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Rants & Ramblings - On Life as a Literary Agent
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Agents get questions through email and in our blog comments every day. Most of us respond as we're able, either on our blogs or via email. But there is one kind of question that an agent (who isn't your agent) can’t answer for you.
That question is:
What should I do?I get this in a few variations: Should I pursue self-publishing or traditional? Should I fire my agent and find a new one?
These are questions that nobody can answer for you based on a few sentences of information in an email. It’s also the kind of thing that I can’t be advising you on if I don't know you.
I welcome questions here… I love questions and I want you to send me more! But take a good look at your question. Is it something about the industry, something that others will benefit from? Or is it more of a request for someone to make a decision for you?
The point of all these blogs—the ridiculous amount of publishing discourse spewing out over the Internet everyday—is to give you the context, the background, the general information you need…
in order to make good decisions.
As an author pursuing publishing, you have some complex decisions ahead of you, and the only way to make them is to educate yourself. At the moment of decision, you’re on your own. And honestly, you don't need an outsider to tell you what to do.
Gather information. Pick a direction. Take a leap.
There are no guarantees.
Q4U: What questions do you have that you’d like me to answer on the blog?© 2011 Rachelle Gardner, Literary Agent
Do You Have to Sign One?
In my May 3 post, “Will Your First Book Be Published?” I mentioned multi-book contracts, and blog reader Marion asked: “Do you have to sign for a multi-book contract?” Her concern was mainly that she wasn’t sure she wanted to be locked into deadlines since her first book took her ten years to write.
The short answer is no, you definitely don't have to sign a multi-book contract, and you may not even be offered one. (You certainly won't be offered one if you don't have more than the one book.)
There are some cases in which you wouldn’t want to sign a multi-book contract even if offered one and you wouldn’t have any problem delivering the manuscripts. This has to do with specific publishers and the terms they’re offering. For example, if the publisher insists on joint accounting or “cross-collateralizing” all books within a contract, you might be better off only signing for one book at at time with them. (See
this post from agent Kristin Nelson.)
But there is a larger issue here:
It's not usually good business for an agent or a publisher to commit to an author who may only have one book in them. There is a huge investment of time and money, especially when it comes to building an audience. We would hope that audience-building would be for the long haul... that your fans would follow you through multiple books. The publisher wants to build a following for you that would extend to many more books down the line (that’s their hope), basically amortizing their costs over multiple books. It takes a lot of effort to launch a new author, so it makes sense that you'd want that effort to benefit the sale of multiple books.
So, while you may only be offered a single book contract to start with, be aware that agents and publishers typically are looking for
authors, not just books. They're hoping you'll have something else for them after this one.
Of course there are bestselling authors who are famous for a single book, and that's a possibility, of course. I think that one book would have to be so good and have such amazing potential that the agent and publisher aren't concerned about subsequent books—they believe the first one will be worth the effort in itself. The literary world would certainly be poorer without
To Kill a Mockingbird (Harper Lee),
Gone with the Wind (Margaret Mitchell), or
Dr. Zhivago (Boris Pasternak). But those authors are the exceptions. For the most part, we’re looking for writers with more than one book in them.
Q4U: How does this "multiple book" goal serve you as a reader? Do you search for books from authors you like, or do you just look for good books regardless of the author?© 2011 Rachelle Gardner, Literary Agent
Dear Rachelle,
I'm a bookstore owner and have developed a pretty good rapport with an author with whom we've done numerous booksignings. I want to show him some of my work to get his opinion, but I don't want him to think that I'm just using him to get signed with an agent.
My question is this: What is the proper method to approach an author to ask them to assess your work? I would love a referral, obviously, but mostly I just want to see what he thinks. At the same time, I don't want to damage our relationship. What's your advice?
Dear Conscientious Writer,
This is an important question and I suspect every author will have their own unique take on it. Many of my clients report that they get approached regularly by other writers who want an agent referral, and most agented and/or published authors frequently get approached by writers who want their opinion, advice, or feedback. It gets overwhelming for them at times, but I know for the most part, they're kind and considerate and want to help, so they usually try their best to do so.
The problem with asking authors for feedback is that you put them in a no-win situation. They're not in the business of assessing manuscript saleability, so they may love your book or they may hate it, but either way, they still might not have any idea whether it's viable in today's market. Plus, what if they don't like it? Things would then become quite awkward, as they try to figure out how to tell the truth, which might ruin your friendship, or lie which could be equally damaging to the relationship.
It seems to me the best approach would be not to ask. Wait until the fact that you're a writer comes up in conversation naturally. Then you could throw something in like, "I've finished my manuscript and now I'm in the place where I need some outside input, but it's hard to find qualified readers. Do you have any advice for me? How did you get feedback on your work before you were published?"
That way, the author is free to
offer to read your book, but they don't feel pressured. As someone who has lots of experience working with authors, I can tell you they feel pressured all the time and while they may
want to help, it's not always realistic for them to do so; in addition, they worry about hurting friendships by being put in a difficult position.
It's better to search for a critique partner or group. That way you have people who have already volunteered to give feedback on your work.
But I'd like to put this question to my blog readers. Perhaps we can get some perspective and good advice from those who've been there.
Readers? What are your thoughts? Published authors, your perspective is especially valuable so chime in. Thanks!
© 2011 Rachelle Gardner, Literary Agent
I'll start posting things there!
Click
HERE.
Thanks!
We’ve had a lot of talk about genres lately, and I’ve tried to discuss which genres you're writing as well as which genres seem to be selling best. But recently a blog reader mentioned it would be interesting to see which genres you're READING, not just writing.
This is actually a good point, because while I always assume people are reading widely in the genre they’re writing, I’m repeatedly surprised when writers tell me they’re not. I’ll talk to someone who writes thrillers and ask them who their favorite thriller writers are, and they’ll say, “Well, to tell you the truth, I don’t read many.” Aarrgghh!!! How can you expect to learn your genre if you’re not studying it by reading it?
So I have three questions for you:
1. What is your preferred genre to read?
2. Are you reading widely in the genre(s) that you write?
3. If you’re not, what’s your rationalization?
Feel free to name some of your favorite authors in your genre, as well. Thanks, and have a good weekend!
