- Author News, Deals
- Bad Poetry
- Blog News
- Collaborating and Ghosting
- Current Affairs
- Deep Thoughts
- Favorite Books
- Marketing and Platforms
- Questions from Beginners
- Quick Tips
- Resources for Writing
- Social Media Critique
- The Business of Writing
- The Writing Craft
- Thursdays with Amanda
Category : Agents
Someone wrote to ask, “Can you explain how an agent gets paid? Does the publisher send the author’s checks to the agent? Or does the money go to the author, who writes the agent a check? And is all this done before or after taxes?”
Happy to explain this. Traditionally, when it was time for the publisher to send money, they would send the entire amount to the agent, who would then deduct his or her commission (the standard is 15%) and send a check for the balance to the author within ten days. This was the system that was in place for years, and many agencies still work with that system. The strength of it is that the agent knows the author has been paid, and paid the full amount. This is all pre-tax money, so at the end of the year the agent would send a 10-99 form to the author, detailing how much money was paid.
When I started working as an agent 18 years ago, I was working for Alive Communications in Colorado, and they used a different system — divided payments. With that system, the publisher cuts TWO checks. The first is sent directly to the author, for 85% of the deal. The second is sent to the agent, for 15% (along with some sort of evidence that the author has been paid his or her amount). To my way of thinking, that was a better system. The author got paid faster. There was less bookkeeping for me. I didn’t have to fill out the 10-99’s. And, most importantly, I would never get a phone call from an author saying, “Hey, you big doofus — the publisher says they sent you my money two weeks ago! Where’s my check?!” I’ve found too many fights in business occur over money, and I prefer that the authors I represent feel as though we’re on the same side,
We’re doing a full month of “Ask the Agent,” where writers get to ask anything of a literary agent, and we’ll try to discuss it. Last week someone asked, “In today’s world of publishing, how important is it to have an agent?”
That’s a very fair question. With things changing so much in the world of publishing, I think most authors may want to consider that and some related questions: Do you need an agent? If so, why? If not, why not? How will you know if you need an agent? What should an agent do for you? And what will an agent NOT do for you? How do you go about finding an agent? What questions should you ask if you run into one in the wild?
Here are my agenty thoughts…
1. Do you need an agent? That depends. I suppose I’m not an agent evangelist, though most legacy publishers have moved toward relying on agents more and more. If you’re not a proven writer, or if you don’t have a completed novel manuscript, you may not need an agent, since you may not be READY for an agent. If you don’t allow others to critique your work or you can’t take rejection, you definitely don’t need an agent. If you understand and enjoy both negotiations and the inner workings of publishing contracts, you may not need an agent. (I’m not being facetious…some people like that stuff. They’re probably off their medication.) If you’re sure you can write, post, market and sell your works and maximize their value without any experienced help, you might not need an agent. If you feel like you are “losing” fifteen per cent of your writing income, rather than investing it for help with ideas, writing, editing, proposals, negotiations, and ensuring contract compliance, then you aren’t ready for an agent. And, of course, if you feel you can be successful indie publishing and
So we’re spending the month of April doing “Ask the Agent” — your chance as a writer to ask that question you’ve always wanted to know about, if you could only sit down, face-to-face, with a literary agent. A couple days ago, someone sent in this question: “Will an agent help me promote my book — particularly if I’m with a smaller publisher who doesn’t offer much marketing help?”
To me, this one is easy: Any good agent should get involved in your marketing. The fact is, the role of the agent has changed, so I can understand some old-timers arguing that the agent’s job really isn’t to get involved in the nitty-gritty of marketing. But from where I stand, marketing has become one of the most essential things I do with the authors I represent. That can mean:
- Offering marketing training, so that authors understand the big picture of how one goes about marketing a book.
- Helping the author clarify their target audience, their marketing goals, their strengths and weaknesses as a marketer. (Are you good at interviews? Can you do a nice job with short articles? etc)
- Brainstorming various marketing ideas.
- Helping the author choose the actual marketing strategies they want to pursue — AND making sure the author understands what the publisher is doing, so you can fill in the gaps instead of not duplicating efforts.
- Following up with the publisher to make sure they actually DO what they say they’ll do.
- Introducing the author to potential endorsers.
- Making media connections, if appropriate.
- Helping set up a marketing calendar, in order to make sure the author has a written plan.
- Evaluating the choices and effectiveness, and giving the author a sounding board to discuss the entire process, bringing in experiences from other books and authors to speak to the current book.
Okay, that seems like a lot… and it is, which is why I often tell
This month I’m trying to tackle any question a writer has always wanted to ask a literary agent. This came in the other day: “I’d love to hear you talk about how you feel the role of the agent will change as more authors move toward hybrid and indie publishing. I know you encourage authors to go the indie route if traditional slots aren’t open to them, but are publishers just as open to the idea of their authors doings some indie publishing?”
