl second. Sure we may see some things differently, but we’re connected by the human experience—we’ve all experienced pain, loss, joy, fear, excitement, etc.

Though sometimes it may seem like we come from another planet, girls are human too! 😉

Avoid Gender Stereotypes

Not all girls are good at cooking, wear makeup, love fashion, freak out over bugs, obsesses over their weight, cry at sappy movies, suck at math or science, are clueless about cars, can’t use power tools, are helpless damsels in distress…shall I continue?

This doesn’t mean you can’t have a girl character be any of these things. Just be aware of the stereotypes and add more to her character than a labeled identity. Which brings me to my next point…

Create a Character with Depth

Give your heroine more than a pretty face–develop her character and personality. What was her childhood like? What’s her worst fear? Her dreams for the future? What does she like and dislike? What are her talents? Her interests? Make her more than the hero’s love interest or a damsel for him to save.

And please don’t make her impossible, super-model gorgeous. You know how you hate when female authors do this with their male characters? Yeah, we don’t like it either when the tables are flipped. We want a female character we can relate to. And unattainable beauty is not relateable.

Some Things for Guys to Consider About Girls…

**DISCLAIMER: Girls are unique individuals just like guys. Not all of these will apply to every girl, just like some things (like being athletic or good at math) don’t apply to all guys. So get to know your character first.**

Emotions

I know there’s probably nothing more terrifying than girls and their emotions 😉 We can’t help it; we tend to be more emotionally driven like guys tend to be more physically driven. We crave an emotional connection and intimacy, which is why girls value friendships so much.

Girls like to talk about their feelings–it’s how we deal with them. Most of us are more comfortable with letting our emotions show than guys. We want to be understood, and we want to share our innermost selves with you. It’s how we make a connection and deepen a friendship or relationship.

Girl Talk

Girls love to talk. We gossip, we talk about boys, we have heart-to-hearts, and we share the dumbest little details like what we ate that day. To us, talking is how we get to know a person and form a bond with them. Guys bond through physical roughhousing and sports, girls bond through talking and sharing emotions.

For us, silence can be uncomfortable. Why aren’t you talking to me? Is something wrong? Are you mad? Did I do something? For a girl, silence might signal a rift in the bond.

Girls also aren’t as direct as guys–we don’t always come out and say what we’re thinking. Which is why if a girl snaps at you that she’s “fine” you should assume she’s anything but.

And by the way, if there is a cute guy in the room you had better bet if we are with our girl friends we will probably whisper and giggle about him and point him out to each other if we can get away with it without being caught.

Over-thinking

Girls have a lot of stuff going on in their brains. When a guy tells me sometimes he can simply think about “nothing,” I can’t comprehend that. My head is always full, my thoughts are always darting from one thing to the next.

Picture an internet browser with 20 tabs open. Yep, that’s the female mind.

But not only do we think about a lot of stuff, we also tend to over-think anything and everything. From what we should wear today, what color we should dye our hair, what book we should buy, to…does he like me?

I don’t think there’s anything girls over-analyze more than a guy’s behavior.

If we like a guy, we will look for any excuse to give us hope that me might like us back. Even if that means making excuses for his words and actions or interpreting them the way we want to hear/see them.

Traveling in Packs

So this completely bewilders guys. Why do girls always go to the bathroom together? Why are they always traveling in packs? Sometimes, girls don’t even understand it themselves.

But basically, it’s not just a social comfort thing  and our need for friendship, it’s also a safety thing (even if we aren’t aware of it). This is hard for a guy to understand, but sometimes being a girl feels like being prey. Guys “hunt” and “chase” us…and unfortunately sometimes even stalk us.

Girls have to be more careful than guys because as much as I hate to say it, I know for me at least there is that fear in the back of your mind of being attacked and raped. Now of course I don’t think about this all the time, but there are certain situations when I become very cautious.

For example, when I have a night class I don’t walk out to my car alone. Girls are taught to stick together, use the buddy system, avoid dark alleys, don’t go running at night, don’t walk alone at night. We carry mace or walk to our cars with our keys threaded between our fingers as weapons.

We’re also discouraged from traveling alone. As a girl who wants to see the world, this really gets under my skin. I hate feeling limited because of my gender. In fact, it pisses me off. But I have to face the facts: I have to be careful because a guy is physically stronger than me. If he wants to hurt me, I’m at a disadvantage.

So basically, try to understand the vulnerability girls may sometimes feel.

