List of Agents who take Graphic Novel queries

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Miss Plum

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To update, Claire Gerus rejected with the following note:
This is clever,really, but it's not a genre I've sold. I think in all fairness I should defer to someone with more experience in graphic novel sales. I wish you all the best, and thanks for the look! Claire
Andrea rejected with this:
Truth be told, though, I'm afraid these pages just didn't draw me in as much as I had hoped. I'm pressed for time these days and, what with my reservations about the project, I suspect I wouldn't be the best fit. Thanks so much for contacting me and for giving me this opportunity. It's much appreciated, and I'm sorry to be passing. I wish you the very best of luck in your search for representation.
I think Claire's a No (simply didn't realize what I meant by "graphic novel"?), while Andrea is someone to query.
 

Miss Plum

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A few more adventures in Queryland perhaps worthy of adding to The List.

Irene Kraas asked for the first ten pages, and then Rejected saying she doesn't rep graphic novels even though I'd said "graphic novel" in my query. Some agents don't read a two-paragraph query letter all that carefully!

Judy Heiblum of Sterling Lord said Please Send and indicated that she knew what she was talking about -- she said to send artwork.

Irene Webb also requested the full, specifically mentioning "graphic novel" in her response.

EDITED to add more:

Marlene Connor of Connor Literary Agency. The website says:

The Connor Literary Agency has a special interest in illustrated books. We are currently accepting manuscripts; and we are expanding our interest to include more mainstream and multicultural fiction.
Graphic Novels are also listed as among their genres at QueryTracker.net.

Betsy Amster says:

The agency’s areas of interest include: Literary fiction, upscale commercial women’s fiction, voice-driven mysteries and thrillers, narrative nonfiction (especially by journalists), travelogues, memoirs (including graphic memoirs), social issues and trends, psychology, self-help, popular culture, women’s issues, history & biography, lifestyle, careers, health and medicine, parenting, cooking and nutrition, gardening, and quirky gift books. We do not represent screenplays, poetry, westerns, fantasy, horror, science fiction, action adventure, techno thrillers, spy capers, apocalyptic scenarios, or political or religious arguments.

http://amsterlit.com/site/

James Fitzgerald says:

As an agency, we primarily represent books that reflect the popular culture of today being in the forms of fiction, non-fiction, graphic and packaged books.
QueryTracker also lists him as repping Graphic Novels.

http://www.jfitzagency.com/

Joanna Stampfel-Volpe of Nancy Coffey says:
She is also interested in graphic novels for kids/teens, or novels with a high graphic element.
http://nancycoffeyliterary.com/agents.cfm?id=27
 
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Bicyclefish

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I'm familiar with submissions requirements by comic book publishers -- typically a story overview, character sketches and descriptions, and a few pages -- and from reading sites like this one and Query Shark I've learned a little about the querying process and dos and don'ts for writers, but when submitting a graphic novel idea to an agent is it much different? Are they looking for completed works, like with a novel, or do they accept works in progress?
 

elae

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Sorry for the delay! I was out of town for a bit. List is now updated, though.

New to the list (many thanks to Miss Plum):
Betsy Amster Literary Enterprises
http://amsterlit.com/site/

Nancy Coffey Literary & Media Representation: Joanna Stampfel-Volpe
http://nancycoffeyliterary.com/agents.cfm?id=27
I haven't added a few of the others you mentioned just because I think agents will often take partials for genres they're *considering* branching out into (graphic novels seem to fall into this a lot). I'd rather keep the list to agents who have personally said they want GNs, who have a GN client, or who have a past GN sale. It makes it a lot easier to double-check when I go through the list to remove agents who have moved on, etc.

Also, a number of agencies represent "graphic books", but use the term to refer to coffee table-type books.

Oh, and Beth Fleisher and all those at BG Literary are already listed. :)


I'm familiar with submissions requirements by comic book publishers -- typically a story overview, character sketches and descriptions, and a few pages -- and from reading sites like this one and Query Shark I've learned a little about the querying process and dos and don'ts for writers, but when submitting a graphic novel idea to an agent is it much different? Are they looking for completed works, like with a novel, or do they accept works in progress?

Agents want the script to be completed and polished, and with that they want at *least* one chapter of finished art. Most do not want/need the book to be completely drawn/colored/final, because it makes revisions much harder.
My queries include a link to my sample chapter on my website, and I have a synopsis with character sketches and a full .doc script all ready upon request.
 

Miss Plum

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Oh, and Beth Fleisher and all those at BG Literary are already listed.
Woops, I went to "A Distant Soil," not your list, Elae. Colleen's list is way old.

If you go by GN sales, you might want to add Sarah Such. Publishers Marketplace records this: John Harris Dunning and Nikhil Singh's SALEM BROWNSTONE: All Along the Watchtowers, the story of a young magician and his battle with dark forces from another world, to Karen Lotz at Candlewick, for publication in July 2010, by Sarah Such at Sarah Such Literary Agency (US).