© 2011 Rachelle Gardner, Literary Agent
Guest Blogger: Erin Reel, The Lit Coach
When I was a literary agent, I wanted fiction with a strong voice. Candace Bushnell, Sherman Alexie and Frank McCourt were all great examples. Bushnell led the first wave of original, high-end chick lit. Alexie's poetically poignant Native American perspective kept the art of the short story on the publishing landscape, and Frank McCourt made the memoir more than just a tell-all. These writers came to the table with their own voice. They wrote the stories they wanted to tell.
My first trip to New York to meet with editors was memorable. I was pretty green to agenting; fresh out of my lit classes with all sorts of romantic ideas about writing. One of my first meetings was with editor Marcela Landres at Simon and Schuster. What she had to say about storytelling (not publishing) set the tone for what I would later realize was mainstream publishing gospel. "Just tell me a good story!" The message was clear. Don't write in a language that's not your own. Forget about following a genre trend just to get published. Tell a good story—one that a large audience will want to read and can identify with.
I help writers learn to do this by coaching them to find their authentic voice through several clarity-gaining sessions. The writer and I discuss why the writer wants to write, what they want out of this writing career—what kind of author they want to be known as.
What I don't encourage new writers to do is think about agents and publishing when they're in the middle of finding out their writing identity. When you're thinking about your agent wish-list while writing your novel or polishing your nonfiction book proposal, it shows in the writing: it's not as tight as it could be, it lacks polish and sophistication. Often, it lacks focus. Think about agents only when you've completed your story and you have something truly authentic and well-crafted to share.
Tips for Finding Your Original Voice•
Read. Read the competition, old and new. Identify authors’ voices that resonate with you.
•
Practice. Write like your favorite authors (as an exercise, not for the novel you want to publish!)
•
Get clear. What story do you really want to tell? Who is your audience?
•
Make it yours. Most stories have been told and told again. Make your story authentically
yours by writing many rough drafts through which your voice will eventually surface.
It takes time, stamina and persistence, but to break into the publishing world with a book that will stand the test of time, the effort to find your voice is worth it.
***
Erin Reel, The Lit Coach, is a publishing and editorial consultant, writer's life coach and blog host of
The Lit Coach's Guide to The Writer's Life. A former Los Angeles based literary agent, Erin has contr
7 Reasons to Consider an Internet Phone Service
Time once again for me to encourage you to take advantage of technology! Are you using Skype yet—or another Internet phone service? It’s not a necessity, but it can save you money and be fun, too.
Skype is super easy to use, and probably will work without any additional expense unless your computer is a dinosaur. Just download from
Skype.com, follow the instructions, and get talking. There are a few technical requirements: You need a microphone, speakers, and preferably, a webcam. Many newer computers have both of these built-in, but if not, you can buy them separately.
(Note: a webcam isn’t a necessity for Skype—mine has been broken and I’ve done several Skype calls without it—but obviously, you’ll be limited to voice calls only.)
Why would you want to consider Skype? 1. Personal connection. You may have an agent or other business associate who isn’t in the same city and face-to-face meetings are unlikely. While a video call on Skype isn’t the same as being across a table from someone, it certainly can make a big difference in helping you be connected. For that reason alone, I recommend it and would love to begin communicating more regularly with my clients via Skype.
2. File sharing. On Skype, since you're on the computer, you can pass documents, photos and other files back and forth during the call. You do it straight through Skype, avoiding email or any other platforms.
3. Save BIG on international calls. If you have business associates, friends, or family members in a different country than you, Skype makes it easy to talk—no worrying about country codes, and NO long distance charges. I’ve used it for talking with clients and potential clients in other countries—calls that could have cost me $50 or $100 or more, but were free with Skype.
4. Save on domestic long distance. Even if you’re not dealing with international communication, Skype is still useful for long distance calls because you pay no long distance fees.
5. It's fun! Skype has many purposes beyond business. If you have family that lives far away (grandchildren, anyone?) it’s so much fun to be able to see them (not just hear them) when you call.
6. It's affordable. Skype’s basic service is free; and upgraded service is available by buying a subscription or purchasing credits.
7. It's flexible. Both parties on the call don't need to have Skype. You can also call people’s phones, and it may be less expensive than the long distance on your current phone service. For example, if you're going on vacation in Mexico and want to call ahead to book a tour, you can do a Skype-to-phone call and save international charges.
Q4U: Are you using Skype or another internet “telephone” service? Why/why not? What’s your opinion either way?
© 2011 Rachelle Gardner, Literary Agent
4 Reasons You Should Write Several Books Before Seeking Publication
There is a cliché in publishing that by the time a writer finally gets published, she already has a whole stack of novels completed and hidden in a drawer, never to see the light of day. No writer gets their first book published, right?
Well, there are exceptions of course, but mostly, it’s true. Nearly all successfully published authors will have written two or more books before they get their first contract offer. Here’s why:
1. Practice. It takes most people a few tries to write a viable and saleable novel. Like it or not, this is true for the overwhelming majority of writers.
2. Repeatabilty. If you haven’t finished more than one full-length book, you don’t have a good feel for whether or not you can do it over and over again.
3. Timing. If you haven’t written multiple books, you’re not able to accurately predict how much time it takes you to write one, and therefore signing a multi-book contract is problematic. How do you know if you’ll be able to meet your deadlines?
4. Confidence. If you’ve finished multiple books, then you’ll go into your first publishing contract with more confidence. You’ll
know you’re a writer. You'll be less bothered by that nagging worry that maybe that one book you wrote was a fluke.
I’ve seen too many cases now of writers going into multi-book contracts unprepared, and find themselves unable to finish multiple books in the amount of time the publisher has allotted. This can harm your career, but not only that, it’s painful! You can avoid it by being adequately prepared, and there’s only one way to do that:
write, write, write.
Q4U: How many complete books have you written (publishable or not)? If you’re published, how many books had you written before signing that first contract?
© 2011 Rachelle Gardner, Literary Agent
or... Don’t Shoot the Messenger
Did you know that I invented publishing? Seriously—book publishers, agents, querying, marketing—the whole shebang, I thought of it, created the system and built it from the ground up.
