Pub Rants

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

Category: Pub Rants University

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


Guest Post by Angie Hodapp: Authors, Do You Know Where Your Money Is?

Every six months, you get an envelope from your agent. You tear it open, take out the enclosed check and royalty statement, and glance at the numbers on both. You shrug and mutter, “Guess that looks about right.” Then you toss the statement on your to-be-filed pile at the back of your closet, endorse the check, and head to the bank.

Sound familiar?

I can’t even begin to tell you how many published authors I’ve talked to at conferences who don’t give their royalty statements much of a glance. Why? Because they don’t know what they’re looking at. “Dammit, Jim, I’m a writer, not an accountant,” they say (or something along those lines). “Besides, isn’t that what I pay my agent to manage for me?”

News flash! Like you, many agents consider themselves word people—not numbers people—and your royalty statements are just as baffling to them as they are to you.

This means that the buck, quite literally, stops with you. Have a conversation with your agent about the level of support he or she is providing when it comes to combing through your statements and making sure you’re getting paid everything you’re owed.

More importantly, educate yourself. Learn how to audit your own statements.

Every year, we at Nelson Literary Agency recover thousands—sometimes tens of thousands—of unpaid dollars on behalf of our clients, simply because we audit their royalty statements.

Does this mean that publishers are nefarious, knowingly cheating authors out of a few bucks here and there to improve their own bottom lines? In our experience, no. (In fact, not all errors we find are made in the publisher’s favor!) Every error we’ve called to a publisher’s attention has immediately resulted in the issuing of a corrected statement and, when called for, a check covering the difference.

Without naming names, here are some examples of errors we’ve recently found on our clients’ royalty statements:

1. Unpaid royalties of approximately $5,000 because the publisher had applied a $10,000 advance against the author’s earnings when the actual contracted and paid advance had been only $5,000. This means the author had actually earned out—though the statement said otherwise—and was now owed nearly $5,000 in earned royalties.

2. Unpaid royalties of approximately $4,200 because the publisher’s accounting department missed the fact the author’s contract contained a royalties escalator. What’s that? A royalties escalator increases the author’s royalty rate in steps, based on units sold. For instance, a contract might specify that the author will earn 10% for the first 5,000 copies sold, 12.5% for the next 5,000 copies sold, and 15% for all copies sold thereafter. In this case, the author had sold about 12,500 copies of a hardcover edition priced at $16.99, but she had earned only 10% for all of those copies. Not one, but two escalators had been missed.

3. Unpaid royalties of approximately $7,300 because the publisher sold nearly 6,500 copies of a $17.99 hardcover edition at “high discount,” even though Agent Kristin had ensured that the author’s contract limited the number of copies the publisher was allowed to sell at high discount. What does that mean? When publishers sell copies of your book at higher-than-usual discounts, it’s common that the author’s contract will specify that she will earn “one-half the prevailing royalty rate” on those copies. Because Agent Kristin had limited the publisher’s high-discount sales, this author should have earned 12.5% on those particular 6,500 copies, but she earned only 6.25%, and we were able to recover the difference. (By the way, does your agent understand this and negotiate your contract’s high-discount clause in your favor?)

Dear Authors, the only way to protect your assets is to do the math. Join me July 30, from 6:00 pm to 8:30 pm, for my Royalty Statements Auditing Workshop, a live webinar sponsored by Nelson Literary Agency. Hope to see you then!


Like Finding Loose Change in the Sofa – Kind of

So just this week, we received an outstanding Australian royalty statement for one of our clients that had been missing. Because we actually track, review, and audit our statements, even foreign ones (and let me tell you what a nifty trick it is to do the Japanese statements…) we immediately spotted one rather large problem.

Oddly, there were no ebook sales listed anywhere on statement. Dating back since 2013. Not a single ebook sale in the last 2 years is a bit hard to believe, so we pinged the publisher.

Sure enough, the ebook ISBN wasn’t linked to this title in their accounting system. It was there but floating out in the ether with no title to attach to. Once it was appropriately linked, voila, almost $1000.00 was owed to the author.

And as my client so aptly replied to me, like finding loose change in the sofa!

Kind of. 😊

Even if the publisher controls the World Rights, we ask for the statements so we can review. Because I’m pretty certain that given the deluge of statements the internal publishing rights team receive, they aren’t paying super close attention.