That deal was made in September 2009. I can't seem to find much on Sarah, however, maybe because she's a UK agent (but she makes sales to US publishers?).
 

Bicyclefish

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Thanks elae. One more question, for now:

Once the agent accepts the project, do they wait to propose it to publishers until after it's complete or while it's in the works?
 

elae

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Thanks Miss Plum-- I'll check her out and see if I can find anything!

Thanks elae. One more question, for now:

Once the agent accepts the project, do they wait to propose it to publishers until after it's complete or while it's in the works?

They pitch it to publishers the same way, as a pitch with sample chapter(s). Some agents want to do a round of revisions with their clients first, others only take on projects they think are 100% ready to submit to editors.
 

Miss Plum

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For what it's worth, here's the rejection on a full (after nine weeks) that I got from Eleanor Jackson of Markson-Thoma:

Thank you for letting me consider XXX. You are clearly a talented writer, there's so much to be admired in these pages. That said, I just can't see a way to market this successfully in the general trade market, nor can I see a way to revise it that won't compromise some of the elements I liked here. My instincts tell me this is something that's just more in line with a smaller/ independent publisher, and I'm afraid those circles are just lesser known to me.

I'm sorry to disappoint you, but others will surely feel differently and I certainly wish you every success.

Best, Eleanor

Possibly some useful info for those who know exactly what kind of publisher/agent combo they're seeking.
 

smellyZOMBIE

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Hey folks - just signed up although I've been lurking for a little while. Skimmed through this thread and there is a lot of great insight. I'd like to throw a question or two into the mix...

Any one ever have luck querying as a writer only? In other words, you're not the artist, nor do you have an artist collaborator when querying with a proposal. I assume that if the agent and ultimately the publisher like the script, the publisher will get the art team together and finance the production. I.E. pay the art team.

Another thing, the scripts I wrote were originally written as movies so they pace like movies, ...oh, and they're also written in movie-spec format. Am I shooting myself in the foot before even sending out queries if they are formatted this way? I figure the comic/GN format is similar enough to the movie-spec that it wouldn't be a huge make or break...yes/no?

I've received all 'NO' responses so far, I have a collection of 10 rejections that I'm proud of, and most of them will outright say 'we don't represent screen plays' even though I make it clear that I'm not proposing a movie. Rather, it's a script/proposal for a graphic novel, that happens to be written in movie-spec format.

You guys are awesome. :yessmiley
 

myrmidon

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smellyZOMBIE: You should maybe consider starting a new thread for this (or can Mods move it?), rather than hijacking elae's - which though it has wandered over its five pages - has tried to come back around to being about agents that take graphic novels.

That said, I'll answer anyway, and if this gets moved...I'll move with it. :)

In my experience, you need to have your ms formatted correctly for a comic or graphic novel as it's quite different than a screenplay. And it may well help explain those rejections (it sounds like they flat out told you this by not recognizing what you were submitting).

The thing is, though a screeplay and a comic book script have similarities, a screenplay is going to have descriptions (and actions) that don't consider the new medium, and it's going to have no regard for the pacing of the medium and it will be hard to tell, if it's not broken down correctly, how many panels to a page, and how many pages before the end of a book (if it's series of floppies), or just how long it will be if it's a graphic novel, etc. So you really do need to reformat it...they're totally different mediums and disciplines. A lot of people think comics and graphic novels are just storyboards for film...but there's so much more than that. Formatting correctly can only help, especially if that's the feedback you've been getting.

This is a good reference about how to write and format:

http://www.atomic-robo.com/2009/03/10/how-do-you-write-a-comic-script/

Dark Horse has a very helpful pdf (and word) version of their preferred ms formatting available on their submissions page, this likely isn't exactly the preferred format of every publisher everywhere, but if you used this you'd be well covered:

http://www.darkhorse.com/Company/Submissions

Unlike a screenplay done with final draft (or similar) agents/editors aren't going to be as exacting with the ms as there are several different but similar versions out there that are acceptable, but a screenplay is certainly a version that is NOT acceptable.

I also always mention Understanding Comics by Scott McCloud if you're new to the medium, as it's just priceless in its usefulness.

Secondly, you probably do need an artist on board, if only temporarily so that he or she can help express your project visually to an agent or editor. I've heard of some houses having artists in mind for writers/stories and putting those things together, but the only time I've heard of that happening are for already established writers and artists that they've worked with and for really mainstream stuff where you don't work freelance, but rather work FOR Marvel or DC, etc. If you can get an artist on board to do some character design work for you and a handful of sample pages of your script...it's going to get you that much closer.

