A Question of Love

Question from the comments: "Many literary agents say that they have to "fall in love" with the book in order to represent it. I don't get it. I view literary agents as professionals, with the main goal to find books that they feel editors/publishers will buy ... whether they like the book or not. Lawyers defend clients that they believe to be guilty, but also feel that they can set them free. Maybe it's my business education/background/attitude ... if a literary agent finds a book that she is "not in love with" but knows that editors/publishers will buy it ... why not take the book"

Let me start by saying: Both my parents were lawyers, and I love lawyers. But a literary agent is not the same as a lawyer.

A defense attorney might know their client to be guilty, but they defend them because everyone in this country -- EVERYONE -- has the right to a fair trial. Even straight-up, no-doubt-about-it, self-admitting guilty people get to have an attorney defend their rights in court. A public defender doesn't get to pick and choose their clients, they are assigned... so obviously, unlike an agent.

A somewhat more accurate comparison might be a privately-hired defense attorney, who, if they were in the position to pick-and-choose, would (I imagine) pick the richest clients with the most interesting cases. Except for the fact that agents DO NOT GET PAID by their clients until/unless they sell a book.

So it is more like having a privately-hired defense attorney who is willing to work pro bono. Why would they work pro bono? Well, it would probably have to be for a cause or a client they REALLY BELIEVED IN and wanted to support. Because it is a hell of a lot of work and time, with no guarantee of a reward.

Some agents might very well take on work that they don't care for, or work with clients they personally despise, if they knew for a fact the book would sell. That wouldn't work for me, but hey. To each his own. Even if a client comes to me with an offer already in hand, I still have to like the book and believe the author can do more, because I am hoping to work with them for their whole career, not just one deal.

Personally, for me, I have to spend a lot of time reading these books, and a lot of time talking about, and to, and for, my clients... for free. A LOT. OF TIME. FOR FREE.  I have limited time available, so I have to devote the time I have to things I believe in. I have to love the work, or I can't be passionate about reading it over, and over, and over, and over again. I simply have to like talking to the author, or it will be a misery for us both. (After all, I have worked with some of my clients for YEARS at this point, and talk to them more often than I talk to my own family!)  My enthusiasm for my client's work is not fake, it's genuine - and the editors I work with know my taste. If I tried to fake it, I pretty much guarantee it wouldn't work.

That said - I have to not only love the book, but also THINK IT CAN SELL. Just thinking it's good isn't enough. If I loved the work or adored the author but had a strong feeling that I could NOT sell it for whatever reason... I'd also have to pass.

But that's just my .02 - any other agents feel differently?

Tweet

The Great Big TOUR POST

There are certain things that happen to some writers that other writers may look upon with envy. Being "sent on tour" for example, is not something that happens to every writer, and if you've never been sent on tour, you might be tempted to believe that it is all Ritz Suites and Stretch Limosines. (Hint: Ritz Crackers and Some Stranger's Buick le Sabre are a bit closer to the mark.)

While it is awesome to get to (hopefully) connect with readers and booksellers in far-flung towns, tours can also be really physically and mentally grueling. They can mean weeks of disrupted routine, rarely if ever seeing spouse or kids or pets, sleeping in a weirdly different bed every night, abrupt time-zone changes, strange itineraries that involve going through Chicago to get from Portland to Seattle, daily plane trips (with all the attendant drama there, we all know how efficient and fun plane travel has gotten!)... add to that the pressure of being, you know, put together, not a wreck, friendly and "ON" when you get wherever you are going (because nobody likes the complainy grump with bags under her eyes snapping at Iowa schoolchildren...) Yeah. I don't know. I personally wouldn't sign up for it, I value my sleep time and cozy bed too much.

ALL THAT SAID - sometimes genius writers have to crawl out from their genius-writer-holes, strap on their outgoing smile, and go where their publisher tells them.  One of my authors is headed out next month for almost two straight months of travel and appearances, and she had a slew of questions for me -- and I was hoping maybe some of my author-friends who have been in her shoes can advise?

