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Category : Agents
I thought this was a very insightful question: “Can you clear something up for me? You have said you thought memoir was a growing category in publishing. But you’ve also said personal stories are hard to sell. How can that be?”
We have to define our terms. A memoir is the thoughts or reminiscences of a writer – usually based on celebrity (Justin Timberlake is doing a book!), significant events in the culture (I shot Osama bin Laden!), or fabulous writing (Have you seen what Jeannette Walls just released?). It doesn’t have to be linear. It usually touches on a number of significant themes. In the last couple of years we’ve seen huge growth in the memoir category, in all of those areas. We’ve had good celebrity memoirs (Tina Fey, Mindy Kaling, etc), good event-based memoir (American Sniper, Lone Survivor, etc), and good memoirs from writers (Ann LaMott, Annie Dillard, etc).
When I saw to be wary of “personal stories,” I’m talking about people who aren’t creating a memoir, but wanting to write a book that basically says, “Here is what happened to me, and it’s cool.” It’s generally linear. It might have some lessons to share, but rarely touches on many deeper themes. The writing is pedestrian – more of a prescriptive how-to book than reflective musing. These aren’t discreet categories, of course – is Lone Survivor a deeper memoir or simply a scary retelling of how Marcus Luttrell survived? But by and large we see personal stories as someone who has gone through something they found profound, and they want to tell their story because their friends have said to them, “You should write a book!” And, in my view, those books rarely get picked up.
Someone asked, “What is Bookspan? What all do they do? And how do you get picked up by them?”
Do you remember
This question was sent to my personal email: “Do you think there is any rush for an established writer to get his/her next book published in the current climate? That is, are things likely to get better or worse in the next few months?”
My crystal ball is in the repair shop, so I don’t know what the next few months will bring. If I guessed, I’d probably get it wrong. But no, I don’t think there’s any rush to get your next book published. Every writer who has worked with me has heard me say something numerous times: Good is better than fast. I’d rather an author took the time to make something really good than to rush it out quickly.
And this came in as well: “I was wondering what your advice would be to an unpublished writer interested in writing a 3-book series. I understand those are much harder to sell, and publishers prefer if each book ties up the story enough that they can be read individually/out-of-order.”
What’s easier to sell – a car, or a fleet of cars? When you’re starting out, it’s much easier to sell ONE book. That doesn’t mean it can’t be the first part of a series (and you may very well want to mention that when you create your proposal, pointing out the sequel possibilities so that the publisher knows what would come next if they were to contract the book). But keep in mind when creating a series that most publishers want each book to stand on its own. So the first book in your proposed series needs to have a beginning, a middle, and an end. And your second book needs to be the sort of project that readers can pick up, get into the story, and appreciate without feeling as though they’re stepping into the middle of something they don’t understand, or that doesn’t
I’ve got a new book coming out very soon — How can I find an agent? (and 101 other questions asked by writers). In celebration of that, I thought we’d take the month of March and just answer the agent questions you’ve got. So if there’s something you’ve always wanted to run by a literary agent, this is your chance. Drop a note in the “comments” section, or send me an email at Chip (at) MacGregor Literary (dot) com. I’ll try to get to as many questions as I can. So let’s get started with some of the questions people have already sent in…
A friend wrote to say, “I’ve noticed that agents at conferences will list several genres they’re interested in, but rarely see any specifications about the exact type of books that interest them. I write YA – can I pitch them ANY YA novel?”
The conference often asks agents to briefly list what we’re looking for. They usually don’t give us room to offer a lot of detail. So, for example, I represent romance novels, but there are some areas of romance I don’t really work with (paranormal, for example). There’s no method for offering much beyond a quick description, so I’m always happy to talk with any romance writer who stops by, and will try to help or steer him or her in the right direction, if I can. From my perspective, if an agent says he or she represents YA, then set up an appointment to go talk through your project and ask questions.
This came in on my Facebook page: “How do I get what’s in my head onto paper in a way that will grab the reader’s attention?”
Great voice… and that’s easier said than done. I’ve never been sure if we can teach an author how to have great voice. We can help writers improve, help them use better
Someone wrote to ask, “Can you tell me what a good author/agent relationship should look like?”