If you're going to look for artists there are a couple threads on here that can help you, but:

http://penciljack.com/forum/
http://digitalwebbing.com/
http://conceptart.org/
http://www.deviantart.com/

are some of the good artist sites I see most frequently listed.

Good luck!
 

smellyZOMBIE

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Ohhh, okay, didn't mean to derail the thread again. :(

Awesome insight in your reply, can you recommend any books that focus on the formatting itself? The theory behind story telling and all that is cool too, but I absolutely need a book that discusses, explains and communicates proper formatting for the graphic novel/comic medium.

I checked out the book you recommended on Amazon, but I couldn't tell if the author only discusses the theory and history of the medium. Since I have the entire 'movie' in my head, the angles, visual story telling and such won't be so much of a problem. The sites you linked to for formatting are good, but it's great to have an actual book with gobs and gobs on insight.

Lastly, the thing bout the artwork, I actually have all the character designs completed myself, concept art etc... Problem is, I can't do sequential work, and I'm horrible at actually drawing angles and from differing perspective.

Anywho, after reading what you wrote, it seems that I have indeed been punching myself in the nads by offering a story in movie-spec format. :Headbang:
 

Miss Plum

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can you recommend any books that focus on the formatting itself?

Go here.

You can also Google graphic novel script format and explore the variations out there. Maybe just pick the one that will require the least trouble for you.
 

elae

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No worries smellyZOMBIE! Everything Myrmidon said is spot-on, so I hope it helps you with your queries.

Updates to the list:

Michelle Andelman tweeted that she's switched to a different agency:

I've got new digs as an agent at Regal Literary! http://www.regal-literary.com/

According to the site, she's still repping GNs.

Michelle handles all categories of children's books, representing authors of middle-grade and Young Adult fiction, and author-illustrators of picture books and graphic novels. Her magnets are elegant, quirky voices, emotionally driven plots, and settings richly evoked or imagined.
 

elae

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Thanks Miss Plum! That's a great find. I've added Jud Laghi to the list.

Other updates: Collins Literary is now Ayesha Pande Literary. She's still interested in graphic novels, and sold a hip hop superhero GN this April.

I added Jennifer Laughran under Andrea Brown Lit, as her bio now lists her as representing "illustrator and graphic novelist Matt Faulkner".
 

elae

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I heard about their launch, but I haven't seen anything solid yet. I'll probably wait until they have a sale before I add them to the list on my site, as I've done with other new agencies that have popped up.

For reference, their site says they plan to pitch to both book publishers as well as "ancillary rights like movies, TV, animation, etc". Anyone know of any info on their past agenting experience in these areas?

On their methods-- here are a few quotes from their site:

We’ll be starting slow – we’ll be starting, in fact, with some KICKSTARTER campaigns. Kickstarter requires that we cultivate a very close relationship with our community in a relatively short period of time, but the actual interactive and engaging elements of KS are limited. However, it’s a great way to break the ice, pass out some wonderful new comics to you, begin conversations on them, have you, our community, take an active part in our first endeavor.

Be on the lookout for us to ask you what incentives you want to see, what kind of GN’s you’d rather receive – Hardback? Paperback? Glossy cover? Matte smooth non-gloss cover? Vellum paper? White paper? Is 300 pages with 20 pages of extras enough? Should there be more? What kind of extras do you find worthwhile? YOU will be on our board and help us make final business decisions. That’s not a mind-blowing level of engagement, but it’s a start.
The Crowdsourcing we discuss is to produce a professionally polished limited edition of the work to hand to publishers and producers as a representation of the work. (...)

A polished representation of a GN, even if incomplete, is one of the best ways to approach publishers and producers as the final product is much more easily imagined from this than from a digital PDF or a concept pitch with a few finished pages.
From what I can see, they'll be using KS to have outsiders (you and me) raise money to print finished copies of the books they represent that they will then send to editors.

I'm not at all sure why they would be concerned with hardback vs paperback, types of paper, or anything else-- any decisions they make are almost sure to be overturned by the editors who ultimately handle the book.

This also goes against most of what I've heard from agents and editors-- that they prefer that pitch with just a chapter or so of sample pages (along with finished script). It's much more work to edit the pacing of a book when it's already completely drawn.

Thoughts?


For what it's worth, though, I've bought comics through the related Robot Comics droid app, and that's all solid!
 

elae

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A few articles that might be of interest here:

Why Hollywood Loves the Comics
This story originally appeared in PW Comics Week on January 27, 2009
Scott Agostoni at William Morris Agency: "I started by signing up indie comics publishers and repping their catalogs and their content to film, TV and digital production companies. I mushroomed out to individual creators. I represent creators who work for Marvel and DC and I help them do stuff for independent publishers and also take their projects to the studios."
SCBWI Summer Conference Report: Graphic Novels
Nick Eliopulos is an Editor with Scholastic, following a 5-year stint with Random House Children’s Books. (...)
Nick encouraged writers to attend comic-cons to find an illustrator willing to prepare sample illustrations prior to submission to a publishing house to give a sense of the project’s potential. Five to twenty pages of art would be a standard submission to include with the script.
 

davebaxter

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I heard about their launch, but I haven't seen anything solid yet. I'll probably wait until they have a sale before I add them to the list on my site, as I've done with other new agencies that have popped up.