Want to know how to audit royalty statements for yourself? We start you off easy by tackling U.S. royalty statements first. Our contracts and royalty guru Angie Hodapp is showing you how on July 30, 2015. Be a smart and savvy author. Auditing royalty statements. Only a couple slots left as there is a cap on attendance.

Photo credit: Branko Collin


Article 5: Good Agents Audit Royalty Statements

 

Over the last decade, I really wish I had tracked how much money NLA has recovered by carefully auditing our royalty statements every accounting period. Because of some big errors found a couple of years ago, it’s probably to the tune of over $600,000 recovered at this point, and it wouldn’t surprise me if that total was actually more. Even now, nary an accounting period goes by that we don’t recover at least $500 to $3,000 owed to a client.

On rare occasions, we have even found errors in the Publisher’s favor—and yes, we do notify them to highlight the correction. Luckily, those have only amounted to several hundred dollars at any given time. And to be clear, Publishers aren’t being nefarious or deliberately cheating the author (with the exception of a few publishers, which will remain unnamed).

Most errors we catch are human errors. In other words, the Publisher’s in-house royalty management staff simply keyed incorrect information into their accounting system. Also, “accounting departments” at some mid-sized publishers and small presses are staffed by English majors. Mistakes will be made.

These mistakes need to be found and corrected and the monies paid to the author client. Here is the jaw-dropping fact: A good percentage of agents do not audit their clients’ royalty statements.

Let me repeat that. Even though authors hire literary agents to guide their careers and most importantly, manage their business publishing interests (royalties being a huge component of this), many agents do not actively audit or even read client royalty statements. This leaves authors to fend for themselves regarding reading and understanding their statements.

So for me, good literary agents audit royalty statements. When I was newer to this business, I did the time-consuming auditing and analysis myself, every accounting period, and shared my comments with my client. Every accounting period. I even hired a professional book royalty auditor to mentor and read behind me to assess my competence and capability. Then I hired and trained our amazing Contracts & Royalties Manager Angie Hodapp to handle this at NLA.

And Angie took it to a level that leaves me in awe every accounting period. I imagine our clients are often in awe as well when every six months, she sends a detailed letter with my comments as well as her analysis of the statement and what questions we had to track down and if extra monies are owed.

A lot of the larger agencies will have staff in-house to handle this (or I hope they do….I don’t actually know as I’ve not worked in a big agency), but I’m willing to guess that most of the smaller, boutique agencies don’t. This means that the author relies on his/her agent to analyze the statements.

So ask yourself. Is your agent doing this? If you don’t know, ask. It’s part of the agenting job. Recently, Angie has been giving workshops at local writing conferences to teach authors how to audit their own royalty statements. Even if your agent does this on your behalf, it’s not a bad idea to also be checking them. Human errors can happen on our end as well!

So with her permission, and worth its weight in gold, a handy list.

How to Audit Your Own Royalty Statements by Angie Hodapp

Keep an excel spreadsheet for each title, and add the following when each statement arrives:

• Track copies sold and royalty rates applied to each edition. Do the percentages match the contract?

• If you have a royalty escalator, make sure you’re watching units sold so you can see if the escalator is triggered at the right time.

• Track royalty earnings for each edition. Add them all up and subtract them from the advance. Make sure your math matches the math on the statement.

• Check for continuity from the last statement’s bottom line (ending balance) to the current statement’s starting balance.

• If the royalty is based on net receipts, then make sure the net amount received by Publisher is reported on the statement, along with number of copies sold. Do the division. How much is the publisher claiming to have received for each unit? Is it a reasonable amount based on the retail price?

• Look at the number of copies reported sold as “high discount” or “over discount” or “special sales.” Publishers love to sell most copies under these terms, which means smaller royalties for you. Make sure your contract limits the number of copies publishers can sell under these terms!

• Watch reserves. Your contract should specify how much the publisher can hold in reserves, and for how many accounting periods after initial publication. You can ask the publisher to release reserves once returns taper off. That’s more money passing through to you, or applying toward your advance.

• Watch returns. Publishers adjust reserves up and down from period to period based on actual and projected returns.

• Watch subrights licenses. Know the terms of all subrights deals, which may include audio, large print, book club (either a stock-buy or a special printing), or other special editions.