I can try. Keep in mind that there’s no “perfect agent style” that suits everyone. One writer needs an agent who is a strong editor-and-story-idea person, another writer needs an agent who is a contracts-and-negotiation person, and a third writer needs an agent who is counselor-and-chief-supporter. It’s why I always encourage authors to think carefully about what they need in a literary agent. I consider myself a good agent, having done this job for a long time, contracted a lot of books, and developed a good track record of success. But I’ll be the first to say I’m not the agent for everybody. My style doesn’t fit every author, nor can I provide everything each author needs. So sometimes I’ll meet a writer whose work I like, but we’ll both feel the vibe is wrong. We have to get along personally as well as professionally. Other times the author has expectations I know I can’t meet (such as wanting me to edit their entire manuscript). So finding a good agent is like finding a good friend — what works for you might not work for your neighbor.
A good author/agent relationship is usually one in which expectations are clear, and the agent helps the author succeed in those areas they’ve decided to focus on. It might be story development, or editing and fine-tuning a manuscript, or support and encouragement, or career management, or contract advice, or… the list is as varied as authors want to make it. If you don’t really know what you need, you’ll find yourself just going with someone you like, or someone your friends like.
Keep in mind that most working literary agents come from one of four backgrounds. They are either (1) a former editor, so they have strong words skills, or (2) a former writer, so they
Amanda Luedeke is a literary agent with MacGregor Literary. Every Thursday, she posts about growing your author platform. You can follow her on Twitter @amandaluedeke or join her Facebook group to stay current with her wheelings and dealings as an agent. Her author marketing book, The Extroverted Writer, is available from Amazon and Barnes & Noble.
I’m going to deviate from talking marketing this week and instead will address a question that I get asked A LOT.
I look quite young (okay, I guess you could say that I AM young, but 30 is also considered middle age, so…). Because I look young, I’m always fielding questions as to how I got in the business, how one becomes an agent, whether or not this is an internship (yes, I’ve heard that one), etc.
Though I must admit these questions are coming at me less and less (probably indicative of me looking older and older), they still pop up, and I can see the wheels turning as folk try and figure out how a 24-year-old (this is the age they typically give me) could possibly be an agent AND have been in the industry for five years AND have held a marketing career before that AND worked in higher ed AND be married.
Fact is, there are lots of people in the business who are much younger than I. I once talked with an editor at Penguin who was 24 at the time. 24!!!
So HOW does one get a publishing job? There are a few different tracks.
1. THE COLLEGIATE TRACK. Many young people are getting into the business these days by pursing publishing or editing or writing or marketing or design (or pretty much any kind of program that would be useful in a publishing setting) in college and then doing internships. The internships then lead
Someone wrote to ask, “When is it appropriate to inquire on the status of a submission to an editor or agent? I sent something in to an agent four months ago, but have yet to hear. How long should it take?”
Every agent has his or her own system. I try to get to submissions once every other week, but sometimes I go four or five weeks between looking. And that’s just for a quick look — if I like something, I have to read it through, and that means I could have it for a month or two before I can give the author a firm response. In my experience, most agents would like to have two or three months to consider a proposal before they render a “yes” or “no.” During busy times (like Christmas, summer vacation, and stints in rehab), it may take longer. So if you sent a project to an agent four months ago, and she hasn’t responded to you, it might be appropriate just to drop a friendly note — something like, “Hello, I’m just checking back with you on that proposal I sent you a few months back. I was wondering if you’ve had a chance to look it over yet, and if there’s anything more you need. I know you’re busy, so thanks very much for giving it your consideration.” No need to whine, beg, or wheedle. Just check in, and be polite.
On a related note, one writer sent me a note to complain that an agent hadn’t responded to his proposal in a year… but when I checked with that author, he noted that he’d never actually met the agent, nor had he queried via email or letter. In other words, he had just sent in a proposal cold. And that leads me to ask,“Where is it written that an agent must respond to you just because you
Someone wrote me to say, “I was just offered a contract on my novel. Since I don’t have an agent, should I seek one at this point? Would it be better to have the agent simply review the contract for a fee?”
There’s quite a debate about this issue. I know several agents who would say, “If you already have an offer — call me!” I mean, they’d be happy to get 15% for a deal they’ve done no work on. But I have some doubts about the value in that type of situation. Let’s say you got a contract offer featuring a $10,000 advance. If the agent steps in, he or she takes $1500. Is the value of their work worth that? You can ask a contract service to review your contract for around $500. (But be careful… there are good and bad authors, good and bad agents, and good and bad contract review services. Make sure to ask questions, so you get someone who knows what they’re doing and has done it before.) A contract service won’t negotiate for you or improve the deal — they simply evaluate and report back to you. So if you have a bunch to negotiate this may not be your best choice.