As an agent, my job is to help the careers of the authors I represent. That means to some I’m going to be an editor, to others a career coach, to others a marketing consultant. The core of my job probably happens in handling rights and setting up deals — presenting projects to publishers, negotiating deals, trying to land projects overseas and in other languages, selling dramatic and other rights.
But the role of the agent has changed considerably over the past ten years — from being the conduit between authors and publishers to being the person who should help an author map out a career. To me, that’s the biggest shift in my job. So while the role has always meant “finding and encouraging talent,” a large part of the agent’s job today is making sure the authors I represent know about ALL of their opportunities, not just working with legacy publishers. A good agent should help you do that, and should not be afraid of indie publishing.
So I’d say I don’t simply encourage authors to go indie “if traditional slots aren’t open to them.” The fact is, I think most of the authors I represent need to explore having at least some of their projects be independently published. That’s how they’ll best build a career and make money in today’s publishing economy. It will help them build a readership and generate income. Look, advances
My friend and fellow agent Mary Sue Seymour passed away yesterday, after a long and courageous fight with cancer. I just wanted to mention it because Mary Sue was one of the nice people in this business, with a friendly and gentle spirit — something that maybe doesn’t describe a lot of us in the industry. She was friendly to me, even when I was being viewed as a less-than-likable person by some folks. There’s a story that I’ve long wanted to share…
A few years ago, I used to do a regular post on some of the awful proposals that were sent my way. It was done in the vein of SlushPile Hell, or the late, lamented Miss Snark, with a view toward poking fun, talking about the dopey side of this business, but maybe with a bit of educational content for writers. Still, it was basically a way for me to share funny stuff that I saw and rarely got to talk with anyone about. (I still remember sharing the worst opening line I’ve ever seen in a novel: “Ring! Ring!,” said the telephone. I believe the response I offered on the blog was Barf! Barf!, said the agent.)
Some people got it in the spirit with which it was intended. Others didn’t. I work in both the general market as well as the religious market, and let’s just say some people on the religious side weren’t terribly enthusiastic about my poking fun at their bad proposals. I’ve long felt too many Christians have become humor impaired; trading in their ability to laugh for a serious countenance because, you know, the-world-is-lost-and-people-are-going-to-hell-so-how-can-you-laugh-in-the-face-of-such-despair?!! I thought it was the dumbest argument I’d ever heard, since laughter is one of our most uniquely human traits. Not everyone agreed with me.
I got a bunch of cranky emails. At least one group of writers started coming onto my page regularly, just to complain
People are always curious to know how I became an agent. Did I intern with the agency? Did I apply and get hired? Did I go through a special program? Did Chip owe my dad a favor?
I’ve found there are usually two paths to working in publishing. One involves getting the right internships and then getting hired on afterward. And the other involves just being in the right place at the right time.
For me it all happened at a book signing in 2008. In Fort Wayne, Indiana.
I was working as an admissions counselor at a university at which Chip was a visiting professor. My friend, who happened to be a student there, kept telling me about this big-time agent who was on campus and how I needed to meet him. But despite it being a very small school, I couldn’t for the life of me figure out who he was.
(Now, in retrospect, I had seen him around campus. But with his goatee and pressed dress shirt, I assumed he was the new Pastoral Ministries prof.)
So the only way to be sure to meet him, my friend decided, was to trap him at an author book signing.
At the time, I (ashamedly) didn’t recognize the name of the author holding the book signing (Chip tells me it was Lisa Samson), and I honestly didn’t know very much about Chip or the role of an agent. But I DID know that my friend had told me he was epic. And that he had worked with Britney Spears’s mom. Which, let’s be honest, was enough to get me really wanting this to happen.
I mean, what else could come of it than me being Brit Brit’s bestie?
So, off we went. We walked in to the store; my friend located Chip; and then I took a breath, walked up, and introduced myself.
He said something sarcastic.
A friend wrote to say, “I’ve been told we should have a launch party when my book comes out. Is that a good idea? And what what makes a good launch party?”
I think a book launch party is a great idea — it allows an author to involve friends and acquaintances in the release of the book, is an easy way to garner some local media, and can help you kick off book sales. (Besides, it can be great for an author’s ego, if done right.) Let me offer a couple of suggestions to help make it a success…First and most important, you want to make sure you INVITE people. In other words, don’t sit around and hope people show — be proactive and make sure you get a house full. That means you need to find a big group who can be supportive, like your local writer’s group, you church congregation, the organizations you belong to, all your relatives, people at the clubs or sports you’ve joined, and all your fans in the region. Pick a venue you can fill up, since getting 40 people in a tiny bookstore makes it feel like a great party, but getting those same 40 people in a huge shopping mall gallery can feel empty. Determine a definite start and end time, and make sure everyone sees it’s a celebration. Again, you’re trying to get the word out, and get commitments from some folks to attend.Second, if you really want to make people show up, offer an incentive — books at a discount, or free chocolate, or wine and cheese (a few big boxes of wine don’t cost much and seem to bring people out of the woodwork). If you can’t do wine, ask a couple people to bring their latte machines and offer free lattes to everyone. Your only expense is the price of coffee. But have something that
Your novel is ready to go. Your nonfiction book is fleshed out. NOW WHAT?
