18 weeks on the list

WHERE THE CRAWDADS SING

by Delia Owens

In a quiet town on the North Carolina coast in 1969, a young woman who survived alone in the marsh becomes a murder suspect.

Eaton Literary Agency’s

Please note:  Short-Story/Article Awards Program Deadline Approaching in March.

$3,000.00

LITERARY AWARDS PROGRAM

 

We will read your manuscript free and enter it in our program

 

AWARDS PROGRAM RULES

 

A self-addressed stamped envelope with postage adequate for the manuscript’s return must accompany each submission.

 

We accept manuscripts throughout the year. We have developed a system of grading the manuscripts for awards purposes, so we do not tie up submissions for the duration of the awards program.

 

A $2,500.00 prize will be awarded to the winner of our book-length program, open to all unpublished fiction or nonfiction over 10,000 words. Manuscripts must be postmarked by August 31, 2019, and the prizewinner will be notified in September, 2019.

 

A $500.00 prize will be awarded to the winner of our short-story and article program, open to any unpublished short story or nonfiction work of less than 10,000 words. Manuscripts must be postmarked by March 31, 2019, and the prizewinner will be notified in April, 2019.

 

 

Eaton Literary Agency is in its 35thth year. We were literary agents for 10 years before opening our own agency, so we’ve been in the publishing business for over 40 years. During the 35 years Eaton Literary Agency has been in business, we have granted over $100,000.00 through our Annual Awards Program, to authors to help support and further their writing careers. We wish to thank the many wonderful writers and publishers we have worked with throughout the years, and we look forward to many more years filled with talented authors with exciting projects.

 

 

 

 

Eaton Literary Agency

1. O. Box 49795

Sarasota, FL 34230-6795

 

For information about e-mailing your submission, please see our website:

http://www.eatonliterary.com

 

 

 

“I wanted to take some time out of my busy schedule between book tours to thank you again for all your hard work in placing my three books and many articles. I can’t believe the success that has come to me because of your efforts, and I know it would never have happened if I hadn’t found you. Thank you for your guidance and for beginning my career.” J. Frank Brumbaugh, MARINE WEATHER FORECASTING, BASIC BOAT MAINTENANCE, MAIL ORDER – STARTING UP, MAKING IT PAY, plus 14 articles.

 

“Let me thank the Eaton Literary Agency for choosing my novel as the winner of your Annual Awards Program. The money is wonderful and could not have come at a better time. Most of all I appreciate the recognition this prestigious award brings to nine years of my work.” John Tarlton, A WINDOW FACING WEST.

 

“We’re so impressed with all the help we have gotten from you – first your prestigious award, then with the publication of our nonfiction book.   This award and publication is so appreciated, and it comes at a time when being published is more and more difficult without the right representation.” Jennifer Levasseur, Kevin Rabalais, NOVEL VOICES and THE LANDSCAPE OF DESIRE.

 

“I always had the dream of becoming a published author but knew it was an impossible dream, since I have dyslexia. You made the impossible possible through your guidance and tireless efforts in my behalf. Thank you so much for the publication of my three stories, all within a few months!” R. J. Bernotus

Commonwealth Publishing

P.O. Box 770354 Coral Springs FL 33077

 

FOR IMMEDIATE RELEASE                                                                                  

For a Review Copy / Media Info:

Joseph Brient (954) 708-5264

commonwealthbooks@aol.com

 

Commonwealth Publishing presents Every Time The Phone Rings by Rufus J. Brooks Jr.

 

Coral Springs, FL Decemer 20, 2018 –Commonwealth Publishing is proud to present the novel, EVERY TIME THE PHONE RINGS: A suspense novel, by Malvern, Arkansas author Rufus J. Brooks Jr.

 

Seven young women from well-to-do families became friends during their days at their private school. During a freak electrical storm, the school caught fire and burned to the ground. The young women returned to their families. Years later, one after another apparently committed suicide, yet something didn’t seem right. Out of the seven, only one still lived. Special Agent Dormie shackleford, traveling from one state to another, is determined not only to keep her alive but to solve the mysterious “suicides” and stop whoever is behind it all. Can he solve the mystery? Will he be able to keep the last woman alive and protect her from whoever is behind the ringing phones. . . ?

