New Elite Literary Agency (NELA) recommends you print all guides found on this site. They are free and designed to save writers time, expense, and a good deal of grief throughout their writing endeavors. These guides are a super-condensed wealth of information, covering everything from manuscript formats to agent contracts. Book after book, we believe you will find these pages to be the most important pages of "How-To" in your writing life.
__Write a character sketch of all main characters. Know what they would and would not do and keep their behavior consistent.
__Use contractions in modern stories, or for a particular character.
__Never use impossible statements: "His tongue fell to the floor." Only fantasy writers may use this extremity of description.
__Take care with cliches. Generally, use cliches only if a particular character would use one in normal dialog.
__Keep the story voice consistent unless you MUST change it for a very good reason. Otherwise, you may be writing a story that should be written differently, perhaps even in another POV.
__If changing the subject of a sentence midstream, use a dash. ("Wilbur -- the greatest pig of all time -- can talk.")
__Check and recheck your punctuation.
__Do not use "that" unless you mean a specific thing. ("Did you see that screwball?" is fine. "You know that I did!" is not. If a sentence meaning remains the same without using "that" leave it out. Learn about "which" instead of "that".
__Limit "to be" verbs (he is, she was, we are) because usually other verbs and adverbs are more compelling. "He is walking away." should be "He walks away."
__Vary sentence length. Separate two long sentences by placing a short sentence between them. Otherwise, your story may seem overly dense and difficult to follow.
__Read your ms aloud and listen for repetitions or redundancies. Skillful repetition can create a powerful nuance in your writing, but repeating the same word or phrase in proximity can make a writer seem asleep at the wheel.
__When reading aloud, listen for pauses in normal speech. A comma, colon, semi-colon or dash may belong there.
New Elite Literary Agency was founded to represent talented authors of manuscripts and screenplays. Our agency is organized for matching author works with publisher needs. Specializing in fiction but accepting nonfiction, we diligently market to the top New York publishers, regional and university presses, and movie industry sales in Los Angeles. NELA does not represent poetry, children's material, or overt erotica.
Read our submission guidelines to expedite your submission to our firm. Please note that we expect a 1-page query letter (either snail mail or E-mail) and that any E-mail attachment files are unacceptable. Regretfully, we are unable to visit author web sites, and therefore require a formal submission.
Does NELA accept submissions from authors residing in foreign countries? We certainly do. However, the manuscript must be in ENGLISH, and cannot be returned. We will reply via E-mail.
How do I choose between two agencies that have offered contracts? Choose the agency that you TRUST! If you have no preference based on trust, follow the money and choose the agency that does not charge reading fees.
What commissions does NELA receive? We receive a 15% commission on domestic sales and 20% on foreign sales.
Does NELA charge a reading or evaluation fee? Never! But many "agencies" do charge these fees. NELA recommends that an author NEVER pay to have his/her work read. If your work is good enough, the right agent will read it. The trick for the author is to find that agent.
Does NELA offer a written Author-Agent Agreement? Yes, of course, a six-month contract for a new client. Please be wary of agencies that do not put their promises in writing.
Does NELA deal with vanity publishers? Never! Self-publishing does not require an agent, nor does it require quality writing for that matter.
Before your search for an agent begins, it is important to be aware of the fees some agents may charge. Most agents earn their living from commissions received by selling their clients' work. Some agents charge additional fees, others do not. We recommend that any new writer, indeed any writer at all, separate out the agents that fall into the fee-charging category, and ignore them completely. The following may help you decide which type of agent to approach.
READING FEES: Agents who do not charge fees live by commissions. "Agents" that charge reading fees often say they do so to pay "readers" or to offset the time spent reading instead of selling. In other words, they make their living by reading, not selling. You must beware. Some argue that paying these "agencies" benefits writers because the manuscripts are guaranteed to be read. New Elite Literary Agency reads for free. The choice is yours. Always consider whether such promises are worthy of your hard-earned money. Always consider the honest literary agency to be the one that does not charge reading fees. You may pay a fee and then nothing ever happens, no contact, no nothing, as they say. The truth is, publishers are often just as wary of fee-charging agents as you should be, that is, if they ever hear of them at all.
