Links
Agents have taken time out of their busy schedules to answer question I have posted to them. I want to acknowledge my appreciation to them and hope that their answers will he writers get a better understand of the steps to become published. These questions are important questions about getting published and the business of writing. ,as well as questions posted to me by members of this group. If there is a question you might have, please Email Me.
Stephan Everett
SE LITERARY PROPERTIES
PO Box 25
Portland, CT 06480
http://members.aol.com/seliterary/
stefeveret@aol.com
1) As an agent, what would you tell prospective authors about submitting work? What are agents looking for in a writer?
Be sure to approach an agent who might handle what you've written. Know the market for your book--it can be very helpful if the writer can provide the
titles, authors and publishers of similar books. And be ready and willing to
correct typos and make revisions as necessary. I've only received one
manuscript that was virtually perfect and ready for press. Be prepared for
rejections but don't give up hope. Based on their sheer volume alone, my
agency can only hope to represent a small percentage of the queries that come
in. Keep plugging away.
2) How can an author find out what genres are popular on the market?
There are numerous good sources. The New York Times Book Review, Amazon.com and Barnes & Noble Online, Publishers Weekly (there's a link to it on my web page), and the USA Today's top 150, to name a few. Publisher's Weekly is an especially good source for tracking trends.
3) What should writers look out for when it comes to submitting to agents?
First of all, the writer can save him or herself wasted time by submitting
only to agents that handle the type of material the author has written.
Taking a history of beer brewing to an agent who specializes in romance
novels is going to result in a rejection, if any response at all. Be
professional, and write a good query. A poorly written or very well written
letter is a pretty good litmus of the quality of the manuscript.
4) Why should a writer get an agent in the first place?
There are several good reasons for this. It's easier to have someone else
blow your horn than to do it yourself. And agents have contacts. There are
many editors I can call up, and if I ask them to read something they will.
Agents also have experience on what should be negotiated in a contract, and
in many cases the fifteen percent you give up can pay for itself in spades.
And, not having to spend time making contacts and preparing submissions, the
writer can devote that time to the next book.
5) What sort of questions should writers ask agents before they sign a
contract?
The writer should ask any question that they like. Don't be intimidated. A
good, honest and sincerely interested agent will answer all questions in a
friendly and forthright manner, while a shyster will more than likely be
evasive and aloof. I know one agent in particular--who's been around for
years--who becomes indignant and rude at the slightest question. And I've
never heard of anyone who's had success working with him.
6) Please describe, in your own words, the agent/writer relationship?
It differs from client to client. Sometimes it's very formal and
businesslike, and sometimes friendships arise. One of my clients lives just
a couple of miles from me, and we played golf together a few weeks ago. I've
had to do varying degrees of editing and help with revision on manuscripts,
and this is only possible if the author is willing to do the work. I've also
asked clients to research similar markets for me. The ideal relationship is
the more informal and friendly one.
7) Once a book is accepted for publication by a publisher, is the
relationship with the agent and writer over?
Again, this varies as described in the answer to the previous question. If
the writer keeps producing books and retains the same agent, the relationship
goes on. And as long as the book remains in print, the agent maintains the
responsibility of disbursing the royalties to the client.
8) What tips could you give writers just starting out?
Read and write as much as possible. Artistic maturation is a lifelong
process. Persevere, be patient, and don't quit your day job yet.9. When a writer gets a contract with an agent, what is their responsibility as far as promoting their book for publication? Does the agent do all the work, or does the writer have to participate?
It varies based on the situation. It only benefits the writer to help as much as possible. The best way a writer can assist is to research similar books to their own. I've asked writers to do this a number of times, and then gone on to contact the publishers of those books. Because there are so many millions of books and thousands of publishers, an agent can't possibly know them all, and it can be very beneficial to the writer to approach literary agents armed with this information.