This post can then serve as the go-to whenever one of my authors asks such questions in the future.

* I told her she should get bookmarks or buttons or similar to bring with and give to fans when they get their books signed.

* And a little book with which to put down the names of all the stores she visits and who the events coordinator was so that she can send thank you notes, and she can have an area in there where people can sign up for her mailing list if they want to, or give her their twitter-handle, so she can tweet them, etc etc.

* And her laptop of course, plus any special cords she might need if she will be doing powerpoint presentations at schools or anything.

Any other must-brings?  What about clothes?  Do you check baggage, or no?  How do you pack for two weeks solid with no home-time? Tips/Tricks?  (This is Sept/Oct, US/UK, school visits + book fairs + bookstores + possibly a couple of posh dinner type things.)

GIVE ME YOUR WISDOM!

thankyou.

Tweet

Editorial Agent, or what?

I read this blog post from Authoress Anon with interest yesterday... particularly the comments section. It seems that everyone wants an "editorial agent" who is really hands-on. And most agents I know describe themselves as "editorial agents."

It made me think about myself -  am I an "editorial agent"?  I don't think I am. I am not an editor, I am a SELLER. I want editors to edit. But I do give advice, when needed. I certainly comment on most everything my clients give me, and suggest tweaks, etc. That is editorial...

Hm.  SO WHAT AM I?

The only analogy I can come up with is a real estate analogy.

If your manuscript is a house you are trying to sell, I am the agent, and editors are prospective buyers.

I will certainly give you advice on things to clean up to help me show it to its best advantage (repaint that garage door! bake some cookies!) I will "stage" the house. I will create an awesome listing that helps turn potential negatives into positives.

Cramped? No, "Cozy."

Sinkhole? Try "Seasonal pond."

No closets?  "Classic style."

Needs work?  "Great potential."

Falling apart? "Handyman's dream!"

I will take potential buyers on a tour and make them see what their lives could be like here. Sure it'll take a bit of elbow grease, but the attention they pay and the touches they give it are what will make a house a home. Won't they be the envy of the neighborhood when they show off this beauty?  Don't they love it? Now let's negotiate.

Yay!

However... I am not an architect. I am not a general contractor. I am not even a handyman. I didn't build the house, and I can't just go in and fix the house myself.

I can point out the problems that might keep you from selling it, but the house has to have good bones to begin with, and you have to do the hard work. It is YOUR house.

This analogy falls apart once the book is sold, because of course, it is STILL your book and you have to do the hard work. But at this point, you'll have not just one, but a group of experts to help you get it to that next level. Which, in this now completely broken analogy, would presumably be a spread in Better Homes and Gardens.

OK, OK, I'll shut up now. Anyway... I'll pose the same question to readers of this blog. What do you think? What kind of agent are YOU looking for? (Or if you are agented, what kind of agent do you have?)

Tweet

Agents 101

Hey all -

Time for you to give me some advice.

Next week, I am doing a talk at an SCBWI event in Syracuse. It is to be on the topic AGENTS 101 - as in, questions and issues that an absolute newbie would bring up, along with some stuff for people who have been around.  It will be a mixed crowd, probably mostly unagented.  (But I am actually guessing about that a bit.)

I've given similar talks before and felt that maybe I was going over people's heads a bit, so this time I want to have an outline of topics and thoughts at hand that I can choose from, so that I can make it a bit more interactive and don't either bore or bewilder the majority.  (Possible anyway, but.)  In other words, I can say, "OK, who here knows what an agent does." - and if only two people out of a hundred raise their hands, that would be the place to start.

So I'd like you to give me ideas of topics to cover. What would you have liked somebody to explain to YOU when you were a newbie?  What have you always wanted to know, but were afraid to ask?  No question or topic idea is too silly -- and even if you are repeating other people, that is OK, I am interested to see how much certain things come up.

Thanks in advance!

Tweet