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Category : Agents
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.
I’ve had several people write me to ask, “How has the role of a literary agent changed in the new world of publishing?”
I was happy to get this question (and several similar questions), because I was at a conference a while back, and someone asked it of a panel I was on. As soon as it was asked, I was thinking the agents would jump in and start talking about the changes to our role… but then I realized that, on this particular panel, I was sitting with several newer agents, and I don’t know if they had the work experience to offer a good response. The microphone was at the far end of the stage, and I listened to four people say, “I think the role of the agent is still the same as it always was.”
I just sat there, shocked. But after four people had responded, I didn’t feel I could jump in and say, “Everyone here is wrong! They don’t know what they’re doing!” In retrospect, I should have found a way to say something. You see, I’ve been agenting for eighteen years now, and my role has changed completely. The job isn’t at all the same as it was when I started. I think every aspect of publishing is in a state of evolution (perhaps a state of revolution) at the moment. The role of authors has changed — they are now marketers and business persons. The roles of the bookseller, the editor, and the publisher have all been changing. So it would only make sense that the role of the agent would also have been significantly changed.
I spend a lot of my time talking with authors about marketing and platforms. I spend a fair bit of time talking with authors their careers, their indie or hybrid publishing plans. Career and list management, marketing and platform development, are all things that take up
Someone wrote in to ask about preparing for a big writer’s conference they are attending: I’m getting ready for a writing conference, and while I think I have some great ideas for books, I find I always panic right before a pitch. I lose my train of thought (and my confidence), and have embarrassed myself more than once with rambling replies to agent & editor questions. What advice would you have for those of us who nerve out at key moments?
Happy to do this, since I love writing conferences and talking to people. I always get a bunch of writers signing up to talk with me, and they normally have a variety of questions: “Will you look at my proposal?” “Is this salable?” “What advice do you have for me in my current situation?” “Which houses might be interested in my story?” “How could I improve this proposal?” “Would you be interested in representing my book?” I never know what I’m going to see or who I’m going to talk with, so I was interested when I read this question. Here are my ten keys to pitching an agent at a writing conference…
1. Review your book. I’m assuming you’ve already written your novel, since nobody is really taking on new fiction projects unless they are complete (or, if it’s a nonfiction book you’re working on, you’ve at least written a good chunk of it). So go back and look it over. Remind yourself what it is you want to say about your book. Be ready to give me a quick overview at the start of our conversation (“This is an inside look at the biggest crime spree in Nevada history, told by the detective who cracked the case” or “I’ve got an edgy suspense novel — Fifty Shades of Grey meets James Bond” or “Imagine if there was a way you could reduce your chance of getting cancer
So… it’s been a bit of a weird weekend. On Friday, the little town I live in on the Pacific Coast was hit by a tornado. It came in off the ocean, tore right through our small downtown, damaged trees and homes, and demolished several buildings. My old office, where MacGregor Literary resided up until a few months ago, was hit. Holly Lorincz, who now runs her editorial company from that office, was in the building, had her windows blown in, 130 mph winds roar through her space, and is alive though very shaken. (She was with her ten year old son, and the two of them were nearly blown away.) My good buddy, the crime writer Steve Jackson, was on the second floor of a building that was badly damaged, and survived by diving under his bed. They’re lucky they didn’t wake up in Oz. And the really odd thing is that we simply don’t GET tornadoes here. It’s not usually warm enough, so there haven’t been a dozen tornadoes in Oregon in my lifetime that have done any real damage. Then this happens. So, as you can see, there’s been a lot activity here, and it’s partly why I’m a bit late with this blog. Since we’re doing “Ask the Agent” all this month, I’ll invite you to send in your questions in the “comments” section below…
I have a hard time keeping my mouth shut on places like Facebook and Twitter. Can you be too opinionated online and ruin your chances of getting a contract?
Sure you can. I’ve had to remind young people that posting weird stuff on Facebook is going to be seen by future employers, and I’d say to authors that posting over-the-top stuff online can bother people. (I speak from experience. I’m generally a conservative, but I think Donald Trump is a pending disaster, and my talking about it online has damaged some
We’re spending the month of October on “Ask the Agent,” where writers can send in any questions they have of a literary agent. Today’s questions…
I am a fiction author, published under my own name. I also want to publish a few nonfiction works with my name and credential since it makes sense for credibility. Is that doable? Will I be able to use the same author page on Amazon?
Of course that’s doable. There are plenty of writers who publish both fiction and nonfiction. And you can certainly do both on your Amazon author page… but you may not want to. Understand that fiction and nonfiction have completely separate audiences, so you can’t expect your fiction readers to be interested in your nonfiction writing. That’s why some writers use two separate personas and separate websites for their fiction and nonfiction work — different readership, different expectations, different approach. (I should also add that, in my experience, it’s tough to do both kinds of writing well. Nonfiction is all about telling; fiction is all about showing. Few writers really master both, in my view.)
If a published novelist wants to try writing in a new genre, do they need to submit with a completed manuscript? I am a traditionally published middle-grade author, now working on an adult biblical fiction project. My current agent does not represent religious titles, so I will need to query agents that represent Christian fiction. Should I wait to do this until I’ve completed the novel? Or am I able to query with a synopsis and sample chapters? Would an interested agent want a completed novel before going out on submission or would they consider submitting a proposal?
In today’s market, a writer jumping from children’s fiction to adult fiction will probably have to have a completed novel to get contracted. That’s not a sure thing (if you’ve had great success as a children’s book writer,