Other Tips

Talk to the girls in your life and don’t be afraid to ask them questions! Observe us, watch some chick-flicks, try to get into our minds. I’ve also created a free guide to male vs. female body language to help you understand communication differences. You can get the guide (plus access to all my free worksheets), by clicking the button below!

Also, read books from the POV of female characters. That will help you to get a feel for writing female characters more than anything! (I’d also recommend The Fault in Our Stars by John Green–he writes the female character very well.)

And be patient. It may take practice and time for you to feel comfortable writing another gender. And if you still have doubts, have a girl read your story. She will be able to point out any faults and you will be able to learn from your mistakes.

Any other questions about writing female characters? Post them below!
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How to Write from a Guy’s POV

How to Write from a Guy's POV | Writing from the opposite gender can be hard, but here's some great advice for #writing from a guy's point of view if you're a girl. We definitely need more male protagonists in YA, but as a lot of writers are women it can be challenging to write from a guy’s point of view. But ladies, I promise it’s not as scary as it seems!

I thought writing from the opposite gender is an important topic to cover, so I’ll be doing it in two parts–one for male POV, and one for female POV.

Today we’re going to explore how to write from a guy’s point of view if you’re a girl. Obviously I have no idea what it’s like to be inside a guy’s head, so I asked my friend Brett to help me out! (Check out his awesome blog here).

He was kind enough to answer my questions with some really awesome insights into a guy’s mind that you ladies will find helpful (and maybe even surprising) in your writing. So I’ll shut up now and let you get to the good stuff 😉

What goes on in a guy’s head? 

BRETT: The same things that go through most people’s heads. Responsibilities, deadlines, family, life. Sometimes, there’s just–nothing.

What do you think are some of the differences between how guys/girls think? How we approach a problem? A dangerous situation?

BRETT: In general, I believe girls are more likely to think empathetically (I’ll avoid using the word ’emotionally’ because of the bad connotations). Guys are (generally) more pragmatic–for every problem, there is a solution, but often the consequences don’t matter as much as simply solving the issue to begin with.

It’s generally true that girls approach a problem more logically–they can often see ways around a problem or solutions that guys just simply missed. Exactly how, I’ll never know. I think most guys just try the direct, brute-force way first.

With regards to a dangerous situation, I think all guys would like to assume they’d be the first to act bravely. Whether it’s a by-product of Hollywood’s era of stereotypical action guys, I think most men/guys would look for a physical way to end conflict–the quickest, most direct method you can imagine.

Depending on a guy’s natural physique–a big buff guy versus a smaller guy–it might be a direct de-escalation using physical contact, or via using an environmental object: anything blunt, heavy, or sharp.

How do guys deal with their feelings, especially anger and sadness? When should guy characters cry?

BRETT: Most guys like to imagine they don’t have those things called ‘feelings.’ It’s assumed that men should just bury their emotions and move on–this differs with personality traits, but the ‘push it deep down’ approach works 90% of the time. The remaining 10% of the time, it’s bottled up until it eventually bursts.

Guy characters should cry, but it takes a lot to push a guy to such an emotional breakdown–particularly one that isn’t anger. That’s the difference. You push a guy, he’ll get angry; you break a guy, he’ll cry.

So think out of the box here–you can’t just tear something away, that will only elicit a physical reaction (see above), whereas crippling a guy with something psychologically damaging will bring out the tears.

Men are different, but not complete robots. Losing a loved one will always make someone cry, but guys usually hold back their emotions as long as possible.

Do guys really think about sex all the time? How do they see girls? How much should we stress how guys notice girls?

BRETT: To the first question–don’t believe everything you read in Cosmo magazine. Men don’t obsess about sex, and if they do, they’re not the type of guy you want to hang out with.

To the second question–guys always notice girls. In the same way that guys always notice every threatening-looking guy in a room, or the same way they notice if there’s a television.

The second look–the double-take–that’s the big one. The first look doesn’t count, that’s instinctual. The second look means we’re interested, or at least, willing to double-check.

As for girls noticing guys…most girls immediately get the wrong impression, that a guy looking at them is instantly in love. He might be attracted to you, he might also think you’re out of his league.

Don’t forget that one–as a guy, the general rule of thumb is, “Unless you know otherwise, she’s taken.” To that extent, guys can look at girls, imagine what it might be like with her in a relationship, but then tell themselves a dozen reasons that wouldn’t work.

