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Category : Agents
We have a new logo and a new partnership!
For the past ten years, we (Chip & Amanda) have worked as colleagues, serving authors and doing our part to make books happen. We are thrilled for this next chapter.
As announced last week, MacGregor Literary will now be operating as MacGregor & Luedeke. Amanda has been made partner, further solidifying her role with the agency.
Agenting continues to be our passion. The industry is constantly changing, but we continue to do business we’re proud of, representing authors and projects we believe in.
To the future!
Chip MacGregor & Amanda Luedeke
I’ve been taking the month of April and asking readers to send in their specific questions of literary agent. So if you could have lunch with an agent, sit down face to face and talk, what would you ask? Here are some of the questions that have come in…
Recently a publisher stated that he thinks an author ought to plow some of their advance back into marketing — which upset me, since it seems wrong-headed to expect authors to bear the financial burden of book promotion. Why pick on the weakest financial link in the chain? Am I hopelessly naive? Or is that the new normal?
I saw that interview, and I’m of two minds. First, I agree that every author needs to throw himself or herself into their own book. Let’s face it, NOBODY has more at stake in a book than the author. Nobody knows the story better. Nobody has spent more time on it. Nobody is counting on the the success more than the author. So I understand a publisher trying to encourage an author to go “all in” on marketing. But second, I think it’s crazy for a publisher, who is hopeful for the book to do well but not completely tied to its success (because the publisher has other books to sell), to say, “The author ought to take his advance check and use that money to pay an outside publicist.” Um, maybe there are times where that’s exactly what needs to happen. But it comes across as out of touch and unrealistic, since most authors are trying to live on advances. I mean, I could just as easily say to a publisher, “If you want to be more successful, you need to reinvest your paycheck into training your people.” So no, this is not the new normal. I do think publishers are expecting more out of authors when it comes to marketing these
Okay, so I’ve been asking people to send in questions — What is it you’ve always wanted to talk with a literary agent about? If you could sit down over coffee and just have a conversation, what would you ask? Here are some questions that came in…
Do you recommend self-publishing with your authors?
Absolutely. I think authors today have to think about doing a variety of projects through a number of venues. That could mean they are working with traditional publishers, non-traditional publishers, niche publishers, and self-publishing some projects. I’m a big supporter of what I consider the “hybrid” author.
What are the challenges of agenting in today’s publishing climate?
Well, agenting (like writing) has never been easy. You have to understand the market, have relationships with the editors, know what each house is looking for, keep current on things like trends and publishing contracts. Most importantly, in today’s market agents are called upon to be part of the marketing effort — something that we didn’t used to do much of. But in terms of the recent challenges, I would say advances are down, and slots are limited, making a debut for an author harder than ever. There are more books available, so it’s tougher to help an author get noticed. And there’s also been a bit of an anti-agent movement going on among the indie-publishing crowd, which I think is fueled by people who really do not understand the publishing business. I have faced that a bit over the past couple of years, and it’s been interesting — people who really don’t know the industry, but are absolutely certain they know that an agent is unnecessary. I’d be lying if I said that wasn’t a challenge we’re all facing today.
I’ve heard you mention a couple times that you have some reservations about Amazon — can you explain to me in simple terms what the problem is?
I’m spending the month answering questions authors say they would ask if they could sit down and have a conversation with me. I’ll be doing this the entire month of April, and I’m trying to get to all the questions that get sent in.
Can I query an agent if I’ve posted one or more chapters of my book online?
It depends on the agent, but with MacGregor Literary (and with many other agencies) YES we would look at a book that has been posted online. That’s one of the things that has changed over the past couple of years.
When an agent receives a standard commission, does it all stay with the agent or is it split with the agency?
If the agent works for a medium-sized agency, then yes, that commission is going to be split. Part of it will be paid to the agent, and part will remain with the agency. If the agent works for a large agency where he or she is paid a salary, the commission goes to the agency, but a bonus will probably be paid at the end of the year, depending on the size of the deal. Of course, at a small agency, the agent is probably keeping the bulk of the commission.
