Pub Rants

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

Category: Agent Kristin

A new Denver Conference Shines the Light on Diverse Voices

It’s rare to have a guest interview here at Pub Rants. I am delighted to welcome Viniyanka Prasad to the blog. I’ve known her for years. She has something awesome cookin’ here in the Mile-Hi city, so I’m shining the spotlight on her and The Word, a nonprofit Denver-based writing sanctuary for diverse voices. This terrific organization launched in 2016 and their first programs became available in 2017, and now Viniyanka is launching a new conference called [margins.] this summer. This is a welcome addition to the Denver scene, so welcome, Viniyanka!

You are the founder and executive director of The Word. Tell us when the organization launched and what is your missiYou are the founder and executive director of The Word. Tell us about your mission.

Hello and thank you so much having me to share more about The Word! In a whirlwind few years, we’ve had the privilege to offer dozens of workshops, mentorships, submissions opportunities, and reader events.

We fight for equity and celebrate storytelling from marginalized communities. In the ideal literary world, there is equal access to resources that amplify stories and equal freedom to share with the creator’s own vision. 

You are launching a new conference called [margins.] in 2020. Tell us about this conference. What should readers know about how they can participate in various capacities?

The [margins.] conference (August 1-2) is a space for community and craft building that places writers from the margins at the center. We’ll be talking writing craft, publishing know-how, and literary activism. 

The strength of a space like [margins.] is in its ability to build lasting connection, even in our new 2020 virtual setting. So, it’s not just an array of pre-recorded sessions for consumption. 

We’re creating small group gatherings, one-on-one feedback opportunities, and community roundtables so that attendees will walk away with writing/publishing tools as well as a new family to look to for support. 

Our celebration is for everyone in a number of ways! We’ll be hosting a public virtual bookfair with readings and titles everyone will want to explore. We’re already hosting a series of discussions that are free and open to the public, so please join in throughout the next month!

We also invite potential presenters and publishers who would like to submit titles or presenters to reach out. Finally, everyone can be a part of supporting this vision during our Kickstarter which has just a short time left to meet our goal—that’s also a place to build community, for example with our virtual book club offering! More information can be found here, and our continually updated list of programs and speakers is here.

Why is it important to provide safe spaces for marginalized voices to be heard both by each other and by the world?

Writing from the margins often means explaining the need for your story to be told, the need for greater representation. It is an exhausting way to exist in literary spaces. When a wide range of writers from across marginalized backgrounds gather, everyone can show up as themselves—no majority within which you do not fit. And when we remove the need to explain why we are here, we get to actually do the things that brought us: find our strongest voices, brainstorm the best ways to represent our communities while sharing our truths, and learn how to navigate healthy writing careers.

Creating this space shows our communities, and everyone, what a literary world that embraces a variety of perspectives can be. The incomparable poet and activist Suzi Q. Smith, also [margins.] co-organizer, reminds us often that we have to imagine ourselves in the future we want before we can build the future that we need. With [margins.] we get to do one better: we get to make that future a micro-reality right now.

What would you like to tell agents who are looking for #ownvoices clients? What do agents need to learn most?

A very welcome question, and an agent who is asking this is asking the best one. To answer this thoroughly would probably require an entire conference itself, and certainly a range of voices other than mine (another project for us one of these days)! With hopes of being helpful here, I’ll focus on an important and core consideration: the agent’s questions about their own identity.

In any space where equity and inclusion are challenges, each of us brings our own vulnerabilities, which, yes, come with defenses. To be truly open to other perspectives, we need to clear out our own junk by acknowledging our own internal tapestries of challenges and privileges. It helps us trust in another person’s “unimaginable” experience without feeling that it erases what we each have lived. It helps us balance our gut connection with a humble openness to artforms that we haven’t been primed to understand.

To any agent whose first reaction is skepticism to that suggestion, I ask you a question: is it possible that your skepticism is a defense?

What are the greatest challenges facing writers from marginalized communities today?

I think it’s important to make room in our minds for the universe of interrelated complexities that contribute. From not seeing enough of ourselves in literature so that we internalize the idea that we do not belong, to not having the soft inroads that exist because of insularity that has been perpetuated over time, to the repeated experience of manuscripts reaching publishers who do not know what to do with them. I could go on, and that is why The Word has to engage readers, writers and the publishing industry with its work.