And again, speaking for almost all guys out there–please, girls take the first step. It’s very hard for us to gauge reactions and emotions, and subtle hints are almost entirely lost on us. Let us know if you have a boyfriend, let us know if you like us. Most guys don’t like the ‘chase’–please, just be upfront.

How do guys interact with other guys vs. girls?

BRETT: Guy conversations generally involve the least amount of words possible. Most guys only have two or three things in common with each other–sport, work, music, games, food; outside of that, there’s very little to talk about. Gossip is off the table–no guy has ever wanted to talk about ‘what happened last weekend’ unless it involved one of the five prescribed categories.

For talking with girls…it varies heavily on personality. Some guys are very shy around girls, some guys are full of confidence and swagger. Down the middle line, there’s people like me who just try to be amicable and get a laugh out of you, whether you’re a guy or a girl.

Depending on whether the guy thinks the girl may or may not like him affects how they approach the conversation. It’s not usual for guys to have platonic friendships with girls–either they’re hoping something might happen, or they’re so deep in the friendzone that they now consider you ‘one of the guys’ (which isn’t necessarily a compliment).

Tips for male dialogue?

BRETT: To the point. Guys have something to say, and they’ll say it. Conversations typically are on a topic that’s probably not all that important, until it eventually dies down when nobody has anything left to say.

If two guys disagree on something–watch out. Most guys are pretty hot-headed, and you can expect some flaring tensions and arguments over decisions or directions. Everyone has an opinion, and theirs is better than yours.

What about body language, gestures, mannerisms etc.?

BRETT: Almost all guys are defensive all the time. Lots of crossed arms, lots of small head-nods in agreement. Friendly guys will go for the back-slap or hair-ruffle (though ruffling is a bit demeaning, it’s the older-brother-little-brother gesture).

With girls, it’s far more awkward. Maybe some casual, testing-the-water touches. Otherwise, guys are typically quite self-conscious around girls, more so than most YA novels would have you believe.

Any gender stereotypes to avoid?

BRETT: All men are buff, awesome dudes who know how to fix cars and fight people. Also, avoid the ‘awesome hunk with giant muscles who’s also super funny and smart.’ Sure there are some smart people who are fit, but you don’t get everything in life.

All guys don’t know how to fix cars or jimmy locks. Create a character who isn’t absolutely perfect–everyone has flaws. Try for realistic guys who have actual weaknesses. 

Any misconceptions to avoid?

BRETT: The misconception that guys are oblivious to girls’ feelings. We understand, we just don’t know what to do about it.

Also avoid the ‘skinny dudes are awkward nerds.’ I’m pretty lightweight, but not a nerd. Believe it or not, girls can fall in love with a guy who isn’t Fabio. Endlessly reading novels about the super-awesome-muscles-guy who gets the gorgeous girl gets old fast, and doesn’t represent the real world’s concept of love–which is far more than just big muscles and square jaws.

Any tips for balancing the physical and internal aspects of a guy character? I feel like there’s a danger of making him all physical with no emotion.

BRETT: Same as above, really. Balance is the key–big buff guys aren’t completely oblivious, they just don’t know how to respond; on the other side, non-physical guys can be smart and perceptive.

And guys are complex–we have feelings, emotions, pasts that we bury and don’t talk about. Try opening a guy up, explore him. Why is he big and buff? Is it because his father was a footballer and pressured his son into becoming a quarterback? Does the guy regret slacking off on his education to pursue that physical image?

And the skinny guy–what’s his past been? Bullied, had his self-esteem cut because the world tells him that only strong, awesome guys get the girls? Does he harbor resentment towards those people?

Have you ever read any books with male characters by women authors that were poor representations? i.e. What NOT to do?

BRETT: Almost (emphasis on almost) every YA novel written by a female author portrays the ‘perfect guy’ with the rippling muscles, chiseled jaw, moody eyes, and gentle touch.

Fiction isn’t meant to be a complete fantasy–it should be realistic, and not create dreamboat characters who can do no wrong, who have no flaws physically or mentally.

If you want a balanced guy character, read YA’s written by MALE authors, who know this better. Think Thomas or Newt from The Maze Runner–lean, determined, equal parts brave and afraid. Think Connor from Unwind–strong, good-looking but blinded by his own goals, and occasionally insensitive.

There are two ‘good’ examples from a female author–Peeta from The Hunger Games comes to mind. Although Gale is portrayed as the standard, awesome-buff guy, Peeta is..not. He has core strength, but he’s just a baker’s son, never actively shows us any specific attributes indicating he’s a hunk. He’s just a guy who mistakenly loves a girl out of his league. A rather perfect character for me.

