So if you could sit down at Starbucks with a literary agent, and ask him any question you wanted, what would you ask? I’m taking a few months to let writers ask those questions they’ve always wanted to talk over with an agent…
Does being a self-published author with several books help or hurt your chances of getting an agent to read something?
If the books are well written and have a good track record of sales, that will improve your chances. If the books are poorly done, or if you can’t show that you’ve sold many copies (or worse, the Amazon numbers reveal you haven’t sold many books), it will hurt your chances. I guess that’s not a surprise to you. But understand that indie-pubbed books don’t disqualify you from landing an agent, nor does having a printed book you did on CreateSpace help your cause very much. An agent is going to be looking for a great idea, expressed through great writing, from an author with a great platform who has a strong track record of sales.
What advice would you give a first-time author? I’ve been trying to network, but not sure what else to do.
Know your audience. Take charge of your marketing. Have goals. Talk with someone who really knows how to market. Go to everyone you know. Do everything the publisher asks you to do. Research where your likely readers are online — maybe make a list of the top 100 sites your potential readers are gathering — then find ways to get onto those sites and get your name and book title in front of those readers. Learn to talk about your story in a way that’s interesting, and find venues to do that. Solicit reviews. Use the Amazon tools. Figure out some strategies you are comfortable with, and which you think will be effective, then do them. Don’t expect miracles. Don’t give up after two months.
Do you see the possibility of “New Adult” ever working in CBA?
Nope, I don’t. That’s a chance from what I said a couple years ago. New Adult is the (relatively new) category in publishing that appeals to those just past YA fiction, but maybe not interested in the romances and suspense stories we consider “adult” fiction. NA generally appeals to those in the 17 to 25 age group, and it was all the rage in publishing circles — growing like crazy for a while. The genre began by looking at the issues closely related to people that age: relationships, career choices, new jobs, new cities, new adult friendships, the freedom that comes with growing up, etc. But it’s slid into a sort of “soft-porn-for-younger-women” trough, so authors are complaining that they can’t get their books looked at unless they raise the slut factor. Will this genre make its way into CBA? Nope. Trends often hit the general market first, then trail along a year or two later in CBA, but with the direction this has gone, I don’t see New Adult fiction working at CBA publishers.
What is the impact of e-books on “out of print” status of books? Do books never go out of print, and thus an author’s rights to have book and artwork revert back to them never take place?
You pretty well summed it up. Publishers changed the wording of contracts to include e-books as qualifying for a “book in print.” And, since e-books don’t require warehousing, it basically means a book need never be declared “out of print.” That’s why authors have to be very careful with what they sign — have a professional look over your contract, just to protect yourself. Get a time limit on the grant of rights, or give yourself an out if sales drop for a period of time. One publisher recently sent contracts to dozens of authors, telling them they wanted to include their out-of-print works into e-book collections. That sounded like a great idea to some writers, and they signed the contract and sent it back without checking with anyone. The problem? The document they were sent grants ALL book rights to the publisher, and once publishers have a right granted them, they rarely want to give it back. This is why agents are pushing for either sales thresholds (“if the book doesn’t sell 500 copies in a year”) or term limits (“this agreement is in force for five years”), so that an author will eventually be able to get his or her work back.
How long does it take, on average, from when you agree to take on a new novelist to when you sell their manuscript?
It’s unique with each book, of course, but I would say an average for a first-timer is less than a year. Still, I have a couple novelists I represent, whom I’ve worked with for more than a year, and I’ve not been able to sell their work. (Not proud of that fact, but being honest.) I believe in them as authors, and want to sell them, but the fiction market is in a state of revolution. So I preach patience, and sometimes self-publishing, and continue talking with them about the future. They’re good writers, but it’s tougher than ever to land a debut novel with a publisher.
Could you shed some light on the reality of “movie rights?” I read recently that a book to movie was finally beginning production—10 years after the contract was signed. And they say publishing is slow!
You have to learn to see movies as being completely different from the book world, just as dance performance is completely different from the world of costuming. I mean, every dancer onstage is wearing a costume, but the two things are unique businesses. If a book publisher offers you a contract for your completed manuscript, the odds are better than 90% that your book is going to come out. If a movie production company offers you a contract for your completed screenplay, the odds are less than 5% that it will come out. (As I said — different businesses.) If a book publisher contracts for the rights to your book, chances are very good you’ll eventually see that book on sale in a bookstore. If a movie production company contracts for the rights to your book, they are only buying an option to talk about it for a period of time, and the vast majority of those options will simply expire with nothing concrete ever happening to move the story toward a production in theaters. If a book publisher accepts your manuscript, you’ll probably see your book on store shelves in 12 to 24 months. If a movie production company accepts your manuscript, you might see your movie in theaters in four to ten years (but probably not, since they’re just going to cancel the project anyway). It’s fun to have a production company contract for the movie rights to your story, but the odds are long that they’ll ever make a film of it.
The numbers you shared in the blog about “how many people we need to be connected to as authors if we are to do a good job marketing our books” seemed awfully high. What constitutes a good platform for a beginning novelist?
I’ll stick with what I said. Publishers like big platforms. A small publisher will be happy to see an author have connections to 10,000 people (they may contract a book with an author who has a smaller platform, but they LIKE to see 10k or larger). A mid-sized publisher is happy with 40k to 60k. A large publisher wants large numbers. Again, any publisher may do a book with an unknown author who has a small platform — but the odds of landing a deal increase as your platform increases.
I know you do some Christian and spirituality books, and that makes me wonder… Why aren’t there any books for men? “Wild at Heart” was published about fifteen years ago, and people still hold that up as a contemporary men’s book.
Yeah, that’s something CBA publishers tend to weep and wail and gnash their teeth over. The problem is that men don’t buy that many books in CBA stores, so it becomes a self-fulfilling prophecy — “Men don’t buy much, so we’ll design stores that basically appeal to women, so men will buy even less.” I have no idea what the solution is, though I hope publishers don’t give up on male readers. In the meantime, your local CBA bookstore is having a sale on Precious Moments statuettes…
Is there any chance that Barnes & Noble and the Nook survive?
I’m always hoping, and I think the industry is better having a national bookseller, but realistically it’s hard to see. They are obviously squeezed by Amazon, and I think we can expect them to continue to shrink. But dang! I really want B&N to survive. Like you, I’ve heard nothing but negatives about Nook, what with executives leaving and staff shrinking — so let me just state here that I LOVE my Nook, and think it’s a great e-reader. And the Nook team announced they’ve grown the international side, so they’re in more than 30 countries, and 19 languages, with hopes of being the leading international e-reader… But no, I don’t think it will survive. Still, like the boys in Monty Python said, always look on the bright side of life.
Got a question you’ve always wanted to ask a literary agent? Send it along to me at Chip (at) MacGregor Literary. I’ll do my best to get you an answer.