Reading fees range from $20 to $500 or more. The fee is seldom refundable, unless they contract the writer and sell the manuscript, which, of course, almost never happens. Keep in mind that payment of a reading fee ensures nothing, except, wind and weather permitting, that you will be "read." Both the AAR (Association of Authors' Representatives) and the WGA (Writers Guild of America) frown on generalized reading fees.
CRITIQUE FEES: A manuscript may sometimes interest an agent, but may still need development. Some agencies offer criticism for a fee. Like reading fees, critique fees ensure nothing. Having someone critique your manuscript may benefit you, but remember that one person's opinion is only that. Analysis from one agent to another varies tremendously, and the critique's quality depends on the agent's knowledge and market savvy. Be advised that agents who critique have less time to actively market manuscripts to publishers.
Some "agents" make referrals to freelance editors or "book doctors." Beware the legitimacy of such referrals. Research any critiquing service thoroughly, and watch out for those who charm you with compliments. It is perfectly legal to make referrals, but abusers of this practice receive a "kickback" for the referral. Both the WGA and the AAR frown on referrals to "book doctors."
OFFICE EXPENSES: Both agents who do and do not charge additional fees charge for photocopying, postage, long-distance phone calls, marketing, etc. An agent should only ask for office expenses after agreeing to represent the writer. These expenses should be understood before signing any agreement, and they should be returned upon sale of the manuscript.
EVALUATION: Given offers of representation, determine which agent is best for you. An offer may be flattering, but be confident that you can work well with your choice. You should expect a formal business relationship. You should expect only what the contract specifies; such as how often your agent updates you about which publishers have seen your manuscript. And should your manuscript be sold, know when to expect payment. Publishers send author advances and subsequent royalty payments to the agent, who deducts her commission and sends the remaining balance to you. Agents commonly charge a higher commission for foreign, dramatic, or other specialized rights, usually up to 25 percent. Be sure to understand your agent's commission rates and payment policy.
You and your agent are business partners. You must understand your relationship. Be reasonable with her, and expect the same. Do not ask about private information or the size of a typical client's advance. Nor should you ask any private information that might be safeguarded under agent-client privilege.
UNDERSTAND BEFORE YOU SIGN: Beware agencies that do not offer written contracts. Toss their offers and save yourself the expense. Please keep in mind that if you are unsure about what an agreement says, you should not sign. Be perfectly clear on your business relationship. If you receive a contract or agreement that has overwhelming compliments on your writing, has poor spelling or grammar, or has excessive fine print, you should file it immediately under "Garbage." Know the extension of authority to negotiate on your behalf. Know what compensation there is for your agent and any co-agent, if used. Know the time frame for forwarding publisher's payments. Know the termination clauses, allowing you, as the client, to gracefully give notice of your intent to seek other representation. (Generally 15-90 days to terminate the agreement.) All of these should be plainly stated in an agreement.
GETTING READY FOR AN AGENT: Keep an agent's job in mind, and ask yourself if your work is complete and as close to perfect as you can make it. A few years ago, publishers often spent big money on editorial salaries to fix somewhat sloppy manuscripts. This practice is now a thing of the past. In today's publishing world, the author MUST be her own editor unless he or she has huge proven sales of past projects that convince a publisher to assign an editor to one manuscript for an extended overhaul. This means that the author must polish, polish, and re-polish the work BEFORE contacting an agent. Have you polished your manuscript? If not, your work is incomplete, and sending an agent an incomplete project not only wastes your time but also may cost you a fair shot at representation. Literary agents cannot sell an unsalable property, nor solve your personal problems, nor can they be your secretarial staff. They simply endeavor to sell your book.
