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Category : Questions from Beginners
I’m taking the month of April and letting people send in ANY question they have about writing and publishing. If you could sit down for an hour over a beer with a literary agent, and ask him anything you wanted, what would you want to know? Here are questions I’ve been sent recently…
If I am offered a contract, should I then get an agent?
That depends on the situation. Although I’m a longtime literary agent, I’m not an agent-evangelist, insisting everyone needs an agent. So think about the big picture here — your agent didn’t discuss the idea with you, or help you sharpen your proposal, or introduce you to editors, or send it out to publishers, or offer career advice. Once you’re offered a contract, the agent is going to step into it and earn a commission. So here’s my thinking… IF the agent can bring value, in terms of doing a great negotiation, and improving the contract & terms, and getting involved in the marketing, and stepping in to help with dramatic and foreign rights, and offering advice for your future, then it might be worthwhile to have an agent step in. But if all he’s going to do is say “yes” to the offer, it may not be worth paying him 15%. Consider talking with a good contract evaluation service, which might only charge a couple hundred dollars. (Or you might talk with an attorney, but be careful — they tend to charge by the six-minute increment and want to keep the clock running, so it can be expensive. Maybe consider this option if you’ve got something complex, such as a series offer or a movie deal.) But don’t sign with someone just so you can have the honor of saying, “I have an agent!”
If my novel is women’s fiction, is it best to target a female agent?
It’s best to target an agent who
So I happen to be sitting at Cafe Greco in North Beach (the Italian section of downtown San Francisco), and thought this was the perfect place to suggest authors sit down to have a cappuccino and talk. This month we’re just inviting authors to send the question they’ve always wanted to ask a literary agent, if only they could be face to face. I’ve been sent a bunch of questions, and I’m trying to get to each of them…
I know many agents are looking for an author to have a big “platform.” What does a big platform look like to you?
A platform is a number. You speak? How many people do you speak to over the course of a year? You write a column? What’s your readership? You’re on radio? What’s your listenership? You blog? How many hits do you get? You do a column? How many people read your work? You belong to organizations? How many people are you connected to? All of those are numbers — just add up the numbers, and you’ll know how big your platform is. The bigger the number, the happier a publisher is going to be. More important is how many people you actually have some sort of relationship with — that is, how many of those folks do you speak to or consider an acquaintance? Can you suggest what percentage might actually purchase a book? A small publisher may be happy with a platform of ten to twenty thousand. A medium sized published may be looking for a platform that is at least forty to sixty thousand. A large publisher may not be all that interested if your platform is less than 100,000 — possibly not interested if your platform is less than 250,000, depending on the project.
Is it pointless to seek publication before launching a blog? I have substantial Facebook and growing Twitter followings, but haven’t launched my
So it’s spring break for most people. You might be heading out of town, or driving to the beach, or trying to find a place to relax and dive into that new book you bought. I’m going the same thing — well… I live at the beach, so I’m not heading there, but I am trying to ditch the crowds find some quiet so I can read today. I have a long list of projects I want to get caught up on, so instead of doing emails and taking phone calls, I’m going to try and get away and just read for a while.
And that, of course, means I don’t think I’ll take the time to create a new blog post. Instead, I’ll let you YOU create it. One simple question: What is the best writing advice you’ve ever received?
It might be something about craft, or a trick you learned, something about writing quickly or leaving writer’s block behind. It could be advice on creating characters, or raising the stakes, or leaving people with a memorable lesson. Whether you write fiction or nonfiction, you’ve no doubt heard (or read) some great bit of wisdom that you took to heart and you noticed it changed your work. Share it with us. Just click on the “comment” bar below and offer the best piece of writing advice you’ve ever received. You’re welcome to give us context, and tell who said it and what the circumstances were, if you want to — but don’t feel you HAVE to. You’re welcome to just offer one sentence with the advice you’ve got.
I do this once each year or so, and I have gleaned some wonderful tips from people over the years. Would love to hear what you have to share with your fellow writers. What’s the best writing advice you’ve ever received?
Last week I made a point of saying that I think a guy who buys his way onto the bestseller lists is a weasel, and I had a bunch of people write to ask me why. This is a worthwhile topic for everyone in publishing, so let me offer some background…
Mark Driscoll pastors a large church in Seattle. Last fall he was accused of plagiarizing the words of another author, Peter Jones, in his latest book, and in addition there were other examples given of him plagiarizing, including pages of text recreated word-for-word from a Bible commentary and stuck into one of the church’s publications. The people at Driscoll’s church made the situation worse, first claiming it was okay because one of the obviously plagiarized documents had never been sold, then changing their story when it turns out it had indeed been sold, but saying they hadn’t made much, then blaming it all on un unnamed research assistant (even though it had Mark Driscoll’s name on it), then taking pains to criticize the “haters” instead of owning up to their own ignorance and laziness. The whole thing was a mess. Driscoll clearly plagiarized (whether you want to cut him slack and call it something else), and his publisher examined the book and released a statement that admitted there were “inadequate citations,” but defending him for handling the situation well. In the end, the entire mess faded away. I was a bit surprised, since I’ve seen books get cancelled and editorial careers get ruined over less than this. Still, we all moved on.