You can also talk with an intellectual property rights attorney, but be cautious — they’re generally paid by the increment, usually by the six-minute increment for every phone call, email, conversation, or reading you ask them to do. It can add up fast. A good attorney can certainly help, and should be able to strengthen the contract. But in my experience you want to be careful who you’re working with — I’ve had too many situations where the goal of the attorney seemed to be nothing more than to keep the clock moving (though expect some attorney to come onto the comments to claim that never happens). The longer it
Someone wrote to ask, “In your opinion, does a beginning writer need an agent?”
In my view, it depends on the writer. There are some authors who are well connected in the industry, don’t mind dealing with contracts and negotiations, understand career direction, and can survive without an agent. But in my experience, it’s rare to do those things well while maintaining a writing career. I used to tell people that I’m not an evangelist for agents, and over the past 15 years or so I’ve tried to maintain a balance — I haven’t always believed that every writer needs an agent in order to succeed. But in light of all the changing issues in publishing today, I’m now changing my tune. Most legacy publishers require you to have an agent or they won’t look at your material. And most traditional publishers have moved toward relying on agents to be the first filter in the system, reviewing proposals and weeding out the chaff. Working with an agent professionalizes the relationship — an agent is not as emotionally tied to a work as an author, so he or she can be more dispassionate about discussing a project, and the agent is going to be more familiar with the business of contracts, so ostensibly things will move along better for both sides.
I recognize that some have said the future is in self-publishing, so that means authors won’t need agents. I think that’s completely wrong-headed. If you’re going to be responsible for your book, you might think about working with someone who knows the industry already and can help you. Think of the way realtors have changed the home buying market: You can still sell your home by owner, but it’s gotten considerably more complex to do so. You’ve got to know the market, understand how to show your home, know how to get the word out, feel comfortable negotiating a price,
A friend wrote to say, “You’ve said several times that an author should ask a prospective agent some questions in order to get to know him (or her). I’m going to a conference in a couple months — what sort of questions should I ask?”
I’ve talked about this question a couple of times, and I think the answer keeps changing as the industry evolves. Here are some thoughts to get you started…
-How long have you been doing this?
-How many contracts have you negotiated for authors?
-Who do you represent?
-What publishing houses have you worked with in the past year?
-Which editorial personnel have you done deals with?
-How many deals have you done in the past year?
-What sort of authors and projects do you represent?
-What do you like to read? (Ask for titles.)
-Can you give me a couple book titles you sold that you loved?
-Can you give me a couple book ideas you sold that you loved?
-Do you offer editorial input to authors?
-How often will we be in touch?
-What would you say are your best skills?
-What’s unique about your agency?
-What percentage do you earn on a book deal?
-Are there any hidden fees or charges? Any up-front costs?
-Do you charge back your expenses?
-How do you handle legal or accounting issues?
-In what ways do you get involved in marketing?
-Have you ever worked in publishing or done any editing or writing?
-How do you approach career planning?
-Do you work by yourself?
-Are you full time?
-Are you a member of AAR?
-How long have you been in business?
-How many people work at your agency?
-About how many books do you contract in a year?
-Will you be handling my work, or will someone else?
-What are your expectations of me as a client?
-Can you help me if I want to self-publish?
BY CHIP MACGREGOR
Someone wrote to say, “I heard an agent speak at our writing group. He sounded interesting, so I went to his website, which is interesting but I wasn’t sure I could trust it. You have to contract with them for a year and pay an up-front fee of $195, though it’s not clear if that is per project for for all your works. Is that the usual course?“
Yikes. Several thoughts come to mind . . .
First, don’t go to any agent that asks for an up-front fee. That screams rip-off. I don’t know of any credible literary agent who asks you to send him or her a check right off the bat. You can’t be a member of AAR by charging fees, and you’ll get listed in “Predators and Editors” if you do. Stay away from fee-based agents. (And if you’re interested in this topic, I highly recommend the book Ten Percent of Nothing, which offers a fine expose’ of scam agents.)
Second, you don’t want to sign up with an agent you know nothing about. Websites are marketing tools, and some of them over-promise when in reality the agent will under-deliver. I can claim anything I want on my website (that I’m the best agent in history, that I’ll make you a million dollars, that I look exactly like Brad Pitt), but if we don’t know each other, and if we’ve never met, HOW IN THE WORLD DO YOU KNOW WHAT TO BELIEVE? Be cautious over sites that over-promise. (For the record, I look exactly like Brad Pitt. Especially if you stand far away. And squint. And are blind.)
Third, be wary of agents trolling for business by sending you advertisements. It’s one thing to meet someone at a conference, or to begin a dialogue over a submission you’ve sent in — most of the authors we represent we met somewhere and