Moreover, your material may be inappropriate for the current market. Poetry, magazine articles, short stories, or material suitable for academic or small presses seldom catch an agent's eye because an agent's time is too valuable to submit them. Agents who do commit to such materials usually represent an author's books beforehand, and submit these smaller projects only for favored clients.
If your manuscript is ready to be placed with an agency, you should be too. Before you contact an agent, know which course you want your writing career to take. Agencies want clients who produce more than one project, and work constantly. Agents often say they represent careers, so when composing your query letter mention all completed projects and your current work-in-progress. Even if you're just drafting a second book, make it clear that writing is your career.
BEFORE CONTACT CHECKLIST: Follow these simple instructions.
__Finish your project. Literary agents are often useless without a finished product.
__Revise, revise, revise. Polish your manuscript beyond what you expected.
__Proofread twice. Never waste an agent's time with typos, spelling and grammatical errors.
__Publish anything you can, anywhere, proving that your writing has quality.
__Eliminate agencies that are unsuitable for you or your project.
__Craft a synopsis or outline. Meet the requirements and make it great.
__Compose your query letter. A polished and concise first impression of you means everything.
FINAL THOUGHTS: Selling yourself to the right agent is a difficult step, but necessary to find someone trustworthy who believes in your work. Plan to spend plenty of time and careful consideration. Now you know how to get your foot in the door, so be courteous and professional, and put your best foot forward.
PRESENTATION MECHANICS: Good preparation cannot guarantee publication, but a professional presentation is the first step to being read. An unprofessional ms, however, will never be read. These techniques will polish your ms presentation:
__Always use plain white, 8½ x 11 inch, 20-lb. bond paper. This is strong and durable enough to take office handling. Do not use textured or erasable paper.
__Everything you submit is single-spaced, except the book ms.
__Use proper book ms format: 1¼ inch margins everywhere, double-spaced lines with left-justified 12-point font only. First sentence paragraph indents are 5 spaces (4 empty then letter.) Set your "Tab" key. Number every page mailed except first/only pages.
__Proofread carefully using a dictionary, thesaurus and stylebook.
__Use a laser-quality printer.
__Put a blank piece of paper at the end of the manuscript to protect the last page.
__Always keep a hard copy and two disk copies of everything you write.
__Send disposable copies (all letters, samples and manuscripts) and a business-size (#10) self-addressed, stamped envelope (SASE) for reply. (It's usually cheaper to print a new manuscript than to have a tattered one returned.)
__When sending electronic disks, make sure that the formatting matches the hard copy and follow the directions carefully. Always include a hard copy with any disk submission.
__Keep accurate records of all submissions.
NELA recommends that you craft the following BEFORE seeking an agent:
1) Cover Letter
2) Query Letter
3) Synopsis/Outline
4) Author Bio
TITLE PAGE: Book manuscripts use a separate Title Page. Single-space your legal name (or the copyright owner), address, telephone number and E-mail address in the upper left corner. The approximate full ms word count goes in the upper right corner. Center your title about halfway down the page, and place your byline (your name or author's pseudonym) beneath it. NELA recommends not using copyright symbols anywhere on your manuscript. Many agents and editors regard this as amateurish. Current copyright law protects your work as soon as you put it into tangible form. Nevertheless, NELA recommends that you copyright your manuscript with the Library of Congress, Washington D.C., thereby fully protecting yourself and your work BEFORE you submit material.
NOVEL MANUSCRIPT: At the top of page 1 and all following pages: You may left-justify or center a key word from the book's title, or the whole title if three words or less; in the upper right corner of the same line, place the author's last name, then three spaces, then the page number. Center the chapter number and chapter title (if applicable) one-third of the way down the page. Skip three lines and start. Begin each chapter with a new page.
SHORT STORY COLLECTION MANUSCRIPT: For a short story collection manuscript, follow all above rules, but include an Index Page listing each story and the page on which it begins. Place the index page between your title page and first story. There is no byline after each story title.
FEATURE FILM SCREENPLAY: If you are accomplished enough to write a proper screenplay, you don't need our help here.