I think at the moment there is a real danger in the idea that publishing is progressing due to “diversity” trending. We’ve been here before; this is not the first time in publishing history with a push for diversity-focused acquisitions or hiring initiatives. We are repeating ourselves because victory was declared based on limited, short-term gains. 

I also believe that we are in a place of unique momentum. To harness that for lasting change, the literary world needs to shift from initiatives to a vision for sustained practice. We also need to continually be aware of the risks for tokenization along this path.

What is your greatest hope for the future of diversity and representation in storytelling and publishing?

Complete equity is the utopian goal we should always stubbornly demand, but I’ll also offer up an interim goal.

Right now, with so little representation, each book from a marginalized writer carries something close to all the hopes and pain for all the people who have ever felt unheard. One book should be that—one story thoughtfully and lovingly created. This weight stacked upon writers from the margins, to heal every hurt within their communities, is of course an impossible one. It will absolutely continue to limit which stories are shared. 

So, my hope is that we do more than just invite new storytellers to the table. My hope is that the literary community acknowledges the unhealed wounds caused by underrepresentation, a first step toward an effective balm. I hope we then see the old table as just that, and trust that there is something better to be built together. 


Publishing—From a Social Distance

As I type this, it’s a little hard to believe that we’ve been sheltering-in-place for over a month. 

In a sign of the times, I taught my 80-year old mother how to use FaceTime on her iPad while also playing Rummikub with me on her computer in a virtual game room (www.playingcards.io). She was definitely motivated. At any other time, I’m not sure I would have convinced her to tackle this level of tech. I imagine all of you have similar stories. 

As a company, we’ve been staying sane via virtual NLA happy hours and playing that old 90s party game Taboo, the one where there is a list of five words you’re not allowed to say, so, of course, the minute you read them, those words are all your brain can think about. 

Publishing Updates from Abroad

  • We are seeing delays in foreign advance payments, royalty statements, and royalties received. Although a lot of payments have come in on time.
  • Offers are still happening but mostly for bigger projects. I do think other offers will trickle in more after the peak of the crisis has passed.

Publishing Updates from the US

  • None of our contracts or offers have been canceled—although Penguin Random House did contact agents to restructure payouts for deals in process.
  • Publishers have moved to reduce their costs. Scholastic has implemented furloughs of two weeks on, two weeks off. Disney Publishing also announced furloughs this week. HMH implemented a 20% pay cut for editors and a four-day work week. (I’m finding that Fridays across the board have become an almost no-email day.) Macmillan executed a round of layoffs across all imprints, which has impacted NLA clients. I anticipate additional announcements from other publishers.

Sales 

  • Publishers are reporting ebook sales are up by 40%. This is helping to keep the publishing picture stable for now.
  • Print sales initially did a sharp drop (down by 25%), but they rebounded last week, and we have word that sales at Target and Walmart are especially healthy.

From the April 16 edition of Publishers Lunch:

NPD Bookscan reported print book sales for the week ending April 11 of 12.47 million units. While that is nicely higher than the previous week, the proper comparison is to the week just before Easter a year ago, since book sales always spike measurably right before the holiday. The comparable week a year ago — ending April 20 — saw sales of 13.97 million units, making this year’s holiday week down over 10.7 percent in comparison.

Per the trend during the pandemic, juvenile books continue to account for most of the week-over-week gains, registering sales of 6.385 million units (compared to 5.21 million units in the previous week). Board books in particular were up 47 percent week over week, at 1.27 million units.

What does it mean for the long view? Too soon to say. I heard on the news this week that the unemployment rate is estimated to reach 20%—the same level as the Great Depression. We are living in interesting times.

Stay safe, sane, healthy, and kind. 

Creative Commons Photo Credit: Jernej Furman


2019 End-of-Year Stats

4 : Number of agents at NLA (same as in 2018)

354 : Number of full manuscripts requested and read (down from 442 in 2018) (Largely due to my closing to queries for several months of 2019)

127 : Number of manuscripts we requested that received offers of representation, either from us or from other agents/agencies (up from 110 in 2018)

14 : Number of new clients who signed with NLA (1 for Kristin, 4 for Danielle, 5 for Joanna, 4 for Quressa) (same total number as in 2018!)

