Jeff Klein­man

Fo­lio Lit­er­ary Man­age­ment

Poets and Writers - - Literary Agents -

Who he rep­re­sents: Garth Stein (The Art of Rac­ing in the Rain), Elizabeth Letts (The Eighty-Dol­lar Cham­pion), Eowyn Ivey (The Snow Child), Jacquelyn Mitchard (Two If by Sea), Charles J. Shields (Mock­ing­bird), Karen Dionne (The Marsh King’s Daugh­ter), Ben­jamin Lud­wig (Ginny Moon), Val Em­mich (The Re­minders), Kathy McKeon ( Jackie’s Girl)

What he wants to read: I fo­cus on book-club/lit­er­ary fic­tion and nar­ra­tive non­fic­tion—es­pe­cially those pro­jects that I feel can make a dif­fer­ence ei­ther to me per­son­ally or to the world. I love unique voices, mag­nif­i­cently strong char­ac­ters, un­usual premises, and books that of­fer some new per­spec­tive on some­thing I thought I al­ready knew some­thing about or never even dreamed ex­isted. I’m al­ways in­ter­ested in learn­ing and love when some­one can teach me some­thing or­gan­i­cally so it doesn’t feel like I’m even learn­ing. I’m par­tic­u­larly look­ing for voice-driven fic­tion as well as very well-writ­ten thrillers and psy­cho­log­i­cal sus­pense nov­els; or nov­els with a great, quirky, fun voice. I love nar­ra­tive non­fic­tion and mem­oir and have sold pro­jects in a wide va­ri­ety of sub­jects, in­clud­ing art, his­tory, an­i­mals, mil­i­tary, and many other gen­res.

When you should con­tact him: Fic­tion writ­ers, when you’ve fin­ished your en­tire novel, had it read by sev­eral read­ers, edited and reed­ited it, and feel like it’s now ab­so­lutely as strong as you can

“It’s re­ally sat­is­fy­ing and in­vig­o­rat­ing to be part of

the cre­ative process.”

pos­si­bly make it, write me a let­ter and tell me about it. Non­fic­tion writ­ers, when you’ve writ­ten a book pro­posal, pay­ing par­tic­u­lar at­ten­tion to the sam­ple chap­ter(s)/ex­cerpts and mar­ket­ing ma­te­ri­als, write me a let­ter.

Where he can be reached: E-mail jeff@fo­li­olit.com, but please con­sult the Fo­lio web­site (fo­li­olit.com) be­fore you fire off an e-mail. No phone calls or hard copies, please.

Why you should want him as your agent: I’m very hands-on and love the edit­ing-col­lab­o­rat­ing process— brain­storm­ing plots, re­jig­ger­ing mo­ti­va­tions, tweak­ing back­story. It’s re­ally sat­is­fy­ing and in­vig­o­rat­ing to be part of the cre­ative process. I also love be­ing part of the pub­li­ca­tion process, too—com­ing up with mar­ket­ing ideas, dis­cussing PR strate­gies, re­vis­ing flap copy, read­ing/edit­ing short pro­mo­tional ma­te­ri­als, and so forth. I do best working with au­thors who see their agent as a part­ner in the book pub­lish­ing process: I’m not a guy who rub­ber-stamps a manuscript and just for­wards it to the ed­i­tor; and I don’t just dis­ap­pear once the book has been sold. As one au­thor told me re­cently, “I was just say­ing that what you do for me is not nor­mal. I don’t know of a sin­gle other agent who works so hard to make sure his clients look good— and I know a lot of agents!”

How he wants to be con­tacted: For fic­tion, a query let­ter plus the first page of your manuscript; for non­fic­tion, a query let­ter plus a pro­posal over­view and/or first page of a sam­ple ex­cerpt.

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