And J.K. Rowling of course did an outstanding job with Ron Weasley. Harry…not so much. But Ron proved that even the most awkward, bumbling guy can grow, can become a sports star, can get the girl, without having the ‘hero’ swoop in and steal the show.

And on a final note–please, please, please write a CHARACTER first. Write a human being with goals, desires, secrets, resentment, and happiness. Write a PERSON that the reader can empathize with. Readers want to be entertained, and they want the character to achieve their goal; whether they’re a guy or a girl, it doesn’t matter.

Want to Learn More?

Wow–thanks, Brett!!! So there you have it ladies! Hopefully this valuable insight will help you create awesome male characters and make you more confident about writing from their POV. Want some more insight? I’ve created a FREE guide to male vs. female body language to help you get even deeper into your character. You can get the guide, plus access to all my free worksheets, via the button below!

Do you have male characters in your story? What challenges have you found in writing them?

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How to Stop Procrastinating and Become a More Productive Writer

productivityIf you’ve come here in search of some quick fix to solve your productivity woes, this is not the blog post for you.

I’m not going to lie to you–writing is a lot of work. And it’s part of human nature to procrastinate and be lazy. Sometimes, no matter how many awesome ideas you come up with, you just don’t feel like writing them.

The trick isn’t eliminating procrastination from the writer–it’s learning how to overcome it. Which will also take work. But if you’re determined to battle and tame the demon of procrastination, read on, brave writer.

Get It All Out

Let yourself have a moment to get out all your procrastination feels. Complain, stomp you foot, groan and roll around on the floor… Whatever you gotta do. Then take a deep breath and drag your butt over to you computer.

Turn off Your Wi-Fi (And Your Phone)

Of course you’ll write on your story…after you check Twitter ten times (hashtag amwriting, hashtag justkidding), browse pics of hot dudes reading on Instagram (for research, of course), and pin pictures of recipes you’ll never make on Pinterest.

The fewer temptations around to distract yourself with, the more you can get done. Switch off the wi-fi on your computer and turn off your phone too for good measure.

Sure it’s easy to turn either back on…but hopefully the mild annoyance will be enough to discourage you. Writers can be lazy creatures, after all 😉

Open the Doc–Just Do It!!!

Half the battle is just opening the Word document with your story. Do it fast. Like ripping off a band aid. Just one little click. DO IT.

Was that so bad?

Of course it was. But you did it.

Develop a Routine

Pick a time where you can sit down and write. It doesn’t matter when, choose a time when you write best. Early morning, afternoon, evening… You don’t have to pick a specific time either, unless that helps.

For me, I tend to write in the evening after dinner, but I don’t carve out a specific time table because I feel it’s too restrictive. Sometimes I may write from 4pm-8pm, 6pm-12am, 5pm-6pm, and everything in-between. Having flexibility is something I need. But I know that evenings are my writing time.

Whether your writing time needs to be more structured or flexible, do whatever works for you. But make sure you pick something and stick to it. You must develop a habit out of repetition.

Set Goals

Know what you want to accomplish, and set a manageable goal for yourself. This can be especially motivating if you’re competitive. Plus, it’s helpful to feel a sense of purpose–that you’re working towards something.

Right now, my overall goal is to finish the first draft of my novel by April so I can enter a Twitter pitch party in June. My daily goal is to write 1,300 words. Whenever I’m feeling unmotivated I remind myself of my goal and it helps me to overcome the writer blahs.

Find an Accountability Partner

Pair up with a friend and tell them your writing goal. Agree to check in with that person every day and tell them your word count so they can keep you accountable. The dread of having to tell someone you didn’t meet your daily goal can be a good boost of motivation to get writing.

Your partner should not just get on you when you’re slacking off, but also encourage you to keep going when you’re having a tough time.

Write in the Morning

There are fewer distractions early in the morning since social media is a dead zone at this time. Writing in the morning can also give you more time in your day if you wake up and get your writing accomplished right off the bat. Try it and see if it works for you.

Write First, Edit Later

Write and don’t look back. Word vomit all over the pages.

Yes, your first draft is going to be awful and it’s hard to resist the temptation to go back and fix things. But remember: you can always polish sloppy pages, but you can’t fix ones that don’t exist.

Don’t interrupt your flow. Accept that your first draft will be crap and power through.

Try Sprints

A writing “sprint” is when you write as much as you can in 30min. Then you take a break (I usually do 10min), and go at it again. Repeat as many times as you can.