Thanks for mentioning us, Nikki. And definitely don't add us yet - we're only a few weeks out the gate and besides Publisher's Marketplace, we're not adding ourselves to the myriad online agency lists nor are we going to be open to submissions until we have credentials to show.

For reference, their site says they plan to pitch to both book publishers as well as "ancillary rights like movies, TV, animation, etc". Anyone know of any info on their past agenting experience in these areas?

We're partnering with other co-agents to handle film/tv and foreign rights. Nothing set in stone yet, but we'll announce the details when the time is right.

On their methods-- here are a few quotes from their site:

From what I can see, they'll be using KS to have outsiders (you and me) raise money to print finished copies of the books they represent that they will then send to editors.

I'm not at all sure why they would be concerned with hardback vs paperback, types of paper, or anything else-- any decisions they make are almost sure to be overturned by the editors who ultimately handle the book.

This also goes against most of what I've heard from agents and editors-- that they prefer that pitch with just a chapter or so of sample pages (along with finished script). It's much more work to edit the pacing of a book when it's already completely drawn.

Dead on accurate. We're not planning to use crowdsource fundraising for most projects, as it would be shooting a proposed project in the foot to do so. However we're very interested in trying this approach for completed, independent properties.

For instance, we announced today our first attempt at this type of interactive event with the work Armageddonquest by Ronald Russell Roach. AQ is a 900-page epic that was finished over 15 years ago and is, frankly, a wildly original and unique graphic property. As the work is already complete, and for all its merits it is definitely what the industry would define as "a tough sell", our plans are to introduce this work to modern audiences through the fundraising, contests, and a new single-volume edition to help build a fundamental readership and awareness of the work.

For anyone who wants to join in and follow the process, the details are here: http://eepurl.com/Myj1

And the first 300+ pages of AQ can be downloaded and read for free here: http://www.killingthegrizzly.com/free-downloads/

And we'll be hosting weekly live chats on Tinychat every Thursday at 4:30 pm PST for anyone who wants to stop by and pick our brains about, well, anything! - http://tinychat.com/killthegrizz

This strategy of doing of engaging potential readers and funding a limited edition was built from watching the success of independently published comics landing lucrative book deals with major publishers. This is a change from self-published novels which have never (or very, very rarely) had this kind of relationship with publishing houses. Jeff Smith, Jason Shiga, Kevin Cannon, Chris Ware, Barry Deutsch - indie comic creators have long benefited from putting their work into limited edition print runs before shopping the property around. In certain cases, we aim to try this tactic ourselves. It's not the SOP, though.

For what it's worth, though, I've bought comics through the related Robot Comics droid app, and that's all solid!

Oh, good. We're proud of our Android comics. :)

We just sent a reply to Mike today, and things are moving ahead with In Maps & Legends!
 

elae

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Hey Dave-- thanks for dropping in and answering my questions! Good to hear you're partnering with co-agents, and my fingers are crossed that good book deals will come to your clients already on board. :)
 

Miss Plum

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Another one. Weronika Janczuk of DiForio (www.d4eo.com) offered me rep. She admitted that she is brand new -- has just two signed clients and no sales -- but her boss is working closely with her on her projects for now. It was the sample artwork that really grabbed her (I only have six pages of sample sequential in addition to sketches, concept art, and a poster) and she was willing to take me on without a fully illustrated project.

It happens that I passed because I have another offer from someone more experienced, but I would definitely recommend Weronika for her enthusiasm and professionalism.
 

elae

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Miss Plum, huge congrats on the rep offers! Be sure to let us know who you ultimately sign with~ :) That's big news!

I went ahead and added Weronika to the list since she offered you and your GN representation.

Graphic novel queriers may want to read her blog, though, to get an idea of what she reads-- one entry from only a few months ago says:
"I found myself wondering why PERSEPOLIS remains one of just two or three graphic novels I've read, despite the existence of many more."
So she may not be as well-versed in GNs as other agents. You can make your own personal call there.
 

elae

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I updated the list today with Sam Hiyate of The Rights Factory-- http://www.therightsfactory.com/
He represents Jillian and Mariko Tamaki, who did SKIM together, and Mariko also wrote EMIKO SUPERSTAR for DC's Minx graphic novel line (may it RIP :p). I'm a HUGE fan of Jillian's inking style. Definitely read SKIM if you guys get the chance.

There are now 73 agencies on the list! How's everyone's querying going?
 
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