N. J. Lindquist
One of The Word Guild’s members recently said ruefully on our listserv e-mail discussion group, “When this agent enthusiastically agreed to promote my new book, I thought publication was a sure thing. Now he admits that he was naïve to think that the strong story and good writing were enough.”
I think most of us have fallen into this trap at some point or another. Part of it is believing in the “system” and part of it is the old “grass being greener” thing – we never know until we get there what it’s really like, and we always assume “there” is better than “here.” And of course, once in a blue moon it actually does happen.
Three comments about literary agents:
1. Having an agent doesn’t guarantee a single thing.
Been there, done that. In the 1990s and early 2000, I had two different U.S. agents for about 8 years total, and neither one sold anything. One of them did help me sign two contracts after I found the publisher.
2. All agents are not the same.
Again, been there, done that. My first agent was a well-known agent but she really wasn’t a good fit for me at all (she was primarily in non-fiction and I was writing both that and fiction). The second was brand new and loved my books but had no training as an agent, and eventually left that business. I had good relationships with both; it’s just that neither was the right one for me.
The truth is, anyone can call him or herself an agent. Consequently, some are better than others. Some have wider relationships than others. Some are more able to think outside the box than others. Some have better connections than others. Right now, there are a number of editors who have become agents after their jobs were downsized. And some writers become agents, too. One needs to be wary.
What does a good agent look like? Great people-skills. Lots of good connections with editors. Honesty. The ability to think outside the box. The ability to communicate well.
But even a top-notch, amazing agent isn’t right for every author. We all need an agent who is totally sold on our work – preferably has read it, believes in it, and wants to see it in the hands of readers – and who will be innovative in working with us and coming up with long-term plans.
3. Many agents are only interested in selling to the larger publishing houses who give the higher advances and presumably can sell the most books.
Not unrealistic. But those publishers may not the right fit for everyone, especially since most large publishers are putting out fewer books and for those titles, they’re primarily looking for “name” authors or new authors they believe can hit a home run on the first pitch. So there may be smaller publishers who may be ignored by the agent.
I know that is certainly the case in the mystery world — many small, legitimate, but perhaps somewhat unorthodox (ebook, no advances, etc.) publishers are springing up. (I’m talking actual publishers that pay you here, not vanity publishers — there are hundreds of those eager to take your money and promise you all sorts of things.)
I’ve also heard recently from several sources (mainstream and Christian) that publishers now expect the author to sell 2/3 or more of the first print run. Think about that for a while.
As for American publishers, in addition to my two agents, I’ve had four U.S. publishers, and trust me, there was no pot of gold at the end of the rainbow. Unless you’re a very well-known “name” you still have to do most of the work yourself.
I also know many other authors – on both sides of the border – and have heard lots of stories of frustration as well as excitement (in some cases the original excitement later becomes frustration for one or more reasons – including unrealistic expectations on the authors side.
Final thought. This is a business in which you’re investing your money, time and energy. Think long and hard about who you want your business partners to be, and never assume anything.
That’s my thinking, anyway.
N. J. Lindquist, Co-Founder, The Word Guild
http://bluecollarwriter.com/njlindquist/
8 Comments
July 16, 2009 at 1:21 am
Sounds like you’ve had poor experiences with agents all the way along.
“When this agent enthusiastically agreed to promote my new book, I thought publication was a sure thing. Now he admits that he was naïve to think that the strong story and good writing were enough.” Chip MacGregor was at Write! Canada and his blog is recommended by some in the Word Guild, so I assume the task here is to find a good agent with a great track record (like buying a used car – go for more depth than just how it looks).
An agent is basically used to sell your material to a publisher, one project at a time. It is a contracted agreement, so any writer needs to be up on what is and isn’t good in that piece of paper.
It would be helpful to see them as specialists for that one thing. What does the average debut writer who wants to make novel writing a full-time career need today? An agent to sell their work to a publisher? Publicists (or several), both inside and outside the Publisher? An editor to make the story the absolute best it can be within the constraints of the industry?
It sounds like an agent isn’t the route you are choosing to go. You have also ended up becoming your own publisher. What are your thoughts about the other specialists in the Industry?
July 18, 2009 at 3:12 am
Here’s a flip side from an agent
http://tiny.cc/d3Sgk
July 20, 2009 at 4:37 am
When publishing houses say they do not accept unsolicited manuscripts, the need for an agent seems the only option in reality. When you say you’ve done the work yourself and found your own publisher, did you approach with manuscript in hand or was there another method you used to find the right publisher?
July 20, 2009 at 3:35 pm
Steve, I actually know many writers who’ve had more than one or two agents. I don’t think my experiences have been all that different from a lot of other people’s. I liked both of my agents. It just didn’t happen to work out for them to sell my books.
Sometimes it’s a personality thing; other times it’s more about what you’re writing and who’s best to represent you; interests can change or the agent adds more clients and doesn’t have as much time for you as you’d like: you may want more or less information than they want to give; and sometimes it’s a case of you as a newbie being thrilled that anyone would sign you, so you took the first person who showed interest, and it may not have been best for either of you.