 

Debut Author Rufus Brooks was born in Malvern, Arkansas, 58 years ago. He currently resides in Arcadia, Florida. He always aspired to be a writer and surely proved to be highly talented. He is a charter member of Toastmaster International and a founding member of New Heights Toastmasters, Arcadia, Florida.

 

“It has been an extreme pleasure to work with this highly talented and dedicated author,” said Public Relations Director Joseph Brient. “For ordering information, please visit www.bakerandtaylor.com publisher services or call 800-775-1800.

 

EVERY TIME THE PHONE RINGS is the 1st. edition of the trade paperback.

Public Relations Director Joseph Brient offers the following comment:

*     Although this is a work of fiction it appears to be as credible as happening in real life.

The trade paperback 242 page EVERY TIME THE PHONE RINGS is available for (17.95 postpaid, ISBN: 978-1-892986-08-5), from Commonwealth Publishing, P.O. Box 770354 Coral Springs, FL 33077; (954-708-5264); Commonwealthbooks@aol.com.

                                                               Visit us online at www.commonwealthbooks.com

FINDING A LITERARY AGENCY

PART FOUR

One of the most-difficult things for authors is navigating the conflicting advice about breaking into the publishing industry.  I recently sat down with Richard Lawrence, President of one of the longest-lived and most-successful literary agencies, Eaton Literary Agency; Ruth, an employee of a literary agency in New York; and Bob, an editor with one of the major publishers in the United States.

Ruth and Bob asked that their companies not be identified.  “We’re inundated right now,” said Ruth, “and are not looking for submissions at the moment.”

Richard explained that Eaton Literary Agency’s mission is to get as many new authors published as possible, and kind of karmic repay for those who helped him when he was young.  “If accept extra work for presentation to publishers, we just hire more agents to help us with it.”

The topic we discussed was new authors.  Richard’s and Ruth’s agencies have very different approaches.  Ruth’s agency does not offer editorial services to authors.  Her agency accepts authors on the merits of their works and whether or not she feels she can place the authors’ works as she receives them.

“One of the most-discouraging things about working with authors,” says Ruth, “is that we have to deal with their misconceptions fostered upon them by well-meaning but often blatantly wrong high-school English teachers, college professors, friends, relatives, how-to write books, magazines, and local writing clubs.  One woman contacted me just last week, after we rejected her work.  I explained to her how fiercely competitive the market is.  Lots and lots of people write these days.  I explained to her that her work showed a lot of promise, but that it needed a great deal of editorial work before traditional publishers would take it seriously.

“She said, ‘My English teacher told me it’s your job to work with me on my manuscript until it’s ready to go to publishers.  That’s how you earn your commission.’

“I explained that no agent can provide extensive editorial services without charging for them, and that our agency works with professional writers – those authors whose works are already publisher-ready.  We do not offer editorial services.  No agency I know offers them without charging for them.  Charging for editorial services is the only way agencies can afford to offer them.”

Eaton Literary Agency does provide editorial services, if they see a manuscript with a strong potential but that needs editorial work before it could be considered by publishers.  But they, too, are plagued by authors who believe bad advice.  Richard said, “Just last week, an author called me, irate, because we offered editorial services on her work for a fee.  I was surprised, since our clients are usually very grateful to work with us.  She said, ‘Agencies do not charge for editorial services.  It’s their job.  That’s how they earn their commissions.’

“I explained that agencies earn commissions by finding the right publisher and negotiating contracts for their authors’ works, but editorial services are above and beyond that service, and that no agency can offer editorial services without charging for them.

“She said, ‘That’s just not true.  My creative writing teacher told me so.  I demand that you give me these services for free.’

“I suggested that if she knows of an agency that provides extensive editorial work for free, that’s who she should work with.”

Ruth burst out laughing.  “So now I know where the author came from who demanded we work on her manuscript for free.  You sent her to us!”