26 : Number of book deals done (12 for Kristin, 6 for Danielle, 4 for Quressa, 4 for Joanna) (up from 21 in 2018)

45 : Number of career New York Times bestsellers for Kristin (up from 44 in 2018)

11 : TV and major motion picture deals (8 for Kristin, 2 for Danielle, 1 for Joanna) (up from 9 in 2018)

1 : Major motion picture released (Netflix’s BIRD BOX by my client Josh Malerman—technically in the last week of 2018 but hey, spotlighting it here)

45 : Books released in 2019 (up from 35 in 2018)

14,000+ : Queries read and responded to (estimated) (Down from an estimated 20,000+ in 2018 largely due to my being closed to unsolicited queries and open to referrals only for several months of 2019, as well as to other agents closing intermittently)

106 : Foreign-rights deals done (up from 64 in 2018)

6 : Conferences attended by Kristin, including Bologna Children’s Book Fair, Book Expo/BookCon, World Horror, Lighthouse Writers, Kachemak Bay Writers, Colorado Writing Workshop (down from 7 in 2018)

180 : Physical holiday cards sent (up from 155 in 2018)

838 : Electronic holiday cards sent (up from 835 in 2018)

Not telling it’s so embarrassing : Eggnog chai lattes consumed during November and December

Lots : Late nights reading on my living-room chaise with the very senior and snuggly 16 and half year old Grand Dame Chutney

All : Great days loving my job!

Creative Commons photo credit: Lainey Powell


12 Trends in the Query Inbox

In July, I attended the Colorado Writing Workshop. I knew I would be asked about what’s hot or trending. So Angie, Maria, and I put our heads together to create a handy list of what we’re seeing in the query inbox. Let me preface this though:

Writers, don’t read too much into this list.

If your current WIP fits into one of these trends, it doesn’t mean all hope is lost. It just means that you are not alone in playing with these concepts/tropes. It also means that it’s harder to stand out in the query slush pile. That’s just a fact. So you have to work at really spotlighting what makes your novel with these elements special and unique so as to entice the query reader to find out more. Why is this one worth reading over the ten other queries that might have come in the same day with a similar premise?

A tough question, I know! But one worth answering in your query, even if none of the below describes your WIP.

1. The main character is dead or can see dead people. We’re seeing this concept in submissions for both the adult and young adult markets.

2. The main character is trapped in a book, game, or virtual reality. We’re seeing this a lot in adult SF submissions and also some in the YA world.

3. The main character is being sent to live with a relative (aunt, uncle, grandparent), whether for the summer or on a more permanent basis. Lots and lots in middle grade, but also appearing in YA submissions.

4. WWII…still getting tons of queries for WWII stories. Almost all the submissions we’re seeing in this space are for the adult market. For the record, I love stories set in this time period. After all, E.R. Ramzipoor’s THE VENTRILOQUISTS releases in August. Still, it has to be a standout story.

5. Lots of queries for stories set in ancient Rome, or in secondary worlds based on the aesthetic of ancient Rome. Interestingly, we are seeing in both YA and adult market submissions that fit this bill.

6. Lots of villains who are thinly veiled portrayals of our current president. Feels like in every submission we are receiving…but this is cropping up most often in dystopian submissions.

7. Lots of queries featuring pirates. Aye, Mateys! Whether the pirates are fun and whimsical, serious and historical, or speculative (like air-ship pirates or space pirates), we’re seeing pirates galore in middle grade, YA, and adult fantasy.

8. Retellings seem to be slowing down compared to, say, a year ago. But we still see them on a regular basis. Fairy tales, folk tales, classic literature retellings—across all genres for adult and children’s.

9. Teens recruited, conscripted, or otherwise forced to train as assassins, soldiers, spies, etc. I think you guess for which market this is!

10. Teens who must compete in trials or games to save themselves or a loved one, to determine their place in society, or as a means of matchmaking. No extra comment needed here!

11. Main characters who are bullied or abused, or who are survivors of bullying or abuse, and there isn’t another story line to create depth/complexity or to truly drive the plot of the novel. We see most bullying in middle grade, though it shows up in YA submissions as well, while survivor narratives abound in women’s fiction.

12. Post-apocalyptic stories, many of which take place in the aftermath of a plague or virus, or some climate-related catastrophe. Seeing this in the adult and children’s market still.

Happy writing! If you are early into a WIP based on a trending concept, spend some time thinking about whether it’s worth continuing or whether you should tackle a different, more brilliant idea you’ve played with. You might decide it’s better to get cracking on that one instead.

Creative Commons Credit: Andy Wright


2018 End-of-Year Stats

 

Welcome to 2019!