COVER LETTER: A one-page single-spaced business letter of introduction. This letter includes only the essentials about yourself (name, address, telephone number, publishing experience if any), two or three sentences relating to your story, and two sentences about what personal experience or interest compelled you to write about your story subject. Standard-justify, double-space between paragraphs and do not indent.
QUERY LETTER: (NELA prefers one single-spaced page.) It's two am. You're wishing you were at a local club, closing the place down with some warm companionship, but instead you're a blob in front of the boob tube. The corn chips have lost their taste, and you're agonizing over the query letter that seems deader than the Frankenstein monster before the big ZAP! Every ounce of your remaining energy is directed toward that singular thumb -- the one that controls your mediascape to another dimension. Suddenly, you stumble upon something half-interesting, and you watch a moment. Without realizing, you've forgotten the fleeting moment along with the remote. You're entranced.
That effect is the heart that pumps your query letter. Your query letter hopes to draw in viewers as vividly as a beer commercial (including the little mutt.) But there are hundreds of channels for a viewer to choose from, just like the hundreds of query letters that bombard literary agents each week. How do you make yours stand out and catch attention before he or she gets their thumb working? Like those little moving pictures you only have a small window of opportunity. Make the most of it by simply doing your job. Agents won't read through anything that is long, detailed, or irrelevant in a query. "I know you're busy…" gets rejected instantly because it's redundant and meaningless. All agents are busy -- or else they're out of business. "I've got two other offers so hurry…" will get you an "OK, then -- Good luck!" and vagueness about any aspect of your book will leave you with a likewise rejection. A query is a business letter. Make it look and sound like one. Critical points are made one after another. Anything that catches attention had better pay off with meaningful substance about your project. Try your best not to embarrass yourself by being cute or colorful. Agents want a short letter (one page, sometimes two) that introduces you, describes your book, explains why you're the person to write it, briefly outlining your writing experience (if you've been published or won awards), and then the letter closes immediately. Any error is glaring and unacceptable.
Writing a good query letter hasn't been easy for anyone -- ever! But now you know how. Your 30-second trailer to an agent might just feed that puppy. And remember, being businesslike doesn't mean that you have to be a cold fish or a static personality, only that you observe the conventions of professional conduct. Standard-justify, indent first sentences, and no spacing between paragraphs.
BOOK PROPOSAL: (NELA prefers your query, first chapter/story, and synopsis/outline.) You're novel or collection is finally finished, and after sending a masterful query, an agency is interested. Now you need a proposal package: a cover letter (your query letter sometimes stands in for this), usually one to three sample chapters (or sometimes 100 fiction pages), a synopsis and/or outline. Sometimes agents use the terms "outline" and "synopsis" interchangeably, but there is a difference. Generally, "outline" refers to nonfiction, while "synopsis" refers to fiction. If in doubt -- ask! Ideally, a book synopsis is a condensed narrative version of your story from beginning to end. It reads like your novel, conveys the style and shading, and grabs and holds attention. It is the snapshot of structure and plot, so agents can see your overall picture.
NOVEL SYNOPSIS/OUTLINE: (NELA prefers one single-spaced page.) A synopsis is all-important when marketing your novel. Agents and publishers judge your writing ability by it. It is a condensed narrative version of the novel. It "hooks" the agent or editor, showcasing the central conflict and the chain of events created by that conflict. It incorporates and condenses every chapter, main event, important character and plot twist. A synopsis highlights the human drama and emotion that forces the main character(s) to act in a particular way or direction. The following will guide you when condensing your manuscript:
__Format: Standard-justify, indent first sentences, no spacing between paragraphs. Place your heading in the upper left-hand corner of the page; line 1 = Book Title by Author; line 2 = the genre; line 3 = estimated full ms word count. Type "THE END" at the bottom of the synopsis.