Until last week, when it was revealed that Rev. Driscoll had paid a marketing firm, ResultSource, more than $200,000 to get his book onto the New York Time bestseller list. The scheme included hiring people to purchase 6000 copies of the book in bookstores, then ordering another 5000 copies in bulk. They even made sure to use
There has been a ton of discussion over a report on author earnings by ebook authors (which you can find here: http://authorearnings.com/the-report/), the response to it (http://tinyurl.com/pcebsd5), and the responses to the responses (two of the best are http://tinyurl.com/kbjts5s and http://tinyurl.com/omkjz6v ). If you follow this discussions in our industry, you already know what’s going on: successful self-published author of Wool, Hugh Howey, did a bunch of research and came to the conclusion that self-published authors are selling more books and making more money than those publishing with traditional publishers. It was quickly pointed out that there were some problems with Howey’s work — he sells his books on Amazon, did all his research on Amazon, and (surprise!) came to the conclusion that Amazon is a great place to do your ebooks. Nevertheless, there were really some interesting things that showed up in his research:
—Indie-published ebooks have generally higher ratings on Amazon than Legacy-published ebooks.
—Indie-published ebooks generally cost less than Legacy-published ebooks, possibly leading consumers to the sense of getting better value from indies.
—Indie-published ebooks may be outselling Legacy-published ebooks (this is more inferred than proven).
—Indie-published ebooks constitute a larger percentage of books sales than we’ve been led to believe in the past (Howey estimates it’s more than 50% of all book sales, though his methodology lacks stringent validity testing).
—Indie-published authors of ebooks are earning more per book than Legacy-published ebook authors. (Though his argument that Indie-published authors are making more overall is based on very shaky evidence.)
It’s all fascinating stuff, and I believe his conclusion that publishing’s brightest days are ahead is spot-on. As an agent, I’ve never felt I was one of the people who needed to protect the status quo — the fact is, I believe in authors self-publishing.. Unfortunately, the debate that arose after Howey released his findings was considerably less than insightful. It’s become a fairly
BY CHIP MACGREGOR
I’m one of those agents who believes in the future of publishing. I respect the past, but I understand that the old way of doing things won’t work today — everything has changed, we’re in a state of revolution, and people who want to make a living in this business will have to adapt or die. I know that’s true of agents, who must change the way they’re doing things if they expect to make a living in 2014. I think that’s true of publishers, who are big and successful for a reason, and who will continue to try to change their models to remain in business and make money. And I believe it’s also true of authors, who simply have to accept the world has changed and look to the future with a new plan.
The old plan for most authors was clear: write a great book, find an agent, and let him help you land a deal with a publisher. Most authors relied on an advance to make a living, and the full-timers tended to live from one advance check to the next. Royalties were great, when they showed up once or twice per year, but could barely be counted on. The power was in the hands of publishers, and there were a number of middlemen (distributors, retailers, agents) intruding on much of a relationship that SEEMED like it should have been simply “author-to-reader.” In that old system, the roles were clear: the authors wrote books, the agents negotiated books, the publishers produced books, the marketers promoted books, the distributors provided books, and the retailers sold books. Sometimes it didn’t seem fair — as though the authors who were churning out the art didn’t have much control, and were at the mercy of a sometimes fickle or arbitrary system.
Then things changed. Amazon came along and, in essence, removed many of the middlemen. An author
AGENT and VICE-PRESIDENT at MACGREGOR LITERARY
Glad to be back. I’m excited to start the year with a monthly blog series, HERE’S THE DEAL.
I often find the story behind the deal – the journey to publication – as exciting as making the deal itself. Given that, on the first Friday of each month, I’ll be offering glimpses into the backstory of how a particular book came to be published. And not from hearsay, but directly from the perspective of the acquiring editor.
Of course it is a big day when an author hears those long-awaited words from their agent “we have a deal!” But as anyone who works in traditional publishing knows, getting to that point is rarely quick and never, never easy. And it’s not just the author and agent who labor to sell a book, but also the acquiring editor who works diligently to champion and support a project all the way through, from initial discovery all the way through acquisition, editing, marketing, release, and beyond.
To kick things off, I interviewed Marc Resnick, Senior Editor at St. Martin’s Press, an imprint of Macmillan. In addition to having an office in the Flatiron – one of the coolest buildings in New York City – Marc is a pretty cool guy himself, and we’ve kept in touch since first meeting at a conference a few years ago.