10. What do you consider a perfect client/writer?
In most cases, I've gone on to develop friendships with my clients. What they all have in common is that they were very professional in approaching me, respectful of my knowledge of the business and my editorial suggestions, and were all willing to make necessary changes and to assist me in any way possible.
11. Do you feel that a writer should get published in other mediums in order to be taken more serious as an author?
It's not always necessary--everyone starts somewhere--but it sure can't hurt!
12. What advice would you give a writer on how to avoid bad agents?
There are several things that should send up a red flag. Foremost is asking for undue amounts of money (often called 'reading fees'), or recommending a 'book doctor' or editorial service. Very often the writer will take the manuscript to the book doctor on the agent's advice, and will be charged two or three thousand dollars for a simple copy edit and a couple of suggestions. The agent will split the money with the 'doctor' and then refuse to offer representation. Anything that varies from the AAR (Association of Authors' Representatives) Canon of Ethics should raise suspicion. I do charge for photocopies, phone, mailers and postage, but the most I've ever asked anyone to get started is fifty dollars. This figure would be significantly higher if I had to make photocopies (all my clients have always provided me with those.) The AAR Canon of Ethics authorizes charging up to $150. Another agent to be wary of is one who is aloof and refuses to answer questions. I recently signed a new client who sent me a list of about ten questions. I happily answered them all thoroughly and invited her to send more if she wanted. If an agent really cared about the work, the agent would gladly take the time to answer any and all questions.
13. How many clients does one agent usually manage?
That varies on the size of the agency. I work by myself right now, and so must be careful not to bite off more than I can chew. Some agencies have large staffs and manage several hundred authors.
14. What does a writer do to make you want to see more of their work out of the hundred of submissions that you receive?
The first thing that raises my eyebrows is if the book is in line with my own personal tastes, which are pretty varied. The next thing that intrigues me is a well-written query about an interesting subject that is viable in the marketplace for one reason or another. Basically, I like all kinds of really good books.
15. What more importantly, is a good query letter or synopsis, and why?
There is no specific right or wrong way, though all good queries are succinctly written and free of typos and misspellings. They fit on one or two typed pages and engage my interest in the story while providing some or all of the following details: why the book is commercially viable, specific suggestions for appropriate publishers I might approach, some biographical notes about the author, and his or her qualifications for undertaking the project, and other publishing credits.
16. Can an agent truly gauge the depth of a book by only reading the first three chapters, especially when, in most books, the action doesn't begin until chapter four and up?
Absolutely. I can sometimes tell just by the poor quality of the query. A great book is great from page one. If I dared to ask an acquisitions editor to "bear with the book until page 94, that's where it really takes off," I would be laughed right out of business. If that's where it really takes off, maybe that's where it should start. Since I am beholden to this rule by publishers, so are prospective clients necessarily beholden to it when approaching me.
17. In your own words, what advice would you give a prospective writer?
Read and write as much as possible. A writer must continually hone and develop the craft. There is an old music cliché that seems appropriate. When a musician goes a day without practicing, the musician notices. When he goes two days without practicing, the rest of the orchestra notices. And when he goes three days without practicing, the audience notices. Also, don't get discouraged. I've had to decline offering to represent several promising and/or well-written books for a variety of reasons. Very often it is a matter of reaching the right agent or editor with your manuscript, and when it doesn't happen by luck, it does by persistence.
18. What kinds of questions do you expect writers to ask you before they sign a contract with you?
I invite prospective clients to ask me any question that's on their mind, however seemingly insignificant. But please don't deluge me with questions in your initial query, only after I've offered representation.
Final Note:
There are many agencies who make their money off of 'editorial services'
and 'reading fees.' They come across as very polite and interested, but
their ultimate end is to squeeze the writer for a check. They should be avoided, because for the most part, they do nothing.
Donna McLean Nixon
McLean Literary Associates
www.mcleanlit.com
mcleanlit@thurston.com
FAX: 360-264-5159
PHONE: 360-264-5129
1.