What am I most excited about? Our move to QueryManager! Many of you are probably already familiar with QueryManager, since lots of other agencies use it, too. Here at NLA, we’re especially excited about its ability to help us track our numbers: submissions received (and in which genres), responses sent, requests made, offers of representation, etc. QM will give us one-click access to all things query next year at this time when I’m compiling our 2019 stats!

Interested in submitting a query to us? Here’s a handy link to our brand-new submission guidelines. From there, you can learn more about what each of our agents is looking for this year as well as how to send your query. Please remember that we share queries, so choose only one agent to query. Good luck, if querying is part of your new year’s goals!

As a reminder, we do not represent screenplays, poetry, short-story collections, picture books, early-reader chapter books, or material for the Christian/inspirational market; we also don’t represent most nonfiction (only Quressa is open to reviewing NF submissions).

Now…the moment you’ve been waiting for: NLA’s 2018 end-of-year stats!

4 : Number of agents at NLA

442 : Number of full manuscripts requested and read

110 : Number of manuscripts we requested that received offers of representation, either from us or from other agents/agencies.

14 : Number of new clients who signed with NLA (2 for Kristin, 5 for Danielle, 5 for Joanna, 2 for Quressa)

21 : Number of book deals done (6 for Kristin, 5 for Danielle, 3 for Quressa, 7 for Joanna)

44 : Number of career New York Times bestsellers for Kristin (up from 41 last year). Her latest, Josh Malerman’s Bird Box, hit the list for the first time after the release of the film on Netflix.

1 : Movie released (Bird Box of course!)

9 : TV and major motion picture deals (8 for Kristin, 1 for Quressa)

35 :  Books released in 2018

20,000+ : Queries read and responded to (estimated)

64 : Foreign-rights deals done

7 : Conferences attended by Kristin, including ALA Midwinter, RWA, Lighthouse Writers, SCBWI Rocky Mountain, Dallas Fort-Worth Conference

155 :  Physical holiday cards sent

835 : Electronic holiday cards sent (up from 788 in 2017)

Not telling it’s so embarrassing : Eggnog chai lattes consumed during November and December

Lots : Late nights reading on my living-room chaise with the very senior and snuggly lady Chutney

All : Great days loving my job!

Creative commons photo credit: Jurgen Appell


2017 End-of-Year Stats

 

When I was getting ready to publish the stats from 2018, I realized I had never posted those from 2017. Well, that won’t do. So here it is–only 365+ days late.

3: Number of fantastic new agents at NLA.

1: Number of NLA Twitter Pitch Parties (and with 3,500+ pitches tweeted our way, our hashtag trended in Twitter’s top 5 that day!).

3: Number of Twitter Pitch events NLA participated in.

667: Number of full manuscripts requested and read (up from 87 last year). Wowza! The power of four agents reading!

91: Number of manuscripts we requested that received offers of representation from other agencies.

22: Number of manuscripts NLA offered representation for: Danielle = 12; Johanna = 6; Quressa = 2 (she started with us in September); Kristin = 2.

19: Number of new clients who signed with NLA.

37: Number of books released in 2017: 24 print releases, 6 reprints, and 7 digital releases.

25,000+: Estimated number of queries read and responded to.

112: Foreign-rights deals done (up from 71 last year).

9: TV and major motion picture deals: Kristin = 8; Danielle = 1.

41: Total number of Kristin’s New York Times bestsellers (up from 39 in 2017).

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

Millions: Number of copies sold of Marie Lu’s three bestselling series—yay Marie!

Millions: Number of copies sold of Ally Carter’s bestselling, long-running Gallagher Girls series (which celebrated its 10th anniversary with new editions in 2016)—yay Ally!

Millions: Number of copies sold of Hugh Howey’s bestselling individual title, WOOL, which just keeps finding new readers—yay, Hugh!

8: Conferences attended by Kristin: Colorado Superstars, SCBWI Tulsa, Colorado Teen Day, Pikes Peak Writers Conference, Lighthouse Writers LitFest, RWA, Rocky Mountain Fiction Writers, and Tattered Cover Teen Bookcon.

166: Physical holiday cards sent.

788: Electronic holiday cards sent (up from 539 in 2015).

Not telling it’s so embarrassing: Number of 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 grand dame just keeps getting more snuggly with every year.)

All: Great days loving my job!

Welcome to the new New Year!

Creative Commons photo credit: morebyless


How #MeToo Movement Impacts All Authors

For NLA’s March newsletter I wrote this article but hadn’t had a chance to post on the blog. Then PW recently ran this article on 4/27/2018 about how Publishers are increasingly inserting language into their contracts that allows them to terminate based on an author’s behavior. 

