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Category : Agents
An author sent me a note that read, “I get a royalty report twice a year from my publisher, but I don’t really understand it. What tips can you give me for reading a royalty report?”.I swear some companies hire Obfuscation Technicians, just to try and make royalty reports hard to decipher. Remember, each company has their own format for royalty statements, so it doesn’t always pay to compare, say, a Hachette royalty report to a MacMillan royalty report. Many authors simply get confused when trying to dig into the details of the thing. Even an experienced author will complain that the Random House statements don’t look anything like the HarperCollins statements, which are different from the Simon & Schuster statements. And, unfortunately, some of the smaller companies seem to be purposefully trying to make them impossible to read. (One mid-sized publisher just revised theirs — and they are now worse than ever.).In addition, there are some companies that do a good job of breaking things down (like Harlequin, as one example), but may not do a good job of aggregating the numbers — so you can see a book did great in large print, but you can’t actually see how many copies it has sold overall. Some companies do a wonderful job of telling you how your book did this quarter, but they fail to include life-to-date information. Ugh..With all that crud in mind, there are about ten questions I think you need to keep in mind whenever you approach a royalty statement….
1. Who is the author?
2. What is the project?
3. How many copies sold?
4. In what formats?
5. What was the royalty rate(s)?
6. How much money did it earn this period?
7. What was the opening balance?
8. How much is being paid now?
9. Is any being held back? (a provision allows the publisher to
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,
We’re doing “Ask the Agent” all this month — your chance to ask that question you’ve long wanted to run by a literary agent. It’s been nice to see so many people send in their questions. If YOU have a question you’d like to ask, leave it in the “comments” section and I’ll get to it later this week.
I am recently divorced and I really would prefer to use my maiden name on my books. Should I use my maiden name for all communication? Change my name on my blog, Facebook, twitter, email, etc.? And should I do that immediately?
As an agent, my sense is that’s a personal choice. If you want to use your maiden name, then use your maiden name. There are plenty of writers who LIVE with one name, and WRITE with another. Usually it’s because of a choice like this — using a married or maiden name, frequently after a divorce. My one bit of advice would be to keep some continuity with your marketing — ONE name on all your writing, at least at the start of your career.
What is a hybrid author?
In publishing, we use the term “hybrid author” to describe a writer who publishes some titles with traditional publishing houses, and some titles independently. Both of those routes have strengths and weaknesses, so it’s too simplistic to suggest (as some do) that one is good and the other bad. The hybrid author tries to gain the benefit of both avenues.
I know you do both Christian books as well as non-religious books, but as a Christian, nonfiction author, can you tell me what is exciting about CBA nonfiction these days?
I can try. Understand that this is always changing — what’s working right now may not be working in six months; and what’s dead today might become the next big thing tomorrow. But right now I’d say that CBA
We’re going to take the month of October to focus on “Ask the Agent” — your chance to ask that question you’ve always wanted to talk to a literary agent about. I’ll tackle a bunch of the questions that have come in so far, and you can feel free to add more questions in the comments section below. Let’s get started…
When you send a proposal to a few publishers, how long do you wait until you send to somebody else? Do you wait for an answer before sending to others? Is there a grace period?
I get this question frequently, and while I can’t give you any definitive answers, I can offer some guidelines… If you send a proposal to an agent, most will tell you they try and get back in touch with a response within a couple of months, so depending on the time of year, let’s say it will be six to twelve weeks. Of course, all of us go on vacation or simply get into a busy season, and sometimes projects back up — but remember that “looking at proposals from authors we do not represent” is almost always going to fall behind “working on a project from an author I already represent.” Still, that’s a reasonable time frame. As far as waiting before you send to someone else, I can honestly say that I don’t care if another agent is looking at your work. I mean, I’m not the agent for everyone, so if you want to talk to another agent and let them review your work, that’s fine with me, though I realize not every agent will take that approach. That said, I do think if you haven’t heard from an agent in a couple months, it’s fine to check back and ask if they’ve had a chance to review it. And, let’s face it… if an agent has had your proposal
I’ve been receiving a number of questions about authors and agents, so I wanted to take a few weeks to explore agenting. Someone wrote to ask, “How long does it usually take for an agent to respond after receiving a requested manuscript?”