I understand that agents won't even view your fiction work until it is completed, so don't even think about sending a query letter until the opus Magnus is completed. What if I have six to ten chapters written, enough to show that I can sustain a decent plot over time, develop characters, and have an excellent story. Do I have to complete the whole thing before I send out my query?Yes. Don't send something out unless it is complete. I have had queries indicating that if I think it is worthwhile they will finish it...if the writer doesn't know if it is good, why would I? The piece has to have a finish, character, plot, loose ends, finished up...yes finish it.
2. Does putting a story into a net critique group make it less publishable? In the future?
I have found that a writers' group is far more forgiving than a person evaluating from a different perspective.
3. Is there a publication that lists the types of works that different agents specialize in? The genre they have helped work with their authors in, i.e.. science fiction agents versus Christian inspirational versus humor?
Not of which this agency is aware. There may be specialists...but an agent has so many contacts that it really depends on the material.
4. Why are non-fiction books accepted before they are finished, while fiction books are not?
Because there is no conclusion...no climax. Non fiction is very well selling. It can be condensed and the essence of the work presented very well in an abbreviated version of the work.
5. Would a narrative non-fiction fit more into a fiction or non-fiction category as far as acceptance before completion?
This is tough. I have a project I am currently working on that straddles this very issue. An historical event that needs to be massaged if you will into a story that will appeal. I would answer that it should be marketed as fiction for a new writer...this is an opinion that would change based on my reading the material.
6. As a fee charging agency, what do you have over non fee charging agencies?
We provide a monthly statement showing to whom we submitted the material...many of our clients who came to us from 'the other side' told us they never knew where their manuscripts went. I cannot say what we provide what the others don't, but I can say we show them every month where their dollars go...many clients who have come to us from non-fee agents say they never got a thing. In fact, I had one client who told me that their agent told him that 'I only meet with editors...they are the ones who pay me..' My response is that if you don't meet with your clients you don't have editors to market!!
7. Why are fee charging agencies frowned upon in the industry?
Because there are so many scams found. As I mentioned in my initial response, there are dishonest people. I am hoping that the Writer's Digest article (upcoming I don't know when) will at least put the matter on the table. We provide a service for the fee we charge. We don't pull punches. My associate and I have given a very hard evaluation to many potential clients and they have come to us saying that no one has ever given them such a hard, real and helpful critique. Many of these we have sold.
On a Personal Note:
I thought I might add some thoughts for your group. Recently Writer's Digest did an article by John Frank about agents who charge vs agents who don't. They quoted an individual who warned writers against any agent who charged a fee outside of the 15% standard commission and inferred these agents were "scam agents". As a fee agency, in business for 15 years, I took exception and contacted the magazine. Mr. Frank did a follow up article and interviewed me on the one side and was going to interview a like number on the other. It is an issue that will never be resolved entirely. There are those close to the line on both sides that understand the other and the rest are adamant. In any industry there are crooks. I would advise writers to talk with an agent, ask questions and understand how the business works. Is the agent professional or does he have a mimeographed flyer as his brochure...does he have a brochure...will he provide a recent sales list...a list of clients is iffy for me and I don't offer it at the outset. I don't believe my clients should be a potential contact for anyone to complain or use as leverage - compare notes and the like. But if the writer is genuinely interested I would. We charge an evaluation fee which is not a reading fee; we return a written analysis, suggestions for improvement and specific areas that need work. Many writers are skilled enough to handle that kind of edit. Some cannot and we do have outside editors who can provide that service if they wish or we can refer them to others...NOT Edit, Ink.
2. Writers need to provide the most professional, clear, clean query they can. ALWAYS include SASE. Don't be cute. Your letter says a great deal about what I can expect to see. Don't address it to "Dear Friend". Like publishers, knowing to whom you are writing shows some effort; I would never send a submission to Acquisition Editor. Of course over the years we have developed a network of contacts.