Meet Kathleen Ortiz!
Time is running out! If you’ve been waiting to register for MWW 2012, do so now and pitch your book to an agent yet this summer. Plus, get valuable knowledge to take your writing career to the next level, or five!
Once again, MWW brings four New York agents to our workshop and offers participants registered for Part II the opportunity to pitch their manuscript ideas.
Kathleen Ortiz is the Subsidiary Rights Director and Literary Agent at New Leaf Literary & Media, Inc. On the children’s side, she is interested in acquiring all genres of YA (she especially gravitates to darker YA), but would specifically love a beautifully told story set within another culture (historical or modern, in the vein of Blood Diamond or Memoirs of a Geisha). She’s also looking for darker middle grade for older kids (especially in the vein of Labyrinth). On the adult side, she’s looking for lifestyle or technology non-fiction, as well as urban fantasy or paranormal romance. Please, no picture books, chapter books or adult books outside of romance.
Q. Please explain what you think the advantages are from your POV of meeting a potential writer client at a writers’ conference. Have you signed clients at conference?
Some advantages of meeting someone in person at a conference are getting to know them face-to-face and being able to see their passion for their work. I’ve never signed someone from a conference (though I certainly still have hope! I’m here, right? :)), but my colleague, Joanna Volpe, has! In fact, she signed three from this conference a couple of years ago: Veronica Roth, New York TimesĀ bestselling author of Divergent and Insurgent (Katherine Tegan books, Harper), Megan Powell (No Peace For The Damned, 47North, Amazon), and Rita Woods.
Q. What is the advantage for a writer who meets you at a conference, meaning is the wait for a decision shorter, do you look at a manuscript differently having met the author and are you more likely to request based on meeting someone?
I don’t look at the manuscript differently, because at the end of the day, it’s the writing and story that matter most. There are many, very nice people who query me whose stories just aren’t quite right for my list now. However with conferences, I do try to get back more quickly to those who pitch me than those who query me via our traditional submission guidelines.
Q. Sometimes writers have trouble knowing what their manuscript’s genre is and/or their story has elements from several genres. How does this cause challenges in representation and what can a writer do about this?
If an agent is looking for one genre and not another, it can definitely hurt their chances of even having a query read. For example, I’m not really open to YA paranormal at the moment. If your MS is really a sci-fi but you pitch it as paranormal, I might feel that you’re telling me it’s light on the sci-fi and heavy on the paranormal. On the flip side, if you have a YA paranormal and you try to pitch to me as sci-fi (to avoid being rejected on genre alone), and I can tell it’s paranormal, I’m going to assume you’re not well read in the genre, which means the worldbuilding and characters may be lacking.
Q. Would you like to add anything else to help writers prepare for a pitch to you and/or what are the most common mistakes you see?
Don’t talk for the ENTIRE pitch. Write a 2 sentence pitch. Keep it under 30-40 seconds. Then wait for the agent to comment / ask for more. If you talk the whole time, it doesn’t leave us much room to give feedback / ask questions. You WANT us to ask questions / want us to want more. It can be nerve wracking to pitch for the first time, but I promise you I’m not mean. I don’t bite. And I’ve not made anyone cry (so far). So I promise I’m nice š
Follow her on Twitter: @KOrtizzle
