Stephen Barbara

Welcome, Stephen. Thanks so much for joining me here for an interview.
Can you tell us a little about yourself?

SB - Of course. I was born and raised in New Haven, Connecticut, studied English at the University
of Chicago, and after a brief stint at HarperCollins got into the agency business in late 2004. I'm
currently an agent and the contracts manager at the Donald Maass Literary Agency in Manhattan,
where I'm thrilled to be representing a terrific list of YA, middle-grade, adult nonfiction, and adult
mainstream/ literary authors.

AF -How long have you been agenting?

SB- 2006 was my first year as a full agent, and I was lucky enough to sell 14 projects and sign
nearly 20 clients. But even in 2005 when I was an assistant at a prestigious old agency in midtown, I
took on and sold several projects, so I'm not quite as green as my 26 years would suggest.

AF - What are your feelings about the children's book market right now?

SB - I think it's an incredibly dynamic, and, yes, growing market. Part of the reason it's growing is
because publishers are reaching kids who aren't self-defined "readers" - and I don't have to tell you
what sort of novels appeal to non-readers. (OK, yes, I do - think: Summer Boys, Gossip Girl, etc.)
But despite all the hand-wringing and teeth-gnashing over these super-splashy commercial titles,
there's still plenty of room for original voices to be heard. Just look at the likes of M.T. Anderson
and Markus Zusak. Brilliant writers.

AF - Do you feel a children's lit writer absolutely needs an agent (this is kind of a loaded questions
isn't it)? If so, why?

SB - Anything less than a first-rate agent is not worth getting - but a first-rate agent is worth the
whole world. That is my feeling, in any case.

For 15% of your book-writing income, you want an agent who's fast, responsive, a great negotiator,
a good reader, a smart strategist, and generally a passionate advocate for your work. Given how
competitive the children's market has become, an agent like that can do wonders for your career.

But I wouldn't advise you to settle for less merely for the status thrill of 'having an agent' - that's
not smart thinking.

AF - What kind of questions should a writer ask a prospective agent before they sign with them?

SB -The reality is that most unpublished writers sign with the first agent who recognizes their talent
and makes that first phone call. Like Chekhov's "Darling," these writers throw themselves, heart
and soul, at this person who is, after all, only a stranger. Now I know it's exciting to be called by an
agent and to feel swept up by the agent razzle-dazzle, but just be sure to take their measure amidst
all the excitement. Look for enthusiasm, a solid track record, a great reputation, a career
management strategy, and smart feedback. You want the agent who "gets" your work and has a
good plan for marketing it.

AF -Some agents have a full written contract, some a verbal one. What kind of contract do you have
with your writers?

SB - We have an agency agreement that we offer to writers who want our terms put in writing, but
we're happy to work on a handshake in most all cases.

AF -Do you ask for edits from a prospective client before you sign them on?

SB - Only in rare cases. If I think a writer's got something, I offer representation after reading her
manuscript and getting a sense of whether we're a good fit on the phone.

Requesting edits before signing a writer is a bit risky - while you're sitting there batting your lashes
and being a tease, some other agent may drive up in his Mustang and leave you in the dust.

AF - How about after they're signed? Do you offer editorial suggestions before you submit the
manuscript to an editor?

SB - I've come to see that revision before submission is quite simply the God of publishing, much as
I might like to think that deals happen because of my own very charming personality. There's just
nothing to set pulses racing like a brilliantly conceived and executed piece of story-telling. Believe
it. Most editors are lifelong book lovers - they adore good writing above all else.

AF - What kind of manuscripts would you like to see more of?

SB - I have my wish list, as all agents do. I'd like to see more finely-told, literary middle-grade
novels. Ambitious YA fantasy or YA sci-fi novels in the vein of Ender's Game. Big-feeling, frontlist
adult mainstream fiction. Smart, engrossing nonfiction in the vein of Moneyball or The Miracle of
Castel Di Sangro. I could go on; you'd be bored.

AF - What kind of manuscripts do you get far too much of?

SB- I'm seeing tons of high-concept YA novels that feel contrived and unreal. I like commercial YA
novels with a great hook, mind you, but the execution has to be as good or indeed better than the
concept.

AF - What makes a manuscript stand out to you?

SB - There's no one formula, but there are several qualities that tend to pull me into a story
-tension; characters I root for; clear, smart, fresh, funny writing. Premises that are new or unusual.
A great sense of pacing. Skillful plotting. Conflict … lots of conflict.

AF - Do you accept unsolicited submissions?

SB - Definitely. I'm always open to seeing new queries with the first 5 pages pasted into the email or
enclosed with the pitch letter.

AF - Do you have any advice for writers?

SB- Make it an absolute law not to allow negative people and influences into your life. You simply
can't afford to squander your mental energy on pessimistic, disbelieving thinking of any kind,
especially since, as an aspiring author, you'll have to deal with rejection and indifference before that
happy day when you get your first contract.