Wait—what? I didn’t build the publishing industry? You mean I’m not responsible for the lousy query system, and the difficulty getting published, and the fact that authors have to market their books?
Phew! I was worried there—because I’ve noticed that I’m often put in the position of having to not only explain some aspect of publishing, but to defend it. A lot of times the questions directed to agents have this tone that says: “
You created this system and it’s broken—so fix it!”I didn’t invent the system—I work inside the system, just like you do. Agents and editors are small cogs in the machine and we have little control over how the wheel turns. But even though we don’t have control, we
do have to explain the way things work. And sometimes that can be frustrating—for us and for you. Especially when we have news you don’t want to hear, such as:
→ An agent can’t give feedback on every query that comes in.
→ Certain books (and genres) are difficult to sell, no matter how much I love them.
→ Once you get your first book contract, you’ll need to specialize in a genre.
→ Writing for the Christian market requires you follow certain guidelines.
→ Every genre, in fact, has guidelines.
→ Yes, you do have write pitches, hooks, synopses, proposals, etc.
→ Yes, I would prefer you have a blog and begin learning social networking.
→ All the marketing in the world can’t guarantee book sales.
When you hear an agent say these things, remember it’s because we
know the system and we're trying to help you
work the system. We're trying to get you published. So try not to hold the negative parts against us.
Q4U: What are some things you’ve heard along this publishing journey that you don’t like? © 2011 Rachelle Gardner, Literary Agent
We've had lots of discussions on this blog about "why we write." But since I'm in the business of publishing, I often ponder the link between wanting to write—and wanting to be commercially published.
It's difficult to separate the desire to write from the desire to be read. For many, the urge to write is linked to the dream of seeing their name on the cover of a book. Is this true for you? How do you know if you're supposed to be published? If you're not going to be, then is there any reason to keep writing? Or are the two inextricably linked in your mind?
Do writing and publishing just naturally go together?
For those of you who feel a spiritual "calling" to write: How do you discern whether you're also called to publish? Or do you just assume that part?
I compare it to professional sports. Many boys dream of a career in the big leagues. But when they become men, all but a small minority give up their big league dreams, and instead enjoy their sport as a hobby. Why is it so different for writers? What makes most writers assume they are meant to be in the big leagues of publishing? Can writing be a hobby?
Is there value in writing for reasons other than commercial publication, such as writing a blog?
I'd love to hear what you think of this topic. And I hope you have a great weekend.
© 2011 Rachelle Gardner, Literary Agent
Guest Blogger: Jennifer Wilcov
Society loves moving pictures. Movies and television have been around for a long time, but then along came the Internet—and YouTube is right up there with Google and Facebook as the most visited websites in the world.
Vlogging, or video blogging, is a great way for you as an author to engage in a more personal way with the visitors of your blog from the comfort of your computer. Videos help to bring the reader, other writers, and the industry to you. It’s a great way to let them get to know you.
Videos can help boost your career, as agents and editors can see you speaking live on your blog when they’re deciding if they want to take you on. If you’re being considered to speak at industry events and conferences, your vlogs give a quick sample of who you are and how you speak.
Here are a few tips for vlogging:→ The length of your video: Attention spans are short these days so keep your clips between 1 and 3 minutes.
→ What you wear: Look your best. It will help foster your success.
→ What’s in the background: Pick a backdrop for your video shoot that’s pleasing to the eye. The less cluttered, the better…and don’t be afraid to take the video camera outside the house and on the road with you. Shooting outdoors can make for some beautiful backdrops.
→ Distracting noises that your microphone might pick up: Be especially thoughtful about thes—a baby crying, a dog barking, a siren from the street, a timer going off in the kitchen, a telephone or cell phone ringing and others. Silence what you can before you start.
→ What camera you’re using: Make sure it’s versatile, has a good microphone and makes it easy for you to transfer your video to your computer and YouTube. Hint: you may want to edit the video and add your book cover and website to the end of each clip.
For nonfiction writers, vlogging is quite simple, as you can talk about any concept from your book. For fiction writers, video may seem like a huge leap from the quiet, invisible mental hallways of your imagination. So I’m including a few ideas here for all you novelists.
Things fiction authors can vlog about:→ Your inspiration: Discuss what inspired your main character, plot or book series.
→ The setting: Chat for a minute about why your story is based in a particular town, state or country. Do you have a personal connection or experience with this place?
→ Story: Give hints about your plot twist without giving the story away. Get the viewer hooked on your book and leave them intrigued enough to want to buy it and read more.
→ What’s next: Discuss the next book in the series or what you’re working on now.
→ Appearances: Take videos at all of your readings, visits with writers’ groups, book signings, panels you speak on.
→ Advice: Share writing tips with other writers
When you use video on your blog, or
vlog, you enrich your presence for the reader and raise your visibility. Video can become a valuable asset for your writing career and a great hook for your book. Don’t knock it ‘til you’ve tried it!
Q4U:
"Jsfrog" left me this note:
If you get an agent, how do you decide what form of publishing to pursue? Do agents typically have a list of preferred houses to pitch to or do they take input from the author? And if you are lucky enough to get a few offers, how do you decide which one to take if there is a difference of opinion somewhere? Like if one prefers the intimacy of a smaller house, but the other is just looking at the financial bottom line? I am an independent introvert so while I would like the validation before publishing, I worry about being overwhelmed by the process. That is one reason I might consider self-publishing or by-passing a few of the steps with a smaller house that still has open submissions. My answer:When an agent offers representation, most likely they already have some ideas about what type of publisher would be appropriate. You and your agent would discuss this, and if you have some input to offer, you should speak up. I often ask my clients, “Who is your dream publisher?” and then we have a place to start the discussion, regardless of whether I think their dream is realistic.
If there are multiple publisher offers, usually you go with the publisher offering the best deal, because the agent wouldn’t have submitted the project to a house you didn’t want to publish with. But there may be other considerations, and by this point your agent should already be clear on your priorities so she’ll be able to guide you in making a choice.
You mentioned “the intimacy of a smaller house” vs. “the financial bottom line,” which is an interesting way to look at publishing. A smaller house may or may not feel more “intimate.” A larger house may or may not be a better deal financially. They’re not mutually exclusive or automatic opposites.