Of course, Richard did not directly her to them, but this sort of ignorance seems rampant.  From the ensuing conversation, it became clear that agents and publishers hear from many demanding authors who do not behave professionally.

Bob, the editor with a major national publisher, broke in.  “Publishers like manuscripts that come from agents, because we know they have been screened.  Good agents send us only professionally written manuscripts, which cut down tremendously on our time.  I know if I get a manuscript from Ruth or from Richard, the manuscript will be ready for our consideration – Ruth because she works only with established authors and Richard because he provides professional guidance to authors who probably would not otherwise have a chance with traditional publishers.”

Sometimes publishers will deal with only one agent, if they are impressed with the quality of the work.  One publisher strongly prefers to receive manuscripts only from Eaton Literary Agency.

Ruth became suddenly sober.  “It’s a shame, too, that many authors do not realize how they are harming their careers by being demanding.  Agents talk to each other and to publishers and producers.  That’s what we do!  So if you get a bad reputation for being demanding and difficult to work with, of if you insist on believing advice from nonprofessionals, that reputation spreads like a bad rash throughout the publishing industry, and once you have a bad reputation, it’s difficult to remedy.”

Today, there are many ways to become published.  Self-publishing may satisfy your ego, but it is usually a financial dead end.  Traditional publishing is where the big money possibilities are for authors, and agents are the gateways to traditional publishing.  All three of the people I interviewed stressed how important it is for authors to play well with others, present the best-possible manuscripts to publishers, and be very wary of advice from well-meaning friends, publications, and teachers who are not actually involved in the publishing industry.  If you get advice from an established literary agent or publisher, consider it very carefully.  It may change your life.

If you have a question about a company’s integrity, the Better Business Bureau is always the best way to check out any company.

 

 

Congratulations to Dan Brown

Author of ORIGINS New York Times Best Seller List.

 

Robert Langdon, Harvard professor of symbology, arrives at the ultramodern Guggenheim Museum Bilbao to attend the unveiling of a discovery that “will change the face of science forever.” The evening’s host is Edmond Kirsch, a forty-year-old billionaire and futurist, and one of Langdon’s first students.

But the meticulously orchestrated evening suddenly erupts into chaos, and Kirsch’s precious discovery teeters on the brink of being lost forever. Facing an imminent threat, Langdon is forced to flee. With him is Ambra Vidal, the elegant museum director who worked with Kirsch. They travel to Barcelona on a perilous quest to locate a cryptic password that will unlock Kirsch’s secret.

Navigating the dark corridors of hidden history and extreme re­ligion, Langdon and Vidal must evade an enemy whose all-knowing power seems to emanate from Spain’s Royal Palace. They uncover clues that ultimately bring them face-to-face with Kirsch’s shocking discovery…and the breathtaking truth that has long eluded us.

Eaton Literary Agency’s $3,000.00

LITERARY AWARDS PROGRAM

We will read your manuscript free and enter it in our program

 AWARDS PROGRAM RULES

 A self-addressed stamped envelope with postage adequate for the manuscript’s return must accompany each submission, if you want the manuscript returned..

We accept manuscripts throughout the year.  We have developed a system of grading the manuscripts for awards purposes, so we do not tie up submissions for the duration of the awards program.

A $2,500.00 prize will be awarded to the winner of our book-length program, open to all unpublished fiction or nonfiction over 10,000 words.  Manuscripts must be postmarked by August 31, 2018, and the prizewinner will be notified in September, 2018.

A $500.00 prize will be awarded to the winner of our short-story and article program, open to any unpublished short story or nonfiction work of less than 10,000 words.  Manuscripts must be postmarked by March 31, 2019, and the prizewinner will be notified in April, 2019.

Eaton Literary Agency is in its 34th year.  We were literary agents for 10 years before opening our own agency, so we’ve been in the publishing business for over 40 years.  During the 31 years Eaton Literary Agency has been in business, we have granted $90,000.00 through our Annual Awards Program, to authors to help support and further their writing careers.  We wish to thank the many wonderful writers and publishers we have worked with throughout the years, and we look forward to many more years filled with talented authors with exciting projects.