• Watch and track foreign right deals. If your publisher holds world rights and is actively selling your work into foreign territories, ask them each accounting period to give you:

—Details of any new foreign-rights deals, including: advance, royalties split, term of license, publication date or planned publication date, and reporting schedule. (Note that most, but not all, foreign publishers report annually, not bi-annually.)

—Copies of the licensing agreements. Even if they’re in languages you don’t understand, it’s within your best interests to have such things in your physical records.

—Note that foreign monies can take from a year to 18 months to pass through the publisher’s subrights department and show up on your statements.

If you want a more in-depth royalty statement auditing experience, join Angie for her upcoming Royalty Statements Auditing Workshop, scheduled for July 30, 2015.  This Webinar is open to the first twenty attendees to sign up.

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The genesis: In January 2015, Backspace co-founder Karen Dionne and I had a conversation in which she mentioned that writers sometimes want representation so badly they are willing to sign with an average or even a below-average agent. Trust me, not all agents are equal. I replied, “Well, writers don’t know what they don’t know.”

In that moment, a lightbulb went on for both of us. Writers don’t know what a good agent does. How could you if (1) you’ve never experienced it and (2) you’ve only ever had one agent and no way to assess just how strong he or she might be at the job?

Thus, this series of articles was born.

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Archive:

February 2015 Newsletter – Article #1: Agent As Savvy Business Manager

March 2015 Newsletter – Article #2: Commanding Authority: An Agent’s Negotiation Edge.

April 2015 Newsletter – Article #3: Fearless Negotiation: An Agent’s Most Important Role for an Author

May 2015 Newsletter – Article #4: Negotiation Tactics of Good Agents


The Pesky Scene Break

Last month I did my ever-popular webinar Creating the Road Map for Your Novel. Of the ten participants, half had trouble with a powerful writing tool called the scene break. Now, scene breaks are awesome—unless they are overused or not used for maximum impact.

Why do writers use scene breaks? During the webinar, we came up with several reasons:

  1. To signal a shift in time (for example, to enter and exit a flashback, or to skip over a brief period of time during which nothing plotworthy happens).
  2. To signal a shift in point of view (POV).
  3. To build suspense, leaving one scene at a climactic, cliffhanger moment to switch to a new scene.

(To read some great examples, see Janice Hardy’s article on the topic of scene breaks.)

Here are three things about scene breaks to note:

  • Don’t use scene breaks too liberally. Think of POV as a movie camera. If you are constantly breaking scenes (moving the narrative camera), your reader is going to be pulled out of one scene and dumped into another. If it happens to often, your reader will get whiplash and lose the narrative thread of your story.
  • Scene breaks that signal shifts in time should be used judiciously and only when doing so actually moves the plot forward. Don’t use scene breaks as tools of convenience when they offer no other narrative impact. This type of scene break is the biggest culprit; when it doesn’t work on the page, it creates the most abrupt interruption in the logical flow of the narrative.
  • When breaking a scene to skip a period of time, ask yourself what happens during the time you’re choosing to skip. Are you skipping action that should be on the page? I’ve read manuscripts in which the hero conveniently gets conked on the head during a battle scene, only to wake up (after the scene break) once his buddies have defeated the enemy. New writers who are intimidated by writing action/battle scenes, or scenes in which the hero might have to come up with a brilliant plan to save the day, will sometimes conveniently skip them. Don’t fall into that trap!

In summary, whenever you are tempted to toss in a scene break, ask yourself: What is the function of this scene break? And what, if anything, am I skipping over that should appear on the page?


Worth The Conference Registration Cost

Last month I gave a webinar on how Digital is rapidly transforming publishing.

I love giving this workshop at conferences every chance I get because most writers are completely confused by the stories that are making today’s headlines and how that impacts writers. It’s my chance to really explain all that is going on.

Attendees always walk away telling me that my workshop alone was worth their conference registration cost. (Of course they could just be humoring me…) LOL

Still, it makes me happy. I always want aspiring writers to be informed as much as possible.

We are doing something unique this month and making the recording available for streaming.


Where Did All of Kristin’s Good Content on Contracts Go? To our eNewsletter!

In October, NLA implemented a new feature–a special News Alert eMail blast for subscribers of our newsletter. Today, a blast went out informing readers of how Harpercollins subscription service with Scribd will work and how authors will get paid.