I’ve spoken to people who are thrilled with their agent and people who aren’t thrilled at all – and discovered they’re both talking about the same agent.
>What does the average debut writer who wants to make novel writing a full-time career need today? An agent to sell their work to a publisher? Publicists (or several), both inside and outside the Publisher? An editor to make the story the absolute best it can be within the constraints of the industry?
All of the above.
Where do you start? With the best book you can write, even it it means your paying a freelance editor to make it great.
But the truth is very few authors can make a living by only writing books. Yes, there are some, but those are the exceptions. Usually one ends up doing other things as well: speaking, editing, teaching, or working at unrelated jobs and writing on the side.
On the other hand, some writers would prefer to write one book a year but are forced to write two or more in order to satisfy their publisher and/or readers or make a living. Some of them can do this well; others know their books would be better if they’d had more time. There are a lot of variables.
>It sounds like an agent isn’t the route you are choosing to go. You have also ended up becoming your own publisher.
When you’re told over and over that there’s no market for books you believe there is a market for (in my case, “you’re a wonderful writer, but boys don’t read – please write something else”), or when the editor wants to change the thrust of your work, you have to make some decisions. How much do you believe in what you’re writing and how prepared are you to write what the market is looking for? I found it easier to walk away and do what I believed I was supposed to do than to settle for something other than my best. And because I did, I have a lot of experiences I can share with others, and I’m able to do things I couldn’t have otherwise done. Hot Apple Cider exists because I had already published 7 of my books.
Most of what I’ve learned has been trial and error. A lot has been through making mistakes. That’s how we learn.
>What are your thoughts about the other specialists in the Industry?
I’ve worked with several terrific editors, including Audrey Dorsch, Wendy Nelles, and Alan Yoshioka. I have a US publicist I’ve worked with for Glitter of Diamonds in the general market. I’m open to having an agent if and when I have a book I think warrants one. The bottom line – as long as I make money, too, we’re cool.
July 20, 2009 at 3:41 pm
Not sure how this is a flip side. I’ve never said I don’t think anyone should have an agent. The reason you have an agent is because you need the help of someone who knows publishers/editors, has a good idea of what they are interested in, and can contact them and get your ms to the top of the pile.
But just having an agent – any agent – isn’t a guarantee you’ll be published, live happily ever after, etc. Writing is a business and the agent becomes your business partner. So don’t rush into anything without making sure you understand what’s involved and know what you’re doing.
July 20, 2009 at 6:45 pm
Caroline, there are ways to sell books other than through agents. Many small publishers still look at ms. And you can meet editors – even from larger publishing houses – at conferences, etc. Or another writer might ask his/her editor look at your ms. Networking is huge. Fiction is likely harder to sell without a good agent than nonfiction, but it’s not impossible.
But never send a complete manuscript to anyone who hasn’t requested it. First learn everything you can about the publisher and what they publish. Then find out who the editors are. Then send a query to a specific editor asking if he/she would look at your proposal. If it’s a yes, send the proposal. After that, hope the editor asks for the complete ms. (For fiction, you need a complete ms before talking to either an agent or an editor – that’s a complete, edited ms; for nonfiction, you normally don’t have to have the complete book written, but what is done should be really well done.)
I’ve had three publishers – one was the result of a query I sent to a number of publishers; one was the result of a friend who was a friend of an editor suggesting I email the editor (and giving me the email address); and one came about through working with an organization who brought in someone as a speaker and connecting with him over lunch.
The publishing community isn’t that large, really, so the more people you get to know the more opportunities will arise.
Of course the key to everything is really good writing.
July 21, 2009 at 3:31 am
Interesting points, and you’ve made some points I’m hearing from some of our students at the Writer’s Business Academy.
From what I’m hearing from them, there is a need for authors to focus more on the business side of a writing business from the very beginning.
Especially if you’re not a “name” it’s always a good idea to create a platform, develop a marketing plan and put the foundations in place that will help you market your book and create as many additional streams of income from your book as possible.
Having an agent has become a necessity for most new authors to get their book in front of a traditional publisher, but you stand a better chance of them saying yes if you’ve done the footwork first.
Because, don’t you agree – in the end, it comes down to how many books you can sell – and being able to make a living from your writing?
July 21, 2009 at 12:36 pm
You said it, Cheryl.
Unless you have an inheritance that allows you to do your own thing, a spouse who can support both of you, or a desire to live off the land so you can just do your own thing and ignore the rest of the world, it’s getting more and more important for you to recognize all aspects of the writing business and plan accordingly. Especially understanding that this is in many respects a business of partnerships, and you have to be prepared to both make sure that your interests are taken care of and be prepared to pull your weight in all aspects of publishing.
Having a business plan is ideal. Bottom line is: what’s the best way to get your writing to the people who need to read it?
The way things are going, that may or may not even be the traditional agent/publisher/book. The times they are a-changin’.
But then I’m one of those crazy people who usually likes change.