__Present Tense: Use present tense and third-person even if your book doesn't.
__Tell All: Summarize your manuscript chapter by chapter, and then condense those summaries into only the necessary actions and events. You're writing a complete account of your book and 1 paragraph may represent 1 chapter or chapter section. Keep the style and tone of your book -- if the novel is light and carefree in tone, then a light and carefree synopsis works best. Include the ending. (Who lives, dies, leave nothing out.)
__Hook Us: Detail your primary character (age, career, marital status, etc.), and describe how the character becomes involved with the primary conflict.
__Introduce Characters: When first mentioning a character, spotlight the name by using all UPPERCASE. Detail that character's description in the same sentence.
__Cut: The synopsis is a super-condensed book. Generally, 1 page equals 25 ms pages. (A 300-page novel ms = a 12-page synopsis.) Some agents prefer more compression and will ask for a one- or two-page synopsis. If in doubt, ask the agent what length he or she prefers. Include only essential action that greatly impacts the story. Adverbs, adjectives, and dialogue are used very sparingly.
__Keep Out: Do not let your voice be heard in the synopsis. No comments, no headings such as "and then at the climax" or "In the next chapter.…" Your characters are alive in their world -- there is no author. That is the point of the synopsis -- to make that fictional world come alive for an agent or editor.
COLLECTION SYNOPSIS: (NELA prefers three tight paragraphs for each story.) A "collection" synopsis covers the highlights story by story. Paragraphs detail the main characters and conflict, plot, and the ending of each story. Follow the novel synopsis techniques, but number and left-justify each story title, then skip a line and start. Triple-space between stories and remember "THE END" after the final story.
AUTHOR BIO: (NELA prefers two double-spaced paragraphs.) Make it interesting but tell the truth. Include only pertinent general information about your background that relates to your writing, knowledge, or skill thereof. Paragraph One describes your background and education. Paragraph Two describes the person you are today and all writing accomplishments, including any work-in-progress. If you have too many published works to smoothly squeeze into this paragraph, simply mention the two most recent works, and then attach a separate "Publications List." A version of this information might appear on a book's back cover, with your author's photo. Left-justify and double-space for editing ease.
Not all agents or editors agree on guidelines, but the methods outlined here are generally accepted. NELA observes the formatting preferences of publishing houses, and indeed specific editors when submitting materials, so our clients need not. Meet our requirements, and we'll take it from there.
The year my father was born, the year his older sister was killed, there was talk in the hills of West Virginia. Susan was a strong girl, looking forward to graduating high school at the head of her class, and she too must have heard the rumors. Strangeness brewed about the town, so they say, when the sun grew hot and burned you and girls of Susan's age wore light summer dresses. An early stranger came through their tiny mining-town that year, before the wisps of winter had died. In weeks that followed, townsfolk saw him passing through, as though he was carving a sales route through the hills. They knew him only as Mister Newel, and his wares remained conspicuously unknown. The recollection was that he denied being a salesman, but whatever he had to sell was locked in his man-sized travel trunk, which was locked behind the glass of his truck's bed cab. Many years since that nightmare, I was told Newel "seemed a right nice fella though a might quiet." To anyone's knowledge, Susan and Newel had never crossed paths before the trouble.
These accounts are the inspiration for my novel, Title. It is a complicated story about …, etc. The novel is set in … with narrative in … point of view, etc.
(short Bio/credits paragraph)
If you would like to see the manuscript, please feel free to contact me.
Sincerely,
His windscreen cracks under the enormous pressure -- and he knows. "Tell my kid I love her!" In her heart's secret recesses the Chevalier slams back and forth in his cockpit. In the clouds of Sturm und Drang, at the threshold of her passage, the experimental interceptor disintegrates into an emblazed, heralded nothingness.
"No!" she screams, thrusting up into a quivering frame of herself. She leaps from the bunk and races to the forlorn bowel of the Royale, where that wretched tap vomits choked spurts of ginger ale before clearing to a solid stream. She slaps the rust-flavored water to her face and stares herself down in the mirror cracked. The fracture splits her in two, a pale reflection of her torn spirit, as if foretelling some impending doom. She hates the message of the mirror, How small, fragile, and insignificant she is.