Because my time is so limited these days (sadly!), regular or daily blog posts that alert readers about changes to publishing contracts and how that impacts authors just isn’t possible for me. But I am still doing great posts 2 or 3 times a months. Those columns can be found in NLA’s Monthly newsletter for our subscribers.

If you’ve been suffering from Pub Rants withdrawal, that would be the place to go to get your fix. Our eNewsletter is free. Just click on the Newsletter button at the bottom of our web page to sign up.

And for those of you who weren’t subscribers yet and missed that blast,  here’s the link to where you can see the news.

By the way, this is exactly the type of content I plan to tackle in tonight’s webinar:

Wednesday, November 13, 2013 at 6:00 p.m. Mountain Time.

THE NITTY GRITTY – HOW DIGITAL IS TRANSFORMING THE PUBLISHING LANDSCAPE.

There’s still time to register.


A Tag Line Is Not A Summary

My fabulous webinar on how to craft the perfect pitch paragraph for your query letter is tonight, Sept. 18, 2013  at 6:00 p.m. Mountain time. There is still time to register if you want to come join the fun. 

As part of the webinar registration, I had attendees submit their one sentence tag line and then I read through them all. What was immediately clear is that a lot of folks who are attending used the tag as a mini-summary of the story.

That’s not the purpose! A tag line should be one sentence about the inciting incident (or plot catalyst) that starts your novel moving forward–and without it, you wouldn’t have a story to tell.

So that is just one thing I’m going to be teaching folks how to do tonight. Nail that one sentence tag line about your manuscript!


Agent Reads The Slush Pile Tomorrow – Wednesday, July 25

STATUS: Have to leave a tad early today. My plan is to read a good portion of a client manuscript this evening.

What’s playing on the XM or iPod right now?  LAID by James

At conferences, the biggest complaint I hear from aspiring writers is this: there is never any feedback given when an agent or an editor sends a rejection letter.

Or, if there is a response, it tends to be generic–something along the lines of “I just didn’t fall in love with the story.”

Writers don’t have a good sense of what is really causing an agent to stop reading.

Well, this webinar is designed to answer that question. It’s a no holds barred (and a tough workshop so be warned) but if you want an honest, straightforward, and helpful response as to why your sample pages might be getting rejected, then this is it.

This is a “fly on the wall” glimpse of an agent reading her slush pile.

I read the first opening 2-pages submitted by the participants of the workshop. If I would have stopped reading, I stop and clearly say why. In general, we tackle about 20 entries selected at random. 

The I crush the writer’s fragile ego under my critique hammer… Just kidding. This is not American Idol style.

I don’t pull the punch but I do try and be sensitive and helpful. This webinar is not about denigrating the writer but it’s also not for the faint of heart.

If you think you are ready, then you might want to consider it. Register here. And I’ll see you tomorrow.


A Quick Look At Tag lines

STATUS: Come on rain! Don’t just be cloudy and not give it up. Pour gosh darn it!

What’s playing on the XM or iPod right now? PUMP IT UP by Elvis Costello

I’m getting ready for tonight’s workshop so I’m reviewing all the tag lines submitted by the workshop attendees. I asked all participants to submit one sentence as a baseline. So we can do a before and after during the workshop–which is often fun to see.

In other words, I don’t expect everyone to have nailed that tag line. It’s often hard to nail your plot catalyst in one sentence–especially if you’ve never really done it before. Hence the workshop.

But in reading them in prep, I can give my blog readers a bit of insight into what I think these attendees are struggling with. In the workshop, I’m going to clearly explain how to nail a plot catalyst tag line and then how to build your query pitch around that–using three different approaches.

Problem 1: The writer is trying to summarize the novel in the tag line.

Wrong use for it. You just want to nail your plot catalyst. But great, we’ll talk about it tonight.

Problem 2: The writer is relying on reader’s previous knowledge of a story or fairytale.

Not a bad starting point but it’s not going to be quite enough to carry the cornerstone of your pitch. Will work on that tonight.

Problem 3: The writer highlights two necessary elements of the story but alas, in the tag line, they don’t have a relation or a cause and effect so mentioning both doesn’t quite make sense.

In other words, one doesn’t necessitate the other. I’ll just need to point that out and I think this writer will get it.

And there’s still time to sign up if you want to join us! Just click here. I’ll be getting the tag lines soon for any day registers. However, we are going to close the class in an hour or two so if you want to join in, don’t delay.


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