We’ve got a brand new book releasing to help all writers who are trying to create the best book proposal possible. Step by Step Pitches and Proposals: A Workbook for Writers is the new book from longtime editor Holly Lorincz and me.
This book uses clear, detailed explanations, work-sheets, and annotated examples to walk you step-by-step through: industry terminology, querying, pitching, creating a proposal, and formatting the whole thing. You’ll find helpful information regarding what to say, who and when to query, and how to find contacts. Suggestions on how to create a pitch are offered, along with sample pitches, as well as advice from a speaking professional on how to deal with a face-to-face pitch.
Inside, there are detailed instructions for building professional, industry-standard proposals, both fiction and nonfiction, using plenty of examples and multiple samples of successful, real proposals. In fact, that’s one of the things that sets this apart from other books on proposals — I went back to authors whose books I had sold, and asked their permission to use the proposals we created. So the text offers real-world examples of proposals from books that actually sold in the market, including a couple bestselling books. There are also worksheets available in each section which readers have found extremely useful, walking the writer through their own material. There is even a section on how to format a manuscript before attaching it to a proposal. Here’s what some people in the industry have said:“Chip MacGregor was my first literary agent and helped me get my very first book deal. I don’t know if there’s a better possible way for me to answer the question ‘Does Chip MacGregor know what he’s talking about?’ than that!” – Jon Acuff, New York Times Bestselling author of Do Over: Rescue Monday, Reinvent Your Work and Never Get
If you were having a medical problem, you’d undoubtedly want to get the problem diagnosed so that you can see a specialist who can help resolve the problem. (No sense going to an Ear, Nose, & Throat doctor for a kidney problem.) If your car is having trouble, you want someone to tell you what’s wrong before deciding on the solution. (No sense getting new spark plugs if your timing belt is busted.) If you were planning a party, you’d want to know the details –occasion, theme, setting, number of attendees — before jumping into action and ordering the food. Everything we do requires some planning. So if you’re an author who is deciding on an agent, could I offer two simple suggestions for you to consider as you make your plans?
First, before deciding to sign with an agent, figure out who you are and what you need. What are your strengths? (That will help you talk with a potential agent about your future.) What are your weaknesses? (A good agent should assist you with those areas.) What are the opportunities you have? What are your goals? Specifically, what things would you like an agent to assist with — contracts? negotiations? editorial help? marketing? talking through your story? speaking? handling your career? Once you have some clarity as to what help you need, you’ll be better prepared to find the right agent.
Second, before saying “yes” to the first agent who offers you representation, find out what that particular agent brings to the relationship. Do his or her skills match up with your need? What do other writers have to say about his work? What do editors and publishers think of the agent? Take a look at the authors he or she represents. Look at the types of books he has contracted. Research the number of books she has represented, and the houses those books have landed at. You’re
Someone wrote to say, “I have published one nonfiction book, and have a contract for another. But I’m not happy with my agent, and would like to change. What suggestions can you give me to make this happen without hurting feelings?”
You want advice for ending a relationship with no hurt feelings? I have none. The end of any relationship usually has some hurt feelings. If you’re decided, I’d bet that there will be some pain. But before you move forward with that, I’d like you to consider something…
Most of the time an author wants to fire an agent it’s because some expectation wasn’t met — the project didn’t go out fast enough, the phone calls weren’t frequent enough, the money wasn’t great enough. The frustration builds, and they eventually get to the point where someone says, “That does it — I’m leaving!” But in my experience, having a good conversation can often clean up the bulk of the problems. (Not always, but a lot of the time.) So go back and talk to your agent before racing into this decision. And by the way, having clear expectations, for what both sides want, can resolve a lot of issues. Frequently a good conversation about the struggles you’re having will give the agent a better picture of how to move forward with you.
Case in point: I once had an author fire me and state, “You can never remember my children’s names!” My response was something along the line of, “Um… you have children?” I didn’t realize that part of the relationship was so important to her — turns out she felt it was critical. Now I try to do a better job of gauging what each author wants. Just so you know, there is no “one right way” to have an agent/author relationship, just like there’s no “one right way” to have any friendship. Each is unique.