Eaton Literary Agency

P.O. Box 49795

Sarasota, FL  34230-6795

For information about e-mailing your submission, please see our website:

http://www.eatonliterary.com

 

 

 

 

 

THE OUTSIDER
By Stephen King
560 pp. Scribner. $30.

The first time I wrote a short story I ripped off Stephen King. His first collection, “Night Shift,” came out in 1978. I didn’t read it then; I was only 6. But I picked it up and devoured it at some point, reading and rereading until the cover wore thin and fell off. By the time I’d turned 12 I felt sure I wanted to be a writer — a horror writer — and “Night Shift” became my template.

The second story in the collection, “Graveyard Shift,” is about a guy who gets work at a textile mill in a small town in Maine. One night his boss commands a crew of men to help him clean out the basement of the mill, a place that hasn’t been touched in decades. The men descend to discover that rats have turned the basement into their kingdom; the farther they travel into the bowels of this underworld, the bigger and weirder the rats become. Finally, they discover the mother of these mutations, a rat as big as a cow. Things don’t go well.

Cupid might as well have hit me with an arrow. I immediately set about plagiarizing the thing.

In my version of the tale, called “Rat Patrol,” a group of men work for a vicious boss in a furniture warehouse in Queens. The boss demands these men go into the long unused basement where they discover … cockroaches. The roaches have grown large and predatory and in the deepest corner of the basement they discover, well, you get the idea. At some point my grandmother, cleaning our apartment, threw the story away. I felt furious with her then, but now I see she probably saved me from a lawsuit. Thanks, Jaja!

I’ve got a few reasons for sharing this anecdote. The first is the purest: I want to tell you how much of my life has been spent reading Stephen King. The second is to acknowledge the nature of his influence on me. “Graveyard Shift” is a horror story about mutant rats, sure, but it’s also about the power dynamics of the working class; the men in the story can’t say no to their tyrannical boss, not if they want to keep collecting a paycheck. King’s work often underscored such political realities in ways that mattered to me. They reminded me of the struggles of my mother, a secretary working like a dog in New York City. And the last reason for my anecdote is that I want to talk about the difference between inspiration and appropriation.

 

King’s new novel, “The Outsider,” starts out as a crime story. Ralph Anderson, a detective in Flint City, Okla., orders the arrest of a popular local English teacher and Little League coach, Terry Maitland, at a baseball game packed with cheering families. Anderson directs the officers to handcuff Maitland in front, instead of behind his back — and when an officer protests that’s against protocol, Anderson is adamant: “I know, and I don’t care. I want everyone to see him led away in handcuffs. Got it?” Anderson has clear evidence that Maitland raped and mutilated a child. The crime is awful but the proximity — the sense of trust that Maitland enjoyed — is what truly horrifies the detective. So the officers arrest the coach in front of everyone, announcing the charges loudly. As he’s led away, Maitland insists, just as loudly, that he’s innocent.

It seems for a while that this will be a story about a crime and its prosecution, but that’s not where this book is headed. I refer back to that story from King’s first collection. A rough but regular day — cleaning out a basement — eventually transforms into a battle with monsters. I don’t want to spoil anything, but come on, this is Stephen King. Monsters of one kind or another are what the man does best, and “The Outsider” delivers a good one.

The novel begins in Oklahoma, but eventually winds its way to Marysville, Tex. The trip south allows King to show his hand and reveal exactly whose crate of myths he’s been digging into. King makes generous use of a tale from the region, and the larger cultural context of the place as well. Along with the creature we get riffs on las luchadoras movies from Mexico and a parade called the processo dos Passos that offers vital insight on the Maitland case.

The cultures of the Southwest, both Mexico and Texas, play a vital part, but it’s Anderson and a character named Holly Gibney — a private investigator readers may remember from “Mr. Mercedes” — whom King follows most closely. They are, crucially, not Texans. In a nice play on the title, they are outsiders who must ask questions and learn alongside the reader. King doesn’t presume to be an insider, either. There is a cop of Mexican descent, Yune Sablo, and an Anglo woman who grew up in the area, Lovie Ann Bolton, but neither is the protagonist; King doesn’t inhabit them as he does Anderson and Gibney. He doesn’t imply that he knows them with the same authority, yet he writes them as vital members of his cast. This strikes me as a fine definition of the difference between appropriation and inspiration: presumption versus humility.