Keep in mind the agent’s job is always to get you the best deal possible. This means financially the best deal, as well as a good strong contract where your long-term interests are protected. They also want to put you with a publisher that gives you the best chance of being a success—a company who knows how to sell the kind of book you’ve written, and with an editor who “gets” your book. There are a lot of things that make a publisher right for you (or wrong for you).
Don’t make too much of the fact that you're an introvert. While your fears are valid, many writers are introverts, and somehow they manage to make it work. I’d say: feel the fear and do it anyway.
Also, regarding your last two sentences (the fact that you might consider self-publishing). I think you may have a skewed view of the requirements of self-publishing, vs. small indie publishing or traditional big publishing. If you’re afraid of being overwhelmed by the process, it’s not going to be any less with self or small publishing, unless you want to put your book out there and sell zero copies – then, sure, you won’t be overwhelmed because you won’t have to do anything. The truth is, you are far more likely to be overwhelmed by self-publishing; and no matter which way you decide to go, you have to face one fact:
If you want to put your words out there for people to read, it’s going to feel risky, it’s going to feel vulnerable, and it’s going to require you to step out of your comfort zone.Don’t be afraid of that. It’s how we grow, right?
Q4U:
I’ve belonged to several book groups over the years, and some time ago one of my groups started a new book that I hadn’t helped select. I began reading and quickly pegged it as a Really Bad Book.
Not that I'd tell anyone, of course. (Just you.) But I couldn’t stop thinking about how poorly the book was crafted, how I would have edited, how cheesy it was. Normally when I read for enjoyment, I'm fairly good at turning off my internal editor. But not this time.
Then I found out that Really Bad Book had been out for almost a decade, was a perennial strong seller, and had even been made into a movie (direct to DVD). Clearly others had a different opinion than I did.
What gives? How can this happen? How can such a badly written book
(in my opinion) go on to such success?
It happens all the time—there are lots of books that you or I would consider badly written but sell boatloads of copies and even become movies. I struggle with it, as I know many of you do. I drive myself crazy wondering why I can't sell some of my clients' fantastic books when
that stuff is getting published.
Getting PerspectiveBut then I have to take a step back and remember why I'm in this business in the first place. I love books. I love writing and I love writers. It doesn't mean I have to love
every book specifically; but I love the fact that there are so many different people writing so many different books. It takes all kinds, right?
And besides, I'm just one person with an opinion. Who am I to judge? Some of the books I love would undoubtedly be called Really Bad by others.
I'm so glad I have the freedom to choose which kinds of books to read, which ones to represent...and which ones to pretend don't exist!
As for the
Really Bad Book Book That Did Not Appeal To Me, I tried to change my attitude and read it with as little judgment as possible, but I found it difficult. I couldn't read more than a third of it. So for that particular book group meeting, I stayed usually quiet, knowing if I opened my mouth I'd probably regret it.
How do you deal with the fact that there are so many books that you think are BAD? Does it cause you any frustration? Resentment? What helps you put it all in perspective? (Please don't name any books in the comments.)
© 2011 Rachelle Gardner, Literary Agent. An earlier version of this post ran on my blog in 2009.
I had fun collecting stats on my sidebar polls last week. Thanks to all 1,453 of you who answered the questions!
Turns out:
→ 93% of you are writers
→ 85% of you are writing fiction
→ 73% of you are not yet published
→ 77% of you are writing for the general (not Christian) market
By far the most interesting info I gathered was the genres my blog readers are writing (or at least those who chose to vote). Here's how it stacked up:
26% Fantasy or sci-fi
21% General/other (non-genre fiction)
12% Women’s fiction
12% Mystery/suspense
10% Supernatural or paranormal
9% Romance
7% Historical (romance or not)
I was particularly interested in the fact that the largest percentage was fantasy and sci-fi. I don't typically rep fantasy or sci-fi, so I really appreciate all of you reading my blog!
When the numbers first started coming in, I immediately noticed the large percentage who checked fantasy/sci-fi, and I wondered whether there might be a disproportionate number of
writers in that genre vs.
readers (hence the difficulty many of you are having getting published). I set out to try and run the numbers, but it's ridiculously hard to find accurate data on book sales
by genre. So I went about it a different way. I decided to look at recent book
deals as listed on Publishers Marketplace.
I chose two months: April, 2011, and October, 2010, and looked at all the fiction deals reported. There were 309 total deals. Here is how they stacked up by genre:
38% General/other (non-genre fiction)
30% Women’s/Romance
11% Thriller
10% Mystery/Crime
6% Sci-fi/Fantasy
5% Paranormal
<1% Horror
I realize this isn't scientific, it's strictly anecdotal. But the anecdotal evidence supports the initial instinct I had when I saw the numbers. While 26% of those voting report writing fantasy or sci-fi, sampling from two recent months suggests only 6% of book deals were done in those genres. That's not a minor discrepancy...it's a significant difference.
What do you make of this? What other conclusions might you draw from these two lists of (unscientific) statistics?© 2011 Rachelle Gardner, Literary Agent
A Follow Up to My Shark Tank Post
Earlier this week I talked about the TV show Shark Tank and how it has so many great lessons for writers. Blog reader Allison Williams left a comment that was so good I decided to feature a post from her. She was a contestant on Dragon's Den, the Canadian equivalent to Shark Tank, and confirms the many lessons it has for writers.
Here's Allison:
I'm an "overnight success." In the space of seven days, I made a video pitching my creation—an indoor touring circus—to the Canadian reality show Dragon's Den, got a call from the producers, went on the show, and won $250,000.
And it only took me a week to make the video, five months to research the show and prepare my presentation, a year to craft a business plan, six years of business coaching to grow my company, fifteen years to meet and work with the people I cast in the circus, and twenty years as a performing artist learning how to direct, write, and cast a show.
Watching Dragon's Den (Shark Tank in the USA) is a lot of fun. You get to see people go down in flames, and the feedback makes sense. In my case, the investors who said "I'm out" had good reasons:
"I don't see a market for this."
"Theatre is a great way to lose money."
"No-one's going to take on Cirque du Soleil."