I’ve tried this recently and found it works really well for me. I wrote about 1,800 words in a 1 1/2 hour sprint session (so three rounds of 30min). I average 1k an hour, so it wasn’t too shabby!

You can also find sprinting buddies on Twitter and compete to see who can get the highest word count. Friendly competition makes it fun and it’s good motivation! Or, writing fast may not be for you, and that’s fine–there’s no shame in taking your time.

Make a Visual

Make yourself a little poster where you can track your word count and watch yourself get closer to your goal.

Or, buy a bag of your favorite candy and a jar. Every time you write 1,000 words, put a piece of candy in the jar. When you reach your goal, you get the candy. How’s that for motivation? 😉

Bribe Yourself

If all else fails, bribe yourself. Write up a little contract saying you will reward yourself with chocolate, Netflix, a nap–whatever–once you reach X number of words for the day, and sign it.

Silly? Maybe. But when you feel like breaking your deal with yourself, it will serve as a visual reminder. And it will also make you feel like a complete nutter 😀

Sometimes You Can’t–And that’s Okay

While it is good to try to write every day, sometimes you can’t. Stuff comes up. Life happens. Don’t beat yourself up if you miss a day or two. Just get back on the horse!

Hopefully you’ll find something useful here that works for you…and you won’t be too lazy to try it out 😉 Writing is literally a mental battle and hard work. There are no short cuts or magic tricks. If you are serious about writing, you must learn to make it part of your lifestyle.

And stay on guard against procrastination!

How do you overcome procrastination? Do you have any tricks that make you more productive?

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8 Stories YA Agents and Publishers Want Right Now

8 StoriesNo clue what to write next? It might feel frustrating, but you’re actually in a great position. How so, you may ask?

Well, you have the opportunity to consider what agents and publishers want before you become attached to a new story idea. Think of it as fishing with bait as opposed to tossing out a net and hoping for the best.

Knowing what the people who are buying the stories want will definitely be to your advantage! Here are 8 stories you can use to hook an agent or publisher right now.

#1: Diverse Protagonists

There’s a huge need for diverse books, and publishers and agent are eager to get their hands on some. YA is flooded with way too many protagonists who are white American females–we need to see some representation of other cultures!

#2: Strong Male Protagonists

I honestly can’t even remember the last time I read a book with a male lead. I can’t even name five…the only ones I can think of off my head are Harry Potter and Percy Jackson.

There’s no denying it–YA is inundated with female protagonists. This is probably because the majority of YA authors are women. It may be challenging to write from a male’s perspective, but this is definitely something publishers are looking for.

#3: Stand-alone Novels

Believe it or not, we writers don’t have to make every story a trilogy. Publishers are actually getting worn out on trilogies and are looking for stand-alones, especially dystopians. The thinking behind this is it’s less investment on the reader’s part and frees up more time for them to read other books rather than commit to a whole trilogy or series.

#4: Fairy tale Retellings

Fairy tale retellings are really popular right now, and not just in books. There’s the t.v. series Once Upon a Time, and Disney is taking advantage of the trend with it’s recent film remakes: Snow White and the Huntsman, Malificent, the upcoming Cinderella, and the recently announced Beauty and the Beast.

If you can come up with a fresh twist on a classic tale you will definitely catch an agent’s attention.

#5: Steampunk

There’s not a whole lot of steampunk in YA, and I think that’s part of the reason why agents are looking for it. They’re getting tired of all the paranormal and even (dare I say it) dystopian stuff. It’s time to explore new territory.

#6: New Adult

This is a newly emerging genre, featuring characters aged 18-25 either entering or already in college. There’s not much NA out there right now because it’s so new, so agents and publishers are eager to find some captivating stories in this fledgling genre.

#7: Crime and Con Artists

There seems to be a spark in interest relating to crime, spies, con artists, and heists. Think Heist Society or the Gallagher Girls series by Ally Carter.

#8: Historical Fiction

With the avalanche of fantasy and dystopians out there right now, there’s not a whole lot of historical fiction. It’s definitely something agents are looking for, however. Especially historical events that haven’t been done a lot or bring a fresh, interesting take.

But What If…

So, what if none of these ideas are what you want to write? Don’t stress. Always write what you are passionate about, no matter what the trends of the market are or what agents and publishers are looking for. You have to love what you write above all else. And someone’s gotta start the next trend, right? 😉

What kinds of books would you like to see on the market?

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