Pub Rants

A Very Nice Literary Agent Indulges in Polite Rants About Queries, Writers, and the Publishing Industry

Category: agents

2016 End of Year Stats!

 

Wowza, did last year fly by! I was just getting used to writing 2016 on documents, and now I have to switch to 2017. In any case, it’s time for our end-of-year stats:

2 new agents at NLA (Joanna MacKenzie and Danielle Burby come on board!)

39 career New York Times bestsellers (up from 37 in 2015. So close to being able to say “more than 40.”)

59 books released in 2016 (25 print releases, 9 reprints, and 21 digital releases)

new clients (lots of exciting news to share soon)

30,000+ queries read and responded to (estimated)

92 full manuscripts requested and read (up from 87 last year)

project currently on submission (just happened!)

86 foreign-rights deals done (down from 99 last year, mainly because I only took on one client in 2014): 17 in Asia, 3 in Brazil, 10 in Mexico/Latin America, and 56 in Europe

TV and major motion picture deals (one not announced and yet and the other, sadly, was cancelled half way through the negotiation, much to our dismay)

50 print runs for my longest-selling title, Jamie Ford’s HOTEL ON THE CORNER OF BITTER AND SWEET—which originally published in 2009. Up from 46 just last year. The Energizer Bunny of novels with millions sold!

conferences attended (which includes Y’ALL West, RWA, Frankfurt Book Fair, and Honolulu Writers Conference)

Millions of units sold of bestselling series, which had a 10th-anniversary edition in 2016—yay Gallagher Girls!

Millions of units sold of bestselling individual title. WOOL just keeps finding new readers.

Millions of units sold of two bestselling series—yay Marie Lu!

140 physical holiday cards sent

713 electronic holiday cards sent (up from 539 in 2015)

Not telling it’s so embarrassing eggnog chai lattes consumed during November and December (I actually tracked them this year, and that just made me less likely to share the actual number.)

Lots of late nights reading on my living-room chaise with Chutney (that old dame just keeps getting more snuggly with every year)

All great days loving my job!

Welcome to the new New Year!

Photo Credit: Richard Grandmorin


NLA Welcomes Danielle Burby

 

As announced on Publishers Weekly, NLA is pleased to welcome two new agents: Joanna MacKenzie and Danielle Burby.

I was always the class bookworm, but, for some reason, I spent most of high school convinced that my future was in Broadway. In fact, I felt really bad for the English teacher who told me she thought I was destined for a career in books because she was so very wrong. Turns out she knew me better than I thought! Of course, looking back, the fact that I never left the house without a minimum of two books (the book in progress and at least one backup) should probably have tipped me off.

I double majored in creative writing and women’s studies at Hamilton College (both “impractical majors” that have been incredibly practical for me) and figured out that creative writing classes do a really great job of honing your editing and critiquing skills. After internships at several top literary agencies and publishers, I spent four years at New York based literary agency and began building a client list before moving to NLA in January 2017.

I primarily represent YA and MG along with very select mystery and women’s fiction. I look for a strong narrative voice and a cast of characters I want to spend time with (which doesn’t necessarily mean they need to be likeable!). Something all of my clients have in common is the ability to sweep me up in their writing and make me grateful for a chance to spend time in their worlds. When I finish a novel and immediately want to thank the person who wrote it, I know I will have the enthusiasm to fight tooth and nail for that author.

Click here to check out my Manuscript Wish List.


NLA Welcomes Joanna MacKenzie

 

As announced on Publishers Weekly, NLA is pleased to welcome two new agents: Joanna MacKenzie and Danielle Burby.

I owe my love of books to the librarian of my childhood bookmobile, who, after I had worked my way through The Baby-Sitters Club and Sweet Valley High, lifted the velvet rope and let me in to the grown-up section, where I discovered V.C. Andrews. And to my father, who gifted me Cat’s CradleWuthering Heights, and One Hundred Years of Solitude for my 15th birthday.  In 2002, I got my start in publishing at a Chicago-based literary agency. While there, I successfully placed numerous manuscripts that have gone on to become critically acclaimed, award-winning, and bestselling novels. I love working with authors who embrace the full publishing process (read: love revisions) and am committed to the stories my clients want to tell both with the words they put on paper, as well as with the careers the build.

