What I like to read for personal fulfillment is often a book I would never represent, because I couldn’t sell it. GH: What I like to handle is precisely what I think I can sell best. I am also very interested in well-researched history, although it’s hard to sell if it isn’t by someone who doesn’t have any history credentials.īDB: Is what you like to handle and what sells best one and the same? A finely tuned sense of humor is a wonderful thing, and it enhances any genre of writing. We are awash in bad humor and pathetic comedy, and the bad stuff is really terrible. I am convinced that humor is the hardest thing to do well. GH: Like everyone, I love something that is truly and deeply funny. So I went to work at a literary agency.īDB: What sort of material do you especially like to handle? Ten years later, it occurred to me that those people had what seemed to be a pretty neat job- they were fairly independent and got to read a lot. GH: I wrote a few novels, and in the nineties I was briefly represented by two different agents, neither of whom had any luck with my rather precious, self-indulgent work. Gary is looking for history, science, true crime, pop culture, psychology, business, military and some literary fiction. His librettos for composer Evan Hause’s Defenestration Trilogy earned praise from Newsday, Opera News and the New York Press, and his musical comedies (he has written several in collaboration with Gary Miles, including The Feng Shui Assassin and American Eyeball) were described by The Onion as “strangely funny.” Originally from Texas, he has lived in New York City for a decade and a half. Upon graduating, he returned to the nightclubs as a gigging musician the Village Voice called his first album a “masterpiece.” He is a published poet and columnist.
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***Please note that my services as a freelance editor are separate from my day job as a literary agent, which means any project that I review or edit as a freelancer I cannot consider for representation, or refer to other agents for representation, as I must avoid any implied "pay for play." My services are strictly to help strengthen your manuscript for the next stage of your publishing journey.The following is an interview I did earlier this year with NYC literary agent Gary Heidt for The ASJA Monthly.įinePrint Literary Management agent, Gary Heidt, was a John Jay Scholar at Columbia University and General Manager at WKCR-FM. Sangu Mandanna - KIKI KALIRRA BREAKS A KINGDOM Katie Zhao - THE DRAGON WARRIOR SERIES, HOW WE FALL APART, LAST GAMER STANDING
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#FINEPRINT LITERARY MANAGEMENT REVIEWS SERIES#
Nicki Pau Preto - CROWN OF FEATHERS SERIES Lyla Lee - THE MINDY KIM CHAPTER BOOK SERIES, I'LL BE THE ONE These authors include award winners and bestsellers such as:Īkemi Dawn Bowman - STARFISH, SUMMER BIRD BLUE, HARLEY IN THE SKY, THE INFINTY COURTS Over the course of my publishing career as an agent, I've successfully worked with several authors of note in helping them strengthen their work for the purpose of submitting it to publishers. If you're uncertain of what your manuscript needs, I'd love to have a conversation about what might best serve you at this time. I'm also able to offer a final pass at a MS with line-edits in track changes to polish the final language so that your work shines (though please note, this is different than copyediting, as I do not offer this service). I'm also able to do short form editorial letters with in text comments on where certain things might need a bit more fleshing out.
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It's my goal to help you develop your manuscript in ways that can include a deep developmental editorial letter addressing topics such as plot/structure, character development, and world building. My editorial services focus mainly on strengthening a work at the stage before it's submitted to agents and publishers for consideration. I've worked in publishing for 7 years with a successful track record in editing and reviewing middle grade, young adult, and adult fiction.