As a writer, it's easy to be jealous of the feedback the entrepreneurs get. Even when they don't get a deal, at least they get an explanation, right?
But the contestants seen on the show have already been through a process of application, audition, screening, and pre-show interview. The parallel might look like this:
1) Entrepreneur with great idea applies to audition for Dragon's Den/Shark Tank. She fills out a five-page application and submits a video. (
Author researches agents and sends out query letters.)2) Entrepreneur gets accepted to audition. (
Author gets a request for pages.)
3) Entrepreneur passes the audition and sends in a complete business plan, which the Sharks/Dragons never see, but it's a way to weed out the completely unprepared. (
Author gets request for whole ms.)
4) Entrepreneur does the show and gets a yes or a no with explanation. (
Author's book is read and agent gives them a yes or a no with explanation.)
By the time the entrepreneurs reach the point where they're actually getting feedback and explanations, they've already passed several hurdles, any of which could have resulted in a flat "no thanks" without explanation, much like the query process.
I won. I won big money! I won national publicity when footage of Kevin O'Leary—the meanest Dragon—shouting "tears and money don't mix!" while I wept became part of the show preview and the network's season preview.
But the most valuable part was preparing the business plan. Walking into the studio, my partner and I felt that whether we got money or not, we were much readier to approach other investors after the show, having put serious thought and energy into our idea, beyond just "this is cool and people will like it!"
For authors, especially but not only non-fiction authors, going through at least the basics of a business plan can be useful in focusing your work. Who will read this book? What other books is it like? What's your marketing plan?
Is yo
1. What's the best book you've read lately?
2. What are you sick of reading about on blogs?
3. Who are your favorite publishing bloggers? (Besides me, of course.)
4. Are you excited about the all-new-and-improved blog design I'm going to debut in a couple of weeks?
and most importantly...
5. Who is going to win American Idol???
Answer any or all!
Guest Blogger: Richard Mabry
(Book giveaway today! See below.)
Rusty Greer is my hero. Many of you won’t know who Rusty is, but any fan of the Texas Rangers will recognize the name. It conjures up images of a red headed kid from Alabama whose uniform was always dirty at the end of the game, who never seemed to give up.
Rusty always wanted to play professional baseball. It was his dream. But like a lot of us, that dream didn’t come with talent automatically attached. So what Rusty lacked in ability he made up in hustle and ‘want-to.”
He played baseball in high school, but when he was a senior, only Alabama’s University of Montevallo showed any interest in him. No matter. He attended, played on the college team, worked hard, and caught the eye of the pro scouts. The Texas Rangers drafted Rusty (although he wasn’t chosen until the tenth round of the draft). He was on his way.
Rusty advanced through the minors, always playing hard, always giving his best. When he finally got the call-up to the major league team, he contributed with effort and hustle. During his career, his all-out style of play resulted in surgeries to fuse vertebrae in his neck, repair a rotator cuff tear in his shoulder, transplant a nerve in his arm (the so-called Tommy John surgery), and remove scar tissue from his elbow and shoulder. When he finally retired, he’d parlayed average talent and above average “want-to” into a career that made him a fan favorite.
As a young man, I wanted to be a professional baseball player, but those dreams died, and I went into medicine instead. I never thought I’d be a writer, but after my retirement from medicine, I began to try my hand at fiction. And it was tough. I wrote and revised and submitted and was rejected and wrote some more. I discovered that I wasn’t alone in this situation. There were hundreds of attendees at my first writer’s conference, and I was told that there were only a handful of slots open for publication by new authors. I could give up, just as I’d done with my own dream of playing in the big leagues, or I could persevere. It was a matter of how much “want-to” I had.
Finally, there did come a time on my road to writing when I decided to quit. But through a series of circumstances that can only be called a “God thing,” I was encouraged to try one last time. And this time it worked, although success didn’t come immediately. The process was a long one, full of more work and fraught with even more disappointments, but it paid off. My third novel of medical suspense was just published, and the fourth will be out this fall. I sometimes wonder how things would have played out if I hadn’t decided I had enough “want-to” to give it one more try.
You may sometimes want to give up, too. But I hope you’ll take a close look at your writing efforts, including the reason you’re writing, and see if there’s enough “want-to” in you to keep going. After all, the odds of succeeding may be small no matter how hard you try, but they’re zero if you don’t try at all.
Q4U: Have you ever been discouraged? Ever wanted to give up? How did you find the "want to" to continue?
***
I’ve been in a Hemingway phase lately in my personal reading. I read
The Paris Wife: A Novel by Paula McLain, a beautiful fictional memoir of Hadley Richardson, Hemingway’s first wife during his expatriate years in Paris in the 1920’s. I was so enthralled that I immediately began
A Moveable Feast, Hemingway’s own memoir of that same period of his life, and have on deck a re-reading of
The Sun Also Rises which was written during that same era.
I’m looking at Hemingway differently these days—I must confess my high school and college experience of reading his books left me unimpressed. But now I’m in awe of his genius, and even more, I’ve come to see him as a remarkable example that serious writers would do well to study and emulate. Setting aside the depression, the personal demons that drove him, and the drinking he used to deal with it all, Ernest Hemingway stands as a master of the craft with a great deal to teach us. Here are a few things I’ve identified:
1. He read the masters and studied them obsessively. His teachers were Homer, Dante, Flaubert, Turgenev, Dostoevsky, and countless other exceptional writers.
2. He was friends with writers and discussed writing, art, and literature incessantly. His early circle included F. Scott Fitzgerald, Ezra Pound, and Gertrude Stein. I’ve always been fascinated that many of the great writers (including Lewis and Tolkien) found like-minded souls to be with regularly. They seemed to feed off each other. They undoubtedly supported as well as challenged one another. I’m always suggesting to writers that they find a writing community to be a part of—some of our best authors did this instinctively.
3. He prioritized his writing. Hemingway treated writing as his most important work, even when he was doing other jobs to make ends meet.
4. He wrote all sorts of things. He experimented with many forms—poetry, short stories, novels—and he was a journalist as well. He taught himself to become a writer through this continual exploration and was always seeking a new and better way to express himself.