I am excited to join the Nelson Literary Agency team, and to expand my list in both adult and YA. I’m looking for the epic read that, at it’s center, beats with a universal heart. In particular, I’m drawn to smart and timely women’s fiction, as well as absorbing, character-driven mysteries and thrillers—both, ideally, with a little edge. I have a weird obsession with, what I call, “child-in-jeopardy lit” and can’t get enough kick-ass mom heroines. On the YA side, I’m interested in coming-of-age stories that possess a confident voice and characters I can’t stop thinking about. Originally from Poland, and by way of Canada, I’m all about narratives that deal with the themes of identity and the immigrant experience as well as those that delve into all aspects of the relationships that make us who we are—parents, siblings, best friends, and first love.

Click here to check out my Manuscript Wish List.


Former Egmont Authors: Check Your Royalty Statements

Publishing is a complex business with a lot of moving parts. Every contract is unique, and most errors we find on royalty statements are caused by data-entry mishaps that occur when contract terms are incorrectly keyed into publishers’ accounting systems.

In other words, human error is often the culprit.

So I’m going to give Lerner the benefit of the doubt and assume that such a scenario is currently at play here.

A recap of history for context: In January 2016, news hit the wires that Egmont USA children’s publisher was closing up shop due to its failure to find a buyer.

This created a lot of consternation, as more than 100 titles that were going to be published were now suddenly in limbo and contracts would most likely be canceled.

Good news was just around the corner, though, in the shape of Lerner, who bought out the titles and committed to honoring the contracts. Authors would live happily ever after!

Until their royalty statements arrived.

On the surface, everything looks normal. Royalty rates appear to be the same as they were under Egmont—except for one very crucial difference. Egmont contracts specified that author royalties would be calculated based on list price. But when the Lerner statements arrived, royalties are now being calculated based on net amounts received.

Not the same thing.

How do they differ? Let’s do some easy math: 10% of list price = approximately 20% of net amounts received. If this in play, the author will earn approximately the same amount of money, regardless of whether the calculation is done based on list price or based on net amounts received.

So not a big deal. The problem occurs if the number “10” stays the same, but how it was calculated changes.

Here’s why: 10% of net amounts receive is one-half (1/2) the royalty money earned in comparison to 10% of list price.

That’s a significant drop for the author.

It’s pretty easy to see how this might simply be a data-entry mistake. Either way, I feel compelled to alert writers might have been unagented when they signed contracts with Egmont and, thus, probably didn’t catch this accounting error—especially if they are unfamiliar with deciphering royalty statements.

It is also possible that a fair amount of literary agents have also missed it—especially if they haven’t yet audited the Lerner statements.

So former Egmont authors, check your contract, and then check your royalty statements. Make sure you’re getting paid everything you’re contractually owed!

Photo Credit: Ano Lobb


Why It’s Dangerous To Think That “Diverse Books” is the Latest Hot Trend

Just recently, PW published an article in which agents shared their thoughts on children’s books and YA trends. Although I’m quite tickled that so many agents are seeing lots of submissions featuring diverse characters, it’s dangerous to consider diversity the latest YA trend.

I’m sure I’m not the only agent who can say they’ve been repping diverse authors/books since day one. It certainly didn’t take a trend for me to sign those books and authors (for example, Kelly Parra’s awesome MTV Book Graffiti Girl in 2007, Kim Reid’s memoir No Place Safe in 2007, and Simone Elkeles’s Perfect Chemistry in 2008). But I can say this: unequivocally, before #WeNeedDiverseBooks became a rallying cry in April 2014, selling in a diverse author/book was tons harder to do. I have my submission logs to prove it. It often took me about 12 to 16 months of grim determination to find a diverse book a home.

If diversity is now hot enough to make the selling-in part a lot of easier, trust me, I’m all for it. Yay! Finally! But I absolutely do not want diversity to be considered a trend in young-adult literature, and here is why: If something is a trend, then it can go out of fashion just as quickly as it came in. And quite frankly, that would be a travesty.

The blunt truth is that selling a diverse book is a perfectly normal thing to do in publishing. So my rallying cry? Agents, new and old, even when diverse books become harder to sell, as they inevitably will (in publishing, trends of every kind have always come and gone), keep on keeping on.

Diversity is not a trend. It’s simply here to stay. This is the new normal.

Photo Credit: Ahmed Alkaisi


Why I Can’t Tweet My Manuscript Wish List

If you’re a writer on Twitter, you probably know that #MSWL is a popular hashtag. It’s how lots of agents and editors broadcast their submission wish lists.

I love it! But I can say with complete certainty that I’ll never post a #MSWL list. Why? Simply because I honestly don’t know what I’m looking for until I start reading it.

