Jacqui Lipton is a Senior Literary Agent at The Tobias Literary Agency and head of the Adult Department, although she selectively represents children’s books, particularly middle grade and young adult novels and nonfiction.

Jacqui is open to pretty much anything but has a soft spot for genre fiction (mystery/thriller, romance, selective science fiction). Jacqui is not the best fit for high fantasy (think Game of Thrones) or books with animal protagonists. Jacqui is open to unique takes on nonfiction but is not seeking memoir currently.

Jacqui holds an MFA from Vermont College of Fine Arts, is the author of Law and Authors: A Legal Handbook for Writers (UC Press, 2020) and Our Data, Ourselves: A Personal Guide to Digital Privacy (UC Press, 2022).

Jennifer Wills is a literary agent with The Seymour Agency.

Jennifer has 5 years’ experience in some of the publishing industry’s leading literary agencies. She worked with publishers around the world as an assistant in Trident Media Group’s huge foreign rights department and with domestic publishers as an assistant at Writers House (where, incidentally, she began her career as an intern).

She joined the Seymour Agency in April 2016, where she has quickly moved up the ranks to Literary Agent. Jennifer has always loved helping fledgling authors become NYT bestsellers, and she’s ready to be a relentless champion for her own clients’ work.

Jennifer is particularly interested in a wide range of picture books and cookbooks, with a soft spot for author/illustrators of sweet and wacky picture books, and cookbooks with mouth-watering recipes of the health-conscious, budget-friendly, or celebrity chef variety.

For fiction, she’s also interested in middle grade and YA with a sci-fi/fantasy, horror/suspense, or contemporary bent, and upmarket women’s fiction with a sense of humor.

On the nonfiction side, narrative nonfiction and memoir are also welcome. If your manuscript has a great hook, a distinct voice, and can make her laugh out loud or ugly cry (or even better, both), she’d love to see it.

If you are coming to the 2023 Michigan Writing Workshop, 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 a 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.