How long have you been agent and how did you get your start, Tina?
I got my start at the Ellen Levine Literary Agency in , assisting agents Elizabeth Kaplan (who's since started her own agency) and Louise Quayle (who's now Director of Domestic Rights at Doubleday). I then moved to the Karpfinger Agency for a brief stint in foreign rights before landing at InternationalCreative Management (ICM) in , where I started building my own list of clients.
What makes your agency different than any others?
ICM is one of the world's largest talent and literary agencies, with offices in New York , Los Angeles , and London . ICM represents creative and technical talent in the fields of motionpictures, television, books, music, live performance, branded entertainment, and new media. Our clients include the only living American Nobel Prize winner &#; Toni Morrison, recent National Book Award and Pulitzer Prize winners &#; Richard Ford, Cormac McCarthy, E.L. Doctorow, and the most lucrative writer in publishing history &#; Dr. Seuss. We also represent a high portion of today's consistent #1 bestsellers &#; Patricia Cornwe
Whether you have finished that novel or are still working towards it, chances are you may have questions about getting it published once it's ready. Demystify the publishing process with a chance to connect with literary agent Audrey Crooks and get your questions answered. You may attend in person at Paragraph or on Zoom. Register either way (unless you’re a member).
Paragraph Members: you will be auto-registered for this event for free.
Before joining Trident Media in as an assistant to Don Fehr and Ellen Levine, Audrey Crooks was an intern at the Frances Goldin Literary Agency, a bookseller, and lived in Jordan while working for a nonprofit serving Gazan women refugees.
As an Associate Agent who works closely with Ellen Levine, Audrey is seeking literary fiction, speculative fiction, story collections, international works, and upmarket and genre fiction with a literary bent. She is drawn to smart, character-driven stories with a sense of humor and style, and welcomes the surreal and fiction that explores gender, language, identity, built and natural environments, and/or systems of power in creative and compelling ways.
For nonfict
How These Writers Got a Literary Agent
Write It
A series about finding the words.
Photo-Illustration: by Preeti Kinha; Photos: Getty Images
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What do you do if you think the document you’ve been working on maybe, just maybe, might possibly be a book? There’s no one-size-fits-all answer, but for some writers, the next step is to look for a literary agent who will work to sell your manuscript to a publishing house and help guide your career from a business standpoint (typically for a fee of 15 percent). Below, eight writers explain how they connected with their literary agent.
After I’d finished my novel to the point where I didn’t know how to revise it further myself, I started looking in the back of a lot of books that I liked, at the agents they thanked in the acknowledgements. And I think I had seen somewhere that you should get a subscription to Publishers Marketplace, so I looked there, too. Then I reached out to the agents of writers I admired, and I got a few rejections and some nonanswers. One person I emailed was PJ Mark,
Ellen Levine began her career with two publishers: New American Library and Harper & Row (now HarperCollins). She then worked at two other agencies before forming the Ellen Levine Literary Agency in Since then, Ellen has acquired a reputation and a client list second to none in the industry. The authors she represents and nurtures include Garrison Keillor, Jane Heller, Michael Ondaatje, Russell Banks, Cristina Garcia, and Marilynne Robinson, among many others.
Her fiction list encompasses thrillers, strong stories for women, multicultural fiction, and a wide range of literary fiction. Ellen's agency recently merged with Trident Media. Ellen is now a partner and a senior officer of Trident Media Group.
ELLEN: I had hoped to find an editorial position since I had loved the editing I had been doing as assistant to an editor at Harper & Row (now Harper Collins) but none were turning up. He suggested I work at an agency to gain experience on the other side while waiting for the right job. I began at the Paul R. Reynolds Agency (no longer an active agency, an
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