This is an excerpt from my novel, Title. It is a story about the heritage and promise of Main Character, who character is and what character does, and the secret mission that provides her the opportunity to prove herself and realize lifelong ambitions -- despite contrary military policies. The novel is set in … all locations. Main Character suffers from her father's death, and continuous disrespect in "a man's world." She means to open doors for women -- and only a fool would bet against her.
My credits include…. Currently, I have begun my seventh novel, which is a romantic drama, etc.
If you would like more information, please feel free to contact me. I thank you for your consideration.
Sincerely,
Author
Street Address
City, State ZIP
Telephone
E-mail Address
TITLE by Author
Action/Adventure
70,000 words
A female pilot wants to change military policy, and all she must do first is change the world.
Air Force CAPTAIN JON FREA is a man on the move. His boss GENERAL BEN STACK awaits him in the Oval Office. They open secret dossiers; one pilot will carry the burden and promise of the world. CAPTAIN "TK" BROWN has it tough, trying to prove herself in "a man's world." Her commander, GENERAL MARC, "volunteers" her for the secret mission.
COLONEL THOM JAFFE must train TK in the world's most secret aircraft. Jaffe resents TK for "stealing his mission"; TK resents him for his hostility. A crash jeopardizes her dream; now, she must challenge the Iron Curtain, drop propaganda, refuel at a secret airstrip, and survive Soviet onslaught, all while wounded.
Christmas Eve shoots TK into Soviet skies, with Stack, Frea, and Jaffe overseeing events from West Germany. NATO warbirds fly to distract the USSR. Soviet GENERAL BALA and CAPTAIN VLOS try helplessly to stop TK as she "strikes" and disappears into wintry night. AIR MARSHAL NGERYON arrives at the stricken HQ complex; he means to have this American criminal for a show trial. All Soviet forces mobilize, including the infamous Sukhoi-35 prototype fighter.
TK refuels. CZECH UNDERGROUND LEADER JURG must protect her from roving army patrols. Jaffe wants a plane for a rescue attempt. Stack prevents the insanity.
Satellites betray TK. Paratroops destroy the Czechs, who willingly sacrifice themselves. The warbirds duel. TK prevails by luring the Soviet into friendly-fire. She parachutes safely, assumes the dead pilot's identity, and confiscates a Jeep. Crash site patrols realize the ruse.
A helicopter chases her along the highway. From the open-cabin door, a rifle sniper fires into her shoulder. TK refuses to stop, and lures the chopper into power-lines. She crashes into West Germany, under border-guard fire. Victorious, TK and Jaffe soar homeward. Together, they have found common ground in the skies of Europe.
Bad Ideas:
__Do not send anything unless asked for, and adhere to every aspect of instructions. Submit only twelve-point type, double-spaced, single-sided, unbound (except screenplays), and left-justified.
__Do not send a questionnaire, or tell us that everybody loves your book, or that your writers' group says it's the best ever. List the publishers and sales for your previous books, that might impress us.
__Do not send a form letter, color logos, or images of you or your book cover.
__Do not send anything containing errors. Wi'll sey tanks bit no tanks.
__Do not tell us that you've spent $2,000 on a professional editor. Frankly, if you cannot craft a reasonably clean manuscript, it doesn't bode well for your professionalism.
__Do not claim a referral. We confirm all such statements before considering your letter. And if for some reason we cannot confirm, guess where your letter goes.
__Do not forget to mention every editor who has read your work. The publishing industry shares reject lists. If read by several editors, it's over -- write another book.
__Have you self-published? Prove sales of 4,000 copies over 4 consecutive weeks.
__Do not leave vague messages. If we return your call, we'll ask you twenty questions. If you don't know the answers, point blank, odds are that we won't be returning another. Agents don't have the time to play twenty questions and not get the answers.
__Do not send anything that requires a signature, overnight mail, second-day air, certified or registered mail, return receipt requested. US First-class mail is preferred.