Everybody is different. I try to respond to people within a month, but this past year it seemed to take me two or three months before I could read and react to all the submissions. If you’ll check out the web site of literary agents, most will offer some sort of timeline in the two-to-four month range. I’ve heard stories of authors having proposals in to agents for eight or nine months, but my response to that would be: “Maybe you aren’t picking up the hint.” Look, if you’ve had something in with an agent for six months, and they haven’t so much as responded to your idea, it’s clearly not ringing their bell. Move on.
I should also note that I have a couple people who work for me who review manuscripts. Like most longtime literary agents, I don’t promise to read everything that gets sent to my company. I work with a couple people who have great editorial eyes, and they frequently take a first look at stuff coming in over the transom. And if something isn’t a fit, we may not respond at all. (In fact, it may not be read at all if it’s written in crayon, is a vampire novel, or warns me that I’ll go to hell if I don’t immediately read and get excited about the idea. Just so you know.)This question also came in: “If an agent has asked you to send in a manuscript, is it wrong to continue sending out queries to other agents?”
Not in my book. The way I look at it, if I’m taking a couple months to review a manuscript from you, then
Someone wrote to ask, “With all the changes in publishing these days, what do I really need to know about agents?” Let me offer ten thoughts…
1. Do your homework before selecting an agent. DON’T sign up with somebody just because they say they’re an agent and they want to represent you. I know that’s a temptation, but this is a professional relationship. Would you go to a guy’s office for your health problems just because he claims to be a doctor? Ask around. Check him out. This is the biggest mistake people make with agents, in my view. This past year at ACFW you could toss a rock in the air and when it came down it would most likely hit somebody claiming to be an “agent.” Um… these guys are going to be taking your ideas and helping you sign legal agreements regarding them. Don’t take that lightly.
2. Be wary of any agent who charges a fee or advertises what the charge is to work with them. That’s a total violation of the guidelines for the Association of Author Representatives (and, in fact, those agents wouldn’t be allowed as members of AAR). There are a couple fairly successful agents I know who do that. It’s unethical, and authors should stay away, if they want to keep from being scammed. On the other hand, I was VERY glad to have someone write and tell me that “Steve Laube is my agent and he’s good.” Don’t we all get tired of people sort of beating around the bush, telling us one person is bad and another is good, but never mentioning names? The fact is, Steve IS good. Amanda Luedeke, who works with me at MacGregor Literary, is good. Greg Daniel, Greg Johnson, Chris Ferebee… there are plenty of good agents. My guess is that none of these individuals are for everyone; and neither am I, of course. But
Someone wrote to say, “I know you’re going to the Thrillerfest conference next month. Of the appointments you have at a conference like that, how many actually result in your asking for more material? How many result in you giving serious consideration to an author? How many will you actually sign to represent? Just curious.”
For those who don’t know, at almost every conference I go to the organizers ask if I’ll spend some time having short meetings with authors. I usually agree, since I enjoy meeting writers and talking about their books. One of the misunderstood aspects of those author/agent meetings is that “the agent is trying to find new clients.” That’s partly true, at least for newer agents who are looking for salable projects to fill their lists. But for someone who has been agenting a long time (I started working as a literary agent in 1998), it’s rare that my goal in attending is to sign up a bunch of authors. That might happen, of course, but generally at a conference I’m looking to be a resource to authors. Some want my reaction to their idea, others want a brief critique. Some want to ask questions about the market, or about publishers, or are looking for career advice. Others are looking for advice on their proposal, or to ask about marketing and sales ideas. Often people just want to know what is hot and what’s not. So “finding new clients” isn’t the only topic being discussed. Sure, plenty of writers are pitching their ideas, but that’s not the only reason for meeting.
So long as you keep that in the back of your mind, I’ll answer your question directly: When I volunteer to do appointments at a writing conference, I’d say I might have 15 to 40 appointments — some formal, some informal.
Of those, maybe 5 or 6 result in my asking to see more. Don’t