5. He wasn’t afraid of the process. He knew that a book or short story had its own timetable, and he didn’t try to force it. If a project needed weeks, months or years in the editing and rewriting phase, that’s what he gave it. Despite the same anxiety for publication that all writers share, he still gave his books the time they needed to develop.
6. He knew when his work needed to be put in a drawer. He would set a completed project aside for weeks or months to “simmer on its
If you're a writer trying to wrap your mind around the business end of publishing, you need to be watching ABC's
Shark Tank (Fridays at 8/7c.) The show has nothing to do with publishing. But it has everything to do with understanding exactly what you're doing when you put your query or proposal in front of an agent, an editor or a publishing committee. You're going into the shark tank.
The program features five venture capitalists looking for businesses in which to invest. The contestants are entrepreneurs with small businesses needing capital. Each contestant stands before the five "sharks," pitches their business, specifies the amount of money they're asking for, and what percentage of their business they're offering for that investment. So a guy might ask for $65,000 in return for a 15% stake in in his business; or $150,000 in return for a 30% portion of the company. The sharks get to decide whether they want to invest in the business, and they're free to negotiate any way they want.
I love this stuff! I'm constantly noticing all the ways the whole scenario resembles publishing. When you're trying to take your art out of the
personal realm of art and into the
public realm of commerce, you're just like these entrepreneurs asking for others to invest in them.
You're asking a publisher to invest in you. You're asking them to put their time and money on the line, to share the risk, and you're also offering them the opportunity to share in the reward. (You're asking an agent to do the same thing.)
The entrepreneurs who appear on this program seeking investors are, like you, creative people. Many of them are inventors of incredibly unique products. Most of them have spent years developing their product and their company. (Longer than many of you have spent writing a book.) They've also spent money, a LOT of money, to develop the business. Like you, they had an idea, and they worked hard to execute it. They've reached the point where they can't go any further on their own. They need a partner. (Kind of like when you get your book written and need a publishing partner to take it to the next step.)
But once they make their pitch, you should see how the sharks grill them with questions! How many have you sold? Are you sure this is a good idea? Exactly who will buy this product? What are you doing to market this product? How will people get to know your name in this competitive market? What previous experience do you have in this business? How many hits do you get on your website? How can you possibly compete with the gigantic names that dominate this particular niche?
After the investors ask all their questions, they'll either say "I'm out" or they'll make an offer.
"You've done a fabulous job. But it's a tiny market. I'm out."
("Your book is terrific but the potential audience is too small for us. We'll pass.")"This is strictly going to be catalog, direct mail, Internet sales. I'm out."
("You may want to try self publishing or POD. We'll pass.")"I just don't think this is a good idea. I can't see anyone buying it. I'm out."
("Your book simply doesn't appeal to us. We'll pass.")"There are five big brands that dominate your
13 Ways to Screw Up Your Query
1. Address your letter to Dear Sir/Madam or Dear Agent or To Whom It May Concern.
2. Write "I believe you are the perfect agent for me" even though it's obvious the same email was sent to fifty agents.
3. Pitch a mainstream novel of 40,000 words... or 250,000 words. Most agents won't look at it. Pay attention to appropriate word counts!
4. Start your query with a rhetorical question: "What if...?" or "Have you ever wondered...?" or "Why is it that...?" It's cliché.
5. Say "I am a previously published author" and then list several self-pub companies as your publishers.
6. Pitch a non-fiction book without giving any of your credentials or platform information. (This doesn't apply to memoirs.)
7. Write, "Please open my attachment" or "Please click on this link" or my favorite, "Please Google my name and see what you find."
8. Write, "I have just completed my first novel..." It sounds like you're sending a first draft, and we don't want that. Especially, don't send a query in December that says, "I just finished NaNoWriMo..."
9. "I am querying about my non-fiction novel" or "my fiction novel." The first is non-sensical, the second is redundant.
10. "This story has everything a great movie needs." Excellent! Except you're pitching me a
book.
11. "I'm writing to see if you would be interested in publishing my book." Well, SURE I would! If I were a
publisher.
12. "I've been querying other agents, but they keep rejecting me." Not exactly getting things started on a positive note.
13. "I know you don't accept (genre) but I'm confident when you read this, you'll change your mind."
What are some GOOD things to say in your query letter?"I enjoy reading your blog and I particularly resonated with what you said about _______."
"In reading your website, I saw that you've worked with two of my favorite authors, ____ and ____."
If you're having trouble being creative, just go with the basics: "I am seeking representation for my ..." It's simple, clear, and to the point. It allows you to introduce your book and get right into it.
Q4U: What is the hardest thing about writing a query letter?© 2011 Rachelle Gardner, Literary Agent
It's time once again for me to learn more about you. To the right in the sidebar, there are FOUR polls. Please vote once in each.
Then in the comments, tell us either:
--Something interesting about your current work in progress (WIP); or
--Something interesting about yourself.
I look forward to getting to know you! Thanks and have a great weekend...
© 2011 Rachelle Gardner, Literary Agent
Guest Blogger: Mary Demuth
In the February 2011 issue of Fortune magazine, there’s an article entitled "Conan 2.0: How a late-night Luddite accidentally fought his way back into bedrooms (and computers, smartphones, and tablets) across America." The picture below is featured in the article.
The article chronicles the rise/fall/resurrection of Conan O’Brien, carried on the wings of tweets. O’Brien was a reluctant Twitterer until a friend convinced him to try. This was after NBC moved The Tonight Show from 11:35 to 12:05, prompting his departure, and the subsequent frustration voiced by many of O’Brien’s followers on the Twittersphere and Facebook.
On February 24, 2010, O’Brien and his team opened
a Twitter account. His first tweet: “Today I interviewed a squirrel in my backyard and then threw to commercial. Somebody help me.” At that time, O’Brien set a single-day record for Twitter followers. The article chronicles O’Brien’s social interaction, how he’s mobilized his demographic, and how social media has fueled his latest projects and successes.
Why is this important?
Because we’re moving away from an old model of promotion to a brand spanking new one. From TV celebrities as we knew them to TV hosts who highly interact with their fans. There are huge implications for authors.