How might I find the most appropriate agents to query? The usual advice seems to be to read agent blogs and websites, read the Guide to Literary Agents, and comb the acknowledgements in books by comparable writers. I’ve done a good deal of that. The problem: By vocation I’m an academic. I write non-fiction for a non-academic readership. Most people in my line of work write for other scholars and don’t have agents, and I haven’t been finding people like me on agency lists of authors — though my search has not been exhaustive. Like most of my colleagues, I sold my first book without an agent. Now
Okay, so if you could sit down to a meal with a literary agent, what would you ask him (or her)? I’m taking this month to let people send in questions of any sort — whatever it is they want to ask, if they could be face to face with an agent. Here are some of the questions I’ve received…
As an American who lives outside of the US (and doesn’t have the budget to fly between countries more than once every few years), is there anything I should keep in mind about finding an agent? Are agents going to have different expectations for me than for someone living in the US? Are publishers going to be leery of taking on projects from people like me?
There are some things to keep in mind… Publishers are going to want to know if you ever come stateside, and if so, how often, because they want to know if you’re going to be an active participant in the marketing of your book. They want to make sure you understand the American market, and are willing to market to US readers. (I represent authors in England, France, Hungary, New Zealand, and Austrlia, so I’m familiar with the expectations.) You can expect an agent will query you about these types of issues. I don’t think an agent will necessarily have different expectations of you (except for wondering why the rest of the world is always in love with the Clintons, when most Americans tend to be exceedingly tired of them), but the core will be the same — can you write? will you meet deadlines? will you help promote your book? will you be low maintenance?
It’s fair to ask if publishers will be leery… My sense is that US publishers are certainly more cautious with an author selling into the US market who lives overseas. They realize that things like radio and TV
So this month we’re going to let you ask whatever you’ve always wanted to ask a literary agent. You send me the questions (or send them to me on Facebook, or stick them in the “comments” section), and I’ll try to answer them, or get another agent to answer them. First up, some questions that came in last month…
Suppose you have a character in your novel that would be perfect for a particular actor. Should you tell your agent about it and let them handle it?
You could… but it probably won’t get very far. It’s rare that a project gets pitched to an actor in a role, unless it’s a major author with clout. (So, for example, if you had a role that was perfect for Leonardo DiCaprio, you could try and talk with his agent. Um, and you would be author #5962 who has the “perfect” role for him.)
If I have an agent, then decide to write a self-pubbed novel, how can I include my agent in the process?
This is one of the things happening in publishing these days that is still in process, so there’s no one right answer for every situation. You could ask your agent to help you with it — the editing, the copyediting, the formatting, the uploading, the cover, etc., then pay a percentage as a commission. OR you could see if your friends are producing a line of books, make it part of that line, and pay a certain commission to him or her. (For example, we helped our authors create a co-op line of clean romances.) OR you could do it all yourself and not pay the agent anything. OR you could do it yourself, but work with your agent to help with things like marketing and selling, and pay a commission.
I am brand new to the industry, and delving into the potential of writing fiction. So
A guest blog by novelist Elizabeth Musser
I’m home now. After almost twenty-five years on this writing journey, I’ve finally found my way home.
I certainly don’t mean I’ve found my permanent publishing house. I’ve had four different American publishers and four different international publishers along the way, and the book I just launched was my first indie novel.
I don’t mean I’ve finally settled into the perfect routine, finding the way to balance my 30+ year career in missions with my calling as a writer. I still juggle, after all these years.
Nor do I mean that I’ve become a savvy marketing-social-media-writing genius.
What I mean is simply I’ve come home to accept that my writing life will always be on a roller-coaster.
And boy, am I thankful to have an agent who rides that roller coaster with me.
A little over ten years ago, I met Chip at a writers’ conference. I took his Professional Writers track and greatly appreciated the advice he offered. Chip was just starting MacGregor Literary, and because of my blockbuster sales on my already-published novels, begged me to let him be my agent…
Ahem. Okay, it wasn’t exactly like that.
I was looking for an agent, but I wasn’t sure I needed an agent. I had four published novels, a contract for two more novels, and I had been working with the same acquisitions editor and substantive editor for ten years.
Didn’t I have it made?
I knew very few people in the American book industry, and I lived in France, so I wasn’t meeting many other professionals on a regular basis.
AND (foreboding music) the publishing world was changing!