Though he and I have yet to do a deal together, we share an affinity for military topics. So, when we spoke for this interview I wasn’t surprised he chose to tell me the story behind the acquisition and success of the 2011 title SEAL TEAM SIX by Howard E. Wasdin and Stephen Templin.
The Team Behind SEAL TEAM SIX
Marc told me that when he received the proposal, originally titled Confessions of a Navy Seal Sniper, he read it immediately. A big part of his motivation
BY GUEST AUTHOR KATHARINE GRUBB
Some are born great writers, some aspire to being a great writer and some have writerly
greatness thrust upon them. Then, sometimes, neither of those three options apply to us and we have to bushwhack our own path to greatness.
Is it just me, or does that sound like a lot of work?
I’d like to suggest that our writerly ambitions can be accomplished with little or no effort. In fact, I have a list of ten things you can do (or not do) to accomplish this goal. (If accomplishing goals is your thing.) I would have come up with eleven, but I got tired.
1. Don’t Write. Your day is busy enough. In fact, spend your down time doing things like hurling birds into piles of thieving pigs. Tell yourself that this is brain work! Your writing future is dependent on whether or not you see Downton Abbey! Every time you have a nagging thought that tells, you that maybe you should do Nanowrimo or something like that, just watch an episode of Hoarders until the feeling goes away. Smugness, with lack of physical activity, can be just as comforting as that pesky sense of accomplishment that comes with dedication and commitment. Trust me.
2. Don’t read. This is obvious. Since really there aren’t any new plots, there isn’t any point in reading at all. If you need to know something, don’t go any deeper than a search on Wikipedia. If you want a story to entertain you, you’ve got Netflix, right? Besides fiction is made up stories, which are basically lies. Just don’t bother. In fact, if you are reading this blog, stop right now and turn on Pandora, the Shakira station.
3. Hang Out With Stupid People. This should be easy. If you want to avoid greatness, then spend a lot of time with those who are content to stay where they
BY CHIP MACGREGOR
A new writing conference is fast approaching — and you’re invited.
On Saturday, February 15, I will be speaking at the Dallas Writers’ University. It’s a one-day event, with a rather intensive agenda:
- I’ll speak on “developing a book proposal that sells,” and the focus will be on giving practical, hands-on help to writers who want to create a proposal that will get noticed.
- I’ll also be speaking on “creating your long-term publishing strategy,” with an emphasis on traditional publishing, niche publishing, self-publishing, and alternative strategies for writers to make a living.
- Michelle Borquez, bestselling author and entrepreneur, will explore “building a platform around your concept.”
- There will be a Q&A time, and everybody there will have a face to face meeting with me sometime during the day.
- Finally, Michelle and I will be talking about the secret to success in contemporary publishing.
I’m really looking forward to this opportunity. I’ve largely taken time away from conferences the past couple years, but I love talking to authors about proposals and strategy. And you’re invited. Again, every participant gets face time with me, where we’ll be reviewing proposals and talking about next steps in a one-on-one setting. That means our space is limited to just 30 people.
Here’s the thing . . . there are a hundred conferences you can go to in order to get some basic information on writing. But if you really want to join a small group and find out how to create a book that will sell, make some money, and gain entry into the world of publishing by talking to some experienced people in the industry, I hope you’ll consider joining us. I don’t do many conferences anymore (and rarely do a writing conference), so I’m excited to be asked to be part of this one.
The event is going to be in the Dallas area, at a church in White
It’s all changing, right before our eyes. Not just publishing, but the writing life itself, our ability to make a living from authorship. Even in the best of times, which these are not, most writers have to supplement their writing incomes by teaching, or throwing up sheet-rock, or cage fighting. It wasn’t always so, but for the last two decades I’ve lived the life most writers dream of: I write novels and stories, as well as the occasional screenplay, and every now and then I hit the road for a week or two and give talks. In short, I’m one of the blessed, and not just in terms of my occupation. My health is good, my children grown, their educations paid for. I’m sixty-four, which sucks, but it also means that nothing that happens in publishing—for good or ill—is going to affect me nearly as much as it affects younger writers, especially those who haven’t made their names yet. Even if the e-price of my next novel is $1.99, I won’t have to go back to cage fighting.Still, if it turns out that I’ve enjoyed the best the writing life has to offer, that those who follow, even the most brilliant, will have to settle for less, that won’t make me happy and I suspect it won’t cheer other writers who’ve been as fortunate as I. It’s these writers, in particular, that I’m addressing here. Not everyone believes, as I do, that the writing life is endangered by the downward pressure of e-book pricing, by the relentless, ongoing erosion of copyright protection, by the scorched-earth capitalism of companies like Google and Amazon, by spineless publishers who won’t stand up to them, by the “information wants to be free” crowd who believe that art should be cheap or free and treated as a commodity, by internet search engines who are all too happy to direct people to on-line sites that