7 Author Takeaways From the Article:1. If Conan O’Brien, a self-proclaimed Luddite in the digital realm, can open a twitter account, so can you.
2. Old ways of promotion are waning. Interacting with readers with great content, them-focused tweets, and a slice of humor goes a long way.
3. You’ll never know how your tweets (or blogs or facebook statuses) will affect your career. Recently, I received an email from a publishing executive who follows me on Twitter. This opened the door for some very exciting possibilities. He’s been following me a long time.
4. Your words matter, even in little snippets. Make them interesting. View them as part of your writing habit. See them as furthering your career.
5. This kind of publicity is FREE. For cash-strapped authors, it’s worth our time investment to garnering facebook fans, twitter followers, blog readers, and ezine subscribers.
6. Being yourself in social media is extremely important. Conan is himself. I am myself. Don’t try to be Conan or me. Be you. Folks want authentic interaction.
7. Don’t despise a setback. Conan’s leaving The Tonight Show actually turned into an epiphany, then a renewed career. See roadblocks as redirections.
Q4U: What do you think? Is social media important for the author?
(Maybe Not)
Continuing on the theme of how publishing is evolving, you probably know that many people are comparing our current situation to the music industry’s revolutionary changes over the last dozen years. If we’re smart, the wisdom goes, we’ll carefully study how things have gone in that medium and see what we can learn from it. I’ve read many, many articles that astutely point to things that have worked and things that didn’t for the big record labels; analysis of mistakes that were made; and how that industry has adapted to changing technology which has in turn changed consumers’ buying patterns.
There is much that can be learned and applied to the book business, but I’ve been concerned lately that some people seem to be taking the analogy too far. There are too many ways that books are
not like music, and if we slavishly try to incorporate the lessons the music biz has learned, we are going to end up in big, big trouble. Many of the strategies that are now working in music won’t work in books—we need to creatively think up our own solutions!
Here are a few of my thoughts:
The music business has always been driven by live events.For thousands of years before recording even existed, music was performed and enjoyed live. It makes sense that many of the answers for the music industry lie in the better exploitation of live music; not so in books. The book business has never been driven by live events, and I doubt it ever could be.
Listening to music has always been equal parts social and personal. Whether we’re listening on the radio, on recordings, or at a live event, we have always enjoyed sharing music with
others equally as much as we’ve enjoyed it
by ourselves. By contrast, reading has always been primarily a personal activity, something we do on our own—discussion groups and author events notwithstanding. It has never been
primarily a social activity.
Revenue in the contemporary music biz has been driven by live shows more than by record sales. The music business has primarily been able to rally through smarter exploitation of live shows and merchandising. It has been suggested that similarly in publishing, we need to create better festivals and live events that can add value to books, as a way of saving our industry. I disagree with this. Revenue in the book business never has been, and never will be, driven by live events.
The majority of book buyers will not be attending book festivals and events—they already don’t. If they do, it’s once every few years and they spend very little money there. Think about how much money fans are willing drop at a concert of their favorite rock band. A couple might spend two hundred dollars on tickets, another hundred on parking and food, possibly another hundred or so on merchandise. Four hundred dollars per couple would be normal. Can you imagine the masses spending that much money—or even 1/4th of that ($100) on an author event? In an environment where more and more people are loathe to pay $15 for a book by their favorite author?
There is a crucial difference between music events and book events. The pleasure of
listening to music is an integral part of a music event. By contrast, a book event doesn’t include the experience a reader most craves, which is sitting dow
In the midst of all the talk about the changes in publishing, the question often arises: What will the role of agents be in the future of publishing?
I’ve received emails and blog comments from those who assume agents must be running scared because we’re going to be out of jobs soon. I’ve heard from others who insist I need to be changing my business right now and beginning to do things differently to reflect the changing landscape.
But everyone I know who is a full-time dedicated agent with a full client roster is optimistic about the future. We’re well aware of the ways publishing is changing, and we’re confident we’ll be a part of that. Most of us have years of experience in publishing and have held other publishing positions prior to being agents—many have been editors, published authors, or held positions in sales, marketing and other areas of publishing. Our years of expertise will be even more valuable in the new age of publishing.
Agents have always been here to help authors find readers (via publishers), and in the new age of publishing, we will probably continue doing that same thing, if perhaps in different ways.
Some agencies have already expanded so that they also function as consultants (almost like a contractor) for those pursuing self-publishing, arranging editing, design, digital formatting, printing if necessary, etc. Others are looking at beginning to function more as publishers themselves.
Unfortunately, most of the opportunities available to agents for expanding to keep up with changing times also bring potential conflict of interest or the perception that they could easily take advantage of authors. (
This article from the U.K. addresses that.) So we are going to have to tread carefully as we look to shift our business practices.
However, the most important things I wanted to say today are:
1. Every agent I know is carefully making note of how publishing is changing and thinking creatively about how our roles might look in the future. We’re thinking proactively about how our unique skills could be put to use in the emerging world of publishing, and many of us are making plans toward that end.
2. Even more importantly, most of us are not making this shift
yet because… we are still selling books! Things are going well for most full-time agents right now, especially as we come out of the recession. So there’s no need to jump ship when the ship doesn’t appear to be sinking yet.
Agents and traditional publishing are still going to be around for a while!
Q4U: Do you have any ideas about the role of agents in this brave new world of publishing?
© 2011 Rachelle Gardner, Literary Agent
I thought the response to Friday’s post was phenomenal and I loved reading everyone’s reasons for pursuing traditional publishing. These days, many writers feel bombarded from all sides by people screaming “Self-publishing is the way to go!” so I wanted to give everyone a chance to speak their minds, and your comments were full of wisdom and heart.
While many of you had your own unique reasons for pursuing traditional publishing, it seems the most common reasons are:
1. Wanting to work with a team of professionals (editors, designers, etc.) rather than be on your own.
2. Wanting to avoid up front financial investment.
3. Wanting marketing help.
4. Wanting to see your book in bookstores.
5. Wanting validation for your writing and a feeling of legitimacy.
These are all great reasons and we’ll be talking more about them in future posts. Today I want to mention a couple of things.
