Amy Giuffrida is a literary agent with The Belcastro Literary Agency.

“I am especially seeking stories written by diverse creators—BIPOC, LGBTQ+, neurodiverse, and disabled creators are encouraged to query me. Send me your stories of joy, where your characters and their worlds can be celebrated by the reader.”

In nonfiction, she seeks:

– “If you have a strong platform and love what you do, feel free to pitch me a concept.”
– Narrative non-fiction
– Business/Social Media/Tech/Cooking books for teens

In upper middle grade, she seeks:

– Fantasy
– Horror
– Contemporary
– Historical (focusing on BIPOC stories and historically marginalized voices/characters)
– Novels-in-Verse

In young adult, she seeks:

– Fantasy
– Horror
– Science fiction
– Contemporary
– Contemporary Romance
– Mystery/Thriller
– Historical (focusing on BIPOC stories and historically marginalized voices/characters)
– Novels-In-Verse

In adult fiction, she seeks:

– Women’s Fiction
– Book Club/Commercial Fiction
– Non-Political Thriller
– Horror
– Contemporary Romance/Rom-Com

What she is NOT Looking For

Pandemic stories
Science fiction set in space
Talking animals
Military or Medical-based stories
Novellas, short story collections, screenplays
Previously published work
Chapter/picture books
Time travel/Portals
Stories that include: religious themes, suicide, rape, physical/mental abuse, or abductions

 

 

Allison Cohen is an editor with Running Press Kids.

Allison got her start in publishing at Random House before moving over to The Gersh Agency for several years. She is now an editor with RPK. She is currently seeking:

• Picture books (fiction and nonfiction, with a focus on conservation/environmentalism, mysticism, mindfulness, and social justice)
  
• Middle grade nonfiction (anthologies, light/humorous history, STEAM-themed books, books for enthusiasts/hobbyists, etc.)Middle grade and YA fiction (contemporary stories only—no fantasy or sci-fi—and anything with an interactive component; lighthearted [not too edgy])
  
• Middle grade and YA fiction (contemporary stories only—no fantasy or sci-fi—and anything with an interactive component; lighthearted [not too edgy])
  

Sean deLone is an associate editor with Atria Books, part of Simon & Schuster. 

Sean holds a B.A. in economics with high honors from Guilford College and is a graduate of the Columbia Publishing Course. In his time at Atria he has supported the publications of New York Times bestselling authors including Fredrik Backman, Isabel Allende, Thomas Keneally, and Janet Evanovich, among others. His authors include Jill Gutowitz (Girls Can Kiss Now, 2022), Marc Lamont Hill and Todd Brewster (Seen and Unseen, 2022), John Galligan (Bad Day Breaking, August, 2022), Nick Fuller Googins (The Great Transition, 2023), and Scott Howard-Cooper (Kingdom on Fire, 2024). He’s also worked on the bestselling novels This Tender Land and Lightning Strike by William Kent Krueger and Exposure by Robert Bilott, which is the true story behind the film Dark Waters starring Marc Ruffalo.

He is seeking:

Fiction Areas of Interest:

• Literary Fiction
• Upmarket Fiction
• Mystery
• Psychological Suspense,

Nonfiction Areas of Interest:

• Narrative Nonfiction
• Pop Culture
• Sports
• Film/TV
• Music
• Sociology/Current Events
• History
• Business/Economics
• Politics/Current Affairs
• True Crime
• Humor.

Authors Include: Jill Gutowitz, John Galligan, Marc Lamont Hill, Todd Brewster, Nick Fuller Googins, Scott Howard-Cooper.

If you are attending the online 2023 Philadelphia Writing Workshop, you may be thinking about pitching our agents and editors. An in-person (or one-on-one virtual) pitch is an excellent way to get an agent excited about both you and your work. Here are some tips (from one of previous year’s instructors, 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.