Get to Know an Agent in Attendance: Anne Tibbets of D4EO Literary.

Screen Shot 2020-01-08 at 12.09.04 PMAnne Tibbets is a literary agent with D4EO Literary.

She is seeking:

  • Adult and Young Adult Science Fiction: “Give me your dystopia, your utopia, your bloody, bomb-ridden, and gun-blazing shoot ‘em ups with hearts of gold and threads of hope. Earth bound or in space. Bring on your new planets and aliens of all sorts. I’m not afraid of grit, but I do detest sexism. Blow my socks off.”
  • Adult and Young Adult Fantasy: “Give me your twist on magic; urban, high fantasy, or magical realism. Give me a unique location and a surprising hero, and I will be your greatest champion. Bonus points if female driven.”
  • Adult and Young Adult Thrillers: “Innovative thrillers only. Can’t stress this enough. ‘Just say no’ to alcoholic detectives investigating dead girls. Give me something fresh and well researched.”
  • Adult and Young Adult Mysteries: “Cozy or Domestic preferred, but the occasional procedural is also wanted, if it’s innovative and fresh from what’s already out there.”
  • Adult and Young Adult Horror: “Think early Stephen King mixed with Gillian Flynn. Literary-esque and fraught with anticipation.”
    Adult and Young Adult Historical: “Any time period except WW2. No redemptive Nazi stories.”
  • Adult and Young Adult Romance: “Interesting locations and any time period. I hate “Alpha” or macho jerks and the women who save them tropes. Rape is never sexy. Anything else goes.”

Anne is the author of multiple science fiction novels and a former screenwriter. In her free time, Anne watches television, reads, games, and participates in a myriad of “Old Lady” hobbies. She can be found on Twitter @AnneTibbets.



Tips For Pitching Your Book at the 2020 Writing Conference of Los Angeles

If you are coming to the 2020 Writing Conference of Los Angeles (May 2, 2020), you may be thinking about pitching our agent-in-attendance or editor-in-attendance. An in-person pitch is an excellent way to get an agent excited about both you and your work. Here are some tips (from previous instructor Chuck Sambuchino) that will help you pitch your work effectively at the event during a 10-minute consultation. Chuck advises that you should:

  • Try to keep your pitch to 90 seconds. Keeping your pitch concise and short is beneficial because 1) it shows you are in command of the story and what your book is about; and 2) it allows plenty of time for back-and-forth discussion between you and the agent. Note: If you’re writing nonfiction, and therefore have to speak plenty about yourself and your platform, then your pitch can certainly run longer.
  • Practice before you get to the event. Say your pitch out loud, and even try it out on fellow writers. Feedback from peers will help you figure out if your pitch is confusing, or missing critical elements. Remember to focus on what makes your story unique. Mystery novels, for example, all follow a similar formula — so the elements that make yours unique and interesting will need to shine during the pitch to make your book stand out.
  • Do not give away the ending. If you pick up a DVD for Die Hard, does it say “John McClane wins at the end”? No. Because if it did, you wouldn’t buy the movie. Pitches are designed to leave the ending unanswered, much like the back of any DVD box you read.
  • Have some questions ready. 10 minutes is plenty of time to pitch and discuss your book, so there is a good chance you will be done pitching early. At that point, you are free to ask the agent questions about writing, publishing or craft. The meeting is both a pitch session and a consultation, so feel free to ask whatever you like as long as it pertains to writing.
  • Remember to hit the big beats of a pitch. Everyone’s pitch will be different, but the main elements to hit are 1) introducing the main character(s) and telling us about them, 2) saying what goes wrong that sets the story into motion, 3) explaining how the main character sets off to make things right and solve the problem, 4) explaining the stakes — i.e., what happens if the main character fails, and 5) ending with an unclear wrap-up.