Case in point: When I read Stacey Lee’s UNDER A PAINTED SKY in manuscript form, never in a million years would I have posted to #MSWL that I was looking for a young-adult novel set in the American West, with two female protagonists—one Chinese, one African American—on the run and cross-dressing as boys to disguise themselves.

Yeah. I don’t think that would have come up.

But the minute I started reading, I knew I had to have that book. And thank goodness Putnam Children’s agreed with me.

So here’s the plain, honest truth: I have no idea what I’m looking for until the voice of a story grabs hold of me and doesn’t let go.

Just recently, I sold two science-fiction novels—DARE MIGHTY THINGS and THE BLACK HOLE OF BROKEN THINGS. Both, oddly, feature a competition at the heart of the story.

Ha! If you’d asked me whether competition stories were on my wish list, I probably would have said no. Popularity of The Hunger Games and all.

But once Emmett got a hold of me in THE BLACK HOLE OF BROKEN THINGS, I was 100% in. And in DARE MIGHTY THINGS, once Cassie Dhatri convinced me that competing for the opportunity to be an astronaut was cooler than competing for a prince and a kingdom, my inner geek girl squealed with delight. I was in.

So keep that in mind when you ask an agent, “What are you looking for?” If they have a ready answer, take it with a grain of salt. Rarely do we find exactly what we are looking for.

As the Rolling Stones would say, “You can’t always get what you want, but if you try sometimes, you might find you get what you need.”

Photo Credit: Hey Paul Studios


Writer Conference Pitch Pro Tips

It’s springtime! That means the Writer Conference season is upon us. And you know what that means, pitch appoints with agents and editors.

I do think yoga breathing exercises are essential to do pre-pitch so you might want to brush up with some practice before you go.

And just in case you’d like a few more tips to help you through, I put together my quick and dirty list:

1. For a 10-minute pitch appointment, plan to spend about 2 minutes talking about your book and 8 minutes interacting with the agent.

2. Nail your pitch in two succinct sentences. Three at most. If you can’t do that, you’ll be in trouble during your pitch.

3. Include one thing about yourself that will make you memorable (but in a good way, LOL). Maybe you have an interesting job that plays a factor in what you write. A funny conference story that is safe to share. A hobby passion that is interesting.

4.. Be prepared to talk about what inspired you. What made you excited to write this book?

5. Come intending to pitch only one book. If, however, the agent asks what else you’ve written or what you’re working on, be prepared to answer that question.

6. Know that this pitch appointment is not a make or break it moment. Not for you as a writer, not for your career, and not for your book; it all comes down to the quality of your writing.

The pitch is simply one stepping stone to getting you read. And if it doesn’t go well, plenty of opportunities to simply query agents the old-fashion way through email. Plenty of authors landed their agent doing just that.

Last but not least, smile and breathe. Most agents and editors are lovely people and they want you to succeed in the pitch appointment.

Scout’s honor!

Pic Credit: Dan Govan


#1 Reason We Requested Only 216 Sample Materials In 2015

At the beginning of 2015, I implemented new submissions guidelines. Instead of reading queries and then requesting sample pages, I now request that authors include the first ten pages of their manuscript along with their query letters.

What a difference! Instead of reading only 45 full manuscripts (like I did in 2014), I read 87 full manuscripts in 2015, plus 129 sample pages, and although many of these projects weren’t right for me, they did end up being right for another agent.

Now, having tried this new submissions process for a year, I can definitely identify some pros and cons.

PRO: I’m guessing writers probably love it. It gives them a chance to wow me with some opening pages, whereas before, if they didn’t perfectly nail the query letter, they might have been out of luck.

CON: Sometimes it takes me weeks longer to respond to queries than I would like. If I know I have to read some pages with it, I can’t just breeze in and get it done in 30 minutes. I need at least an hour to read the sample pages attached.

PRO: I’ve learned that some writers can nail the query letter, but their actual pages are not quite ready for an agent to read. And I can decipher this pretty quickly. This allows me to ask for full manuscripts of novels that are ready.

CON: It’s more pressure for the writer to really nail those opening pages.

PRO: The number of novels I read all the way to the end went up in 2015. It’s pretty rare for an agent to read an entire manuscript if they know early on that the project isn’t for them. I actually read many more novels to the conclusion before making a decision about offering representation.

CON: Man, I was a bit slow in getting back to some writers. I had several manuscripts for an embarrassingly long period of time.

INTERESTING TIDBIT: When I do ask for a full, I almost always make my decision on whether it’s right for me within the first 60 pages.