When writers appropriate the stories of others they do something like what I did when I was 12. It was imitation without insight. King falls on the right side of the divide and his book succeeds, in part, because of it. He’s clearly inspired by the Southwest, but he’s not fool enough to pretend ownership.

Midway through the novel two characters discuss the films of Stanley Kubrick. One says, “Young artists are much more likely to be risk takers, in my opinion.” It’s played for a laugh — the character prefers “Paths of Glory” to, say, “The Shining” — but it is worth taking the essence of the statement seriously. King is an industry and has been for my entire reading life. He could easily churn out “monsters in Maine” tales until his life ends, and he’d remain well compensated for it. But he doesn’t do that. He isn’t writing mere imitations of himself. More than 50 novels published, and he’s still adding new influences to his work. I can think of a great many literary writers who are far lazier about their range of inspirations and interests.

This expansiveness allows King to highlight the idea that whether we’re talking about Mexico or Maine, Oklahoma or Texas, people the world over tell certain stories for reasons that feel much the same: to understand the mysteries of our universe, the improbable and inexplicable. As Holly Gibney muses at one point: “‘Anything is possible,’ she said to the empty room. ‘Anything at all. The world is full of strange nooks and crannies.’”

Here’s to mutant rats in the basement and Mexican myths; here’s to the strange and to Stephen King. Still inspiring.

 

Congratulations to Eaton Literary Agency, a five-star-rated Literary Agency now in their 34th year of being in business.

 

*****

“Thank you for performing a miracle by having both of my books published so quickly!”

 

*****

“I wanted to take some time out of my busy schedule between book tours to thank you again for all your hard work in placing my three books and many articles.  I can’t believe the success that has come to me because of your efforts, and I know it would never have happened if I hadn’t found you.  Thank you for your guidance and for beginning my career.”  J. Frank Brumbaugh, MARINE WEATHER FORECASTING, BASIC BOAT MAINTENANCE, MAIL ORDER – STARTING UP, MAKING IT PAY, plus 14 articles.

 

 

*****

“Let me thank the Eaton Literary Agency for choosing my novel as the winner of your Annual Awards Program.  The money is wonderful and could not have come at a better time.  Most of all I appreciate the recognition this prestigious award brings to nine years of my work.”  John Tarlton, A WINDOW FACING WEST.

 

 

*****

“We’re so impressed with all the help we have gotten from you – first your prestigious award, then with the publication of our nonfiction book.   This award and publication is so appreciated, and it comes at a time when being published is more and more difficult without the right representation.”  Jennifer Levasseur, Kevin Rabalais, NOVEL VOICES and THE LANDSCAPE OF DESIRE.

 

*****

“I always had the dream of becoming a published author but knew it was an impossible dream, since I have dyslexia.  You made the impossible possible through your guidance and tireless efforts in my behalf.  Thank you so much for the publication of my three stories, all within a few months!”  R. J. Bernotus

 

*****

I can’t thank the Eaton Agency enough for the tireless effort they put into finding the right home for my book.  J.S.

 

*****

“I would like to say that from both my correspondence with you and the conversations that my financial counselor and I have had with your agency, that we are both impressed with your professionalism.  You seem to be right on top of things, and my books are in the best of hands.

 

*****
”There are so many things I could say, but all I will say is thanks so very much for caring.  (Another literary agency) never cared this much, nor did (a manuscript service) who handled my first novel without success.”

 

*****

“Thank you so much for your analysis.  I learned more from it than my years of study at USC and Brown Grad school.  I wish I’d met you sooner.”

 

*****

“I just wanted to say thank you for getting me to where I wanted to be in my career as a writer.  Best I ever did was have Eaton Literary Agency help me get to where I wanted to be.”