So Chip took me on, fully aware that he wouldn’t even get to negotiate a contract with me for a while.
Fast forward to the present. Did I need an agent? The answer is a resounding YES in the midst of this
Erin Buterbaugh is filling in for Chip today and has some great thoughts to share…
A lot of new authors I get emails from give the impression that the query/agent search is the culmination of their writing journey– they’ve written the book, maybe had it professionally edited, polished their query letter, and now the end of the road is in sight, nothing left to do but wait for an agent to say yes and hand over the reins, right? A little bit of tunnel vision is understandable; after all, you DO have to spend a substantial amount of time and mental energy getting your project in the best shape possible and getting it out to an agent, but when an interested agent wants to talk about the project and about your career goals, it’s important for you to be able to think beyond just whether or not that agent is going to say “yes” and give them the information they need to be able to judge whether you’re really ready for the next step in your career and whether their approach to agenting will be a good fit for you. Here are three questions/considerations that frequently seem to take authors by surprise when I ask.
1. What are you working on now/what do you want to do next?
I want to work with authors long-term, and help them build careers, not just pursue a single deal based on a single title so the author can cross “publish a book” off his bucket list, so I hesitate to take on even a great project from an author who has no idea what she wants to do next, or who isn’t already doing it. Sure, there are a few authors that just have one story to tell, but these are usually non-fiction projects and are the exception, not the rule. Think Aron Ralston, the guy who had to cut off his own
Someone wrote to say, “I’ve been offered a contract on my novel. Since I don’t have an agent, should I seek one at this point? And if the agent accepts, should he or she still receive 15% of the deal, even if they didn’t market my book or secure the deal for me? Would it be better to have the agent simply review the contract for a fee?”
There’s quite a debate about this issue. I suppose many agents would say, “Sure — call me!” They’d be happy to get 15% for a deal they’ve done no work on. But my advice would be to think long term. Is there an agent you like and trust — someone you want to work with in the long term? If so, call him or her. Talk about the situation. Explain that you’ve already got a deal. The agent may be willing to take less in order to work with you. They may review the contract for a fee. They may have some insight into your situation. But don’t sign with someone just because you think you need an agent and someone is willing to say yes. If, for example, you’ve got a $10,000 advance coming, make sure it’s worth the $1500 to have the agent assist with this contract. Sure, it may be worth it — if you’ve got a complex situation, or a novel that is going to be made into a movie, or a potential bestseller… those probably call for a good agent to get involved.
That said, it doesn’t really seem fair to me to take the full comission for a book I didn’t sell, though not everyone in the industry agrees with me. You can always talk with a contract-review specialist, who will review your contract for a flat fee (usually somewhere in the $500-to-$1000 range). You can also talk with an intellectual property rights attorney, but
I recently had an online discussion with a writers’ group, and they had several questions for me…
What are the three most important things you look for in a query?
A strong writing voice, clarity of argument (if nonfiction) or story (if fiction), and author platform.
How important are queries to your agency?
I use them as ways to look for talent. Of the queries that come in cold (that is, not introduced by authors I already represent, and not someone I met and spoke with at a conference), the percentage of queries that turn into clients is very, very low.
What experience is worth mentioning in a query?
Anything you’ve had published is worth mentioning. Anything that reveals a big platform is worth mentioning.
Do you think going to conferences and making connections is a better way to meet agents than querying them?
Absolutely. Being face to face with someone, in order to gauge personality and likability and trust, is far more important than choosing someone off the web. I think going to conferences is a GREAT way to connect with agents and editors.
What subjects and genres are currently overdone in the queries you see?
I don’t know that anything is overdone at the moment. Tastes change. Every generation needs its own voices. We see new ideas break out, and we’re always surprised. I know some people will say “dystopian is overdone,” or “Amish fiction is overdone.” They might be… until somebody creates one that sells well. (Having noted this, I’ll admit I hate the question, which get frequently. The fact is, we’re always surprised at the latest breakout hit.)
Which genres do you think deserve a comeback? What genres would you like to see in queries?
Beats me what deserves a comeback. Chick-lit is making a comeback, now known as romantic comedy. I suppose I’d like to see westerns and spy novels make a comeback.