2015 End-Of-Year Stats!

It’s that magic time of year when I tally up the numbers and share Kristin’s Yearly Stats! Apologies for being so slow to get this posted.

37  :  total number of New York Times bestsellers (up from 33 total in 2014)

51  :  books released in 2015 (22 print releases, 9 reprints, and 21 digital releases)

3  :  new clients, two of whom sold at auction for six figures. One deal is public, the other is not yet announced. The third client is going on submission next month!

29,000+  :  estimated number of queries read and responded to

87  :  full manuscripts requested and read (up from 45 last year)

129  :  number of sample pages requested and read (down from 856 last year. See my January Newsletter column Think Like An Agent below to learn why we requested far fewer sample pages this year than we have in years past.)

2  :  number of projects currently on submission

71  :  foreign-rights deals done (down from 99 last year, mainly because I only took on one client in 2014), 14 in Asia, 3 in Brazil, 3 in Mexico/Latin America, and 51 in Europe

4  :  TV and major motion picture deals

46  :  number of print runs for my longest-selling title, which is Jamie Ford’s HOTEL ON THE CORNER OF BITTER AND SWEET—which originally published in 2009. Twelve for the hardcover version, 34 for the paperback—four of which occurred in 2015! Crazy for a title to still be getting reprints after six years.

8  :  conferences attended (which includes Bologna Book Fair, London, BEA, and Frankfurt Book Fair)

3 million+  :  copies in print/sold for my bestselling long-running series this year

2.5 million+  :  copies in print/sold for my bestselling individual title

3.5 million+  :  copies sold for my bestselling hybrid author

Millions and Millions  :  ebooks sold for four of my bestselling indie-publishing-only authors. I can’t even track anymore.

100  :  physical holiday cards sent

539  :  electronic holiday cards sent

Not telling it’s so embarrassing  :  number of eggnog chai lattes consumed during November and December

Lots  :  of late nights reading on my living-room chaise with Chutney

All  :  great days loving my job!

Happy New Year!


Your Writing Should Not Be Your Main Source of Validation For Who You Are as a Person

I think this can be the most debilitating mistake an aspiring writer can make. There be dragons if you start down this mental path.

I recently gave a talk to Regis University’s MFA in Creative Writing students. In the fifteen-minute Q&A, one participant asked why it was so hard to get a literary agent to even look at her project. I could hear the frustration in her voice. I didn’t have a ready reply because the truth is that there is no good answer.

Writing is personal business. And any response and/or rejection can definitely feel like a commentary on your talent and who you are as a person.

But here is the reason you need to start thinking like an agent and less like a writer when it comes to submitting your material. If someone passes on your work, that rejection is not a commentary on your qualities as a human being. In a lot of instances, it’s not even a commentary on your ability or talent as a writer!

Let me repeat that: A rejection is often not a commentary on your writing talent.

I can cite a bundle of different reasons why an agent or publisher may pass on your work, reasons that have absolutely nothing to do with your writing ability. Don’t believe me? Here are a few (and in no particular order):

  • The agent/publisher has seen two-dozen concepts just like that one in the last four weeks.
  • That concept trend was hot, so now the Publisher has bought too many similar projects for their list and will not be acquiring any more.
  • The agent has an aversion to that type of story. I know a well-respected literary agent who personally cannot handle any story in which a child is in danger, and so will pass on any submission containing such scenes.
  • The editor could not get support in-house from the sales/marketing team to acquire the novel.
  • An agent read the story and thought the writer was talented, but for whatever reason, just didn’t connect with it enough to offer representation.
  • Bad timing. The agent was on vacation or at a conference, or just back to the office, and is simply swamped. It’s hard to be excited about taking on someone new if you are buried in work that can’t be accomplished in a 40-hour work week. And, LOL, no good agent works only 40 hours. It’s more like 60+ a week.
  • There’s talent on the page, but the editor or agent might think a significant revision is necessary, and taking the hour to write up an editorial letter isn’t going to happen.
  • The novel just has an element the agent is never enthusiastic about. For example, some agents are never going to take on a fairy-tale retelling or superhero story. It’s just not his or her thing.

I could go on. There are so many reasons that when I spoke at Regis, the best advice I could offer is this: Do not use writing as a means of validating who you are as a person.

No matter what an industry person’s response is to your written work, your writing is only one facet of who you are as a human being. Don’t make it everything, or you may lose your joy of writing and find the whole business very depressing indeed.

Photo Credit: BK


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