__Do not send something and then call us. Potential clients are only potential clients, and actual clients who annoy us with self-promotion or "What's up?" are not clients long. When we have something to report -- we'll report.
Good Ideas:
__Learn the writing craft first, then submit. Do you understand writing mechanics and why they work?
__Know your subject. Research endlessly and seek facts from various sources.
__Concentrate on carefully nurturing one project. Begin another project only when the first is as perfect as you can make it.
__Write a pithy query, without overly personal information. Give us a one-page query with a short paragraph about your credentials.
__Remember, some "agencies" make money by reading/editing rather than sales. Be careful.
__Be certain of your material. The market is extremely competitive. Remember -- once it's out there -- it's out there!
FLOPPY 1.44 MB DISK: (NELA prefers Microsoft Word 6.0 and up.) Mark the disk with your project title, your full name (including pseudonym), the word processing program and version. (Word 6.0, Word 97, etc.) All files should be included on the same disk: Query Letter, Synopsis/Outline, and Full Manuscript, with your Title Page in a separate file and your Index (for collections) in a separate file. If you have written prologues, epilogues, etc., include these with the same formatting as the ms. These additional files are for inter-office information and marketing only, and will not be disclosed in a tangible form. Be sure to mark box wrapping with "ATTN: COMPUTER DISK ENCLOSED" below our address. Use permanent red ink.
MAKING PERFECT SUBMISSIONS:
__Always send a formal query first. NELA accepts 1-page E-mail queries without attachments.
__Send only copies of your work. Always keep a hard copy and two disk copies.
__Mail your disposable, full manuscript package in a ream size box wrapped with brown paper. Inexpensive mailing boxes and wrapping paper can be purchased at any local office supply store. Tape to reinforce corners and to keep the box closed. Send disposable sample pages in a 9-inch by 11-inch envelope or a US Priority mailing pouch. They are durable, and best of all -- free.
__Always include a self-addressed stamped #10 envelope. If from another country, paper clip appropriate International Reply Coupons to the self-addressed reply envelope, or better yet, let us E-mail our response.
__Always include your E-mail address on everything (query, synopsis, ms., etc.)
NEW ELITE LITERARY AGENTS represent authors of book-length fiction and nonfiction, including novels and story collections (genres, literary, mainstream), and will consider screenplays (but not teleplays) if based on a client's contracted work. Agents do not handle short fiction, poetry, children's material, or overt erotica. New Elite Literary Agency does not charge reading fees, offer manuscript critiques/revisions, or make referrals for those services. This agency submits only to royalty publishers.
NEW ELITE LITERARY AGENCY presents written properties to trade publishers, negotiates contracts, represents subsidiary rights, and works as author-publisher liaison during publication. Author-Agent agreements provide for a 15% agency commission on all gross domestic proceeds from contracted properties.
NEW ELITE LITERARY AGENCY seeks only the best new talent, and reviews literary works for possible representation to publishers. If the material is considered salable, a written agreement engaging New Elite Literary Agency as exclusive literary agent for the property may be offered.
Submission Guidelines:
The agency does not review work-in-progress. Submit a one-page synopsis/outline and the first chapter/story (up to 30 pages) for preliminary evaluation. Please format all manuscript submissions with 1¼ inch borders, double-spaced, and Courier New 12-point on one side of page, with consecutive pagination throughout. The agency strives to respond within thirty days, but response times vary. Submissions cannot be returned. Synopsis and samples with #10 SASE should be submitted to:
NELA
Attn: T. Harris
260 S. State Street, Box 413
Westerville, Ohio 43086
*If you have encountered fraudulent "scam" agents or agencies, you may wish to aid the writing community by presenting a detailed description of your experience, either in letter or article form. Please indicate if you wish your name and contact information to be kept confidential, and whether you wish your report to be passed to associations such as AAR. Send via US mail only and mark your mailers:
LITERARY FRAUD REPORT
260 S. State Street, Box 413
Westerville, Ohio 43086