Self-pub doesn’t necessarily mean just e-books. Numerous commenters on Friday mentioned they wanted to see their books in print rather than just electronic. But keep in mind that “self-publishing” covers a variety of different paths to publication and includes the ability to have
printed books. The e-book revolution is relatively new, but self-publishing printed books has been around for centuries.
It’s perfectly natural to want validation for your work. We all want our words to be read, and we want some kind of proof that what we wrote isn’t dreck. We know it’s subjective, but still, we crave the affirmation. Musicians want people to connect with their music. Painters want their work appreciated and enjoyed—and purchased. Those of us who write blogs want validation through our hit counts and comments. And most people who write books want that stamp of legitimacy that a traditional publisher brings.
I hope you don’t feel apologetic for admitting you want the validation. I think most writers, past and present, want this. Great writers like Hemingway and Steinbeck seem to have craved it. Most present-day successful authors admit to it. If you care deeply about your craft, your words, the message you’re sharing with the world, how can you not care about the world’s validation?
The method of getting validation is probably going to change over the next few years. For some, it won’t come through a traditional publishing deal but perhaps through more direct means—people buying your books and responding to them. For now it’s still reasonable to hope for a traditional publishing experience, but I also think it’s helpful and important to recognize your need for validation and begin to explore your assumptions about how to attain it.
Q4U: Given that most of you gave strong arguments for pursuing traditional publishing, what would have to change in order for you to feel like you could be happy with some kind of self-publishing arrangement?
© 2011 Rachelle Gardner, Literary Agent
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I actually do have a question, Rachelle. What are the advantages and disadvantages of going with “digital imprints?” I noticed that Harlequin has one – Carina Press. And there’s Avon’s Flame? Flare? Well, something like that. I read somewhere that Amazon will have a digital imprint just for romance novels. Another large publishing house – one of the “Big Six” -- is rolling one out at the end of summer. Do authors need an agent to submit to these? Do they offer editing servings to polish up accepted novels prior to publishing? Egad … what are these exactly?
I'd like to know what happens if you rep a client, but don't think a new book they show you is something you can sell. Do you still try, or do you leave it to the writer to figure out?
And I'd like to know that, in the event that you sell a book, do you generally offer a new work by the same author to the same editor, or does is go back on the submission rounds as fair game for all?
If a writer wants to have illustrations with his book but can't draw themselves how do unpublished authors handle this? Are we able to use an artist we choose or are we required to use the publishers choice. Heck, would we even be able to have that option? I am not talking fully illustrated but more like a few illustrations here and there. How would one handle this issue when submitting queries?
Oooo, ooo, ooo, I have a question. :-)
My manyscript is cross fiction, and I find similar items sometimes listed as epic fantasy, others sci fi, or paranormal. There is also light romance.
I see that there is a section called speculative fiction... Is it better when sending a query to call it a speculative fiction? Or should I list each genre individually? :-)
Any advice for writers writing a trilogy or series?
I am nervous about pinning myself down in the first book on things I might wish I could change in the second or third (assuming they're published).
How have your authors handled this kind if situation? Do they write all three books before publication of the first?
This is a follow-up to yesterday's post about multi-book deals.
Re: Series books -
Do you have to have book proposals (I've heard first 3 chapters, and synopsis) on all the other books in a series before the publisher will offer a multi book contract?
Or do they take it on faith that you will write them?
And who sets the timeline for those other books to be written, or can you negotiate that in the contract?
Thank you. Love your blog.
CBA publishers say they're looking for fresh, original stories. Yet in reality, they don't seem to be looking for anything too original or too fresh, because they're afraid it won't sell. They want stories similar to what they already have and mainly US settings that run from 1775 to present.
How do you balance between finding a fresh story without risking a setting that a publisher refuses to take? (Twelfth century Germany, the French Revolution, and fifth century Scotland, etc)
I would like to know if a publisher gives a standard percentage on e-books, if it's okay to ask in the contract for that rate to be higher. I've seen other publishers offer a higher royalty rate than this one, so that's why I'm wondering if it's okay? (I don't have a contract either, lol, just curious).
Thanks!
And sorry if I've used the terms in the wrong way. Hopefully I make sense...
Rachelle,
I'm curious about the weight of certain publication credits in a query letter. As we all know, it is very difficult to get published in a top literary journal such as Agni or VQR. Some people advise starting smaller, especially with online journals.
My question is do those journals carry any weight, or do they telegraph that you have actually tried to get your short fiction published, but could only do so in a lesser-tiered journal?
I guess what I'm asking is how to you view lesser lit mag credentials? Better to include or not?
Thanks!
I have written as a hobby now for a few years. It's something I really enjoy, but I'm not sure I'm good enough to turn it into a career, even a part-time one. I've been following this blog and a couple others, and I know how much time and effort it will take to complete a manuscript and go through the query process. What advice do you have for someone who is considering moving from hobby to career?
My main question is should a UK writer try UK agents before querying those in the US?
I am interested to know what the average amount of time between books is for a published author? In otherwards, aside from already having a few under their belt hopefully when they start, what is the typical expectation for a writer/author to pound out a book for publication?
A great post as it harkens to many of the issues that plague our society...that being the acceptance of accountability. If I ask an agent, and follow that advice, than "it's not really my fault" and I lay blame somewhere else, instead of bucking up and keeping my power to choose in my possession. We cringe at the thought of being wrong, or making a mistake. But so what? Knowing what doesn't work is half the battle to discovering what does work.
As for a question, I've got so many to ask, how about I send the list to you and let you pick one?
Thanks.
Do you think publishing articles in a local paper is a good way to build your platform, even if you write fiction stories?
Jody Hedlund had a post about Showing vs Telling on her blog today.
I know you've posted on this before. I would like to see a fresh post on that from an agent's point of view.
I just want to make sure that I've found that happy voice between "too wordy" and "sterile."
The facebook question quiz application was too short for me to ask! :)
My question is, when looking at agents' client lists that accept my genre, I'll either see an abundance of authors writing similar things or just a smattering. My question is, those agents that have an abundance of authors like me will they find that they are pitting their authors against each other to get in a slot with their contacts? Like publishing houses might reject a project because they contracted something similar, might an agent reject an author because that author would be directly competing with a current client?