In further analysis and examination, I truly wonder if this is just a “change in market conditions” masquerading as a morality clause. 2018 is going to be an interesting year for contract negotiation!

AGENT KRISTIN’S ORIGINAL NEWSLETTER ARTICLE.

In October 2017, the #MeToo hashtag went viral on Twitter. Thousands of women shared their stories of sexual harassment, misconduct, and injustice in the workplace. The momentum began with the allegations against film titan Harvey Weinstein and then morphed into movements across other industries.

It hit publishing in a big way in February 2018 with Anne Ursu’s  bombshell of an article on Medium about sexual harassment in the children’s book industry.

It engendered a lot of conversations here at NLA, as I imagine it did for a lot of authors out there. But I wonder how many authors realized that the #MeToo movement would directly impact them in one very specific and unexpected way: in their contracts.

It was no surprise to me when we received a Penguin Random House contract recently, and lo and behold, there was new language in clause 7.c, which deals with publication. There is a new “morality” clause that cites that if the author’s reputation materially changes, such changes could be cause for termination of the publishing agreement.

Every non-author-friendly clause in publishing contracts is there because of some other author’s previous bad behavior. But in general, I don’t subscribe to the philosophy that NLA clients have to contractually pay for the mistakes of others.

Personally, I fully understand why PRH wants to add this language given recent current events. I certainly support the intention! As an agency, though, we are going to negotiate this clause to be more fair for an author who isn’t guilty until proven innocent.

My sense is that PRH will not be alone in amending boilerplate language. We’ve got several other agreements coming our way in the next two weeks. We’ll definitely be looking for the addition of these types of morality clauses.

Creative Commons Photo Credit: Luke Hoagland


Nabbing A Top Agent Before They Are a Top Agent

Or to give this article a subtitle: 365 Days of Agent Slumber Party

I have to say that 2017 has been absolutely amazing for me. When I took the next step to expand Nelson Literary, I had my work cut out for me. I knew that. I had my sleeves rolled up and was ready to mentor young agents to success. Little did I know how much fun I would have in the process.

In January, Danielle and Joanna came on board and when September hit, Quressa joined the team. Every Tuesday afternoon, the agents of NLA connect to share our own stories about what submissions we are currently reading, what might have an offer of rep that we need to discuss, and what sample pages are causing excitement.

It’s basically been 365 days of an agent slumber party geeking out about writers and sample pages.

We four agents are so simpatico, it’s been a non-stop year of great conversations, giddy excitement when an author said yes and joined NLA, and heartbreak when we didn’t land that client.

Oh the heartbreak.

Rarely do writers hear that it happens on the agent end as well! We don’t always win the agent beauty contest and trust me, we four felt really bummed when that happened.

In 2017, it held true that a really good project would receive multiple agent offers. I’m not sure if that’s because there are a lot more agents (than there were, say, a decade ago), or if the pool of great projects has shrunk in the last two years. (I prefer to think the reason is that there are more agents so the competition is stiffer).

Some projects we were very keen on had as many as 10 offers of rep on the table. Statistically speaking, we certainly can’t win them all. And if a more established agent offers, well, it’s going to be that much harder for a newer agent to win that representation competition. After all, their reputation and client lists are still building.

But here’s a thought I want to share with writers. There is a good argument for seriously considering the offer from an agent who is earlier in her career. Here’s why:

Wouldn’t it be awesome to nab a top agent before the world knows they are a top agent? In other words, agents who will, 5 or 6 years from now, have so many well-known clients that they will be highly sought after? Agents who in just a few years will have client lists that would be a privilege for you to join? Or to put it another way, wouldn’t it be terrific to be the author who makes the agent’s reputation because of your success?

Heck yeah that would be fantastic. Over the years, I’ve heard back from many a writer who turned me down early in my career before my reputation was solidified. (By the way, I hold no ill will as I completely understand that I was unknown then. It’s a bigger risk than signing with an established agent.) It’s just interesting that years later I will often hear from some of these writers. They’ve sent me lovely notes highlighting that they wish the could turn back time and say yes instead.

With Danielle, Joanna, and Quressa, here is your chance. Risk-free. These agents are aggressively growing their client lists at NLA. Under my tutelage, they are honing their tastes so editors know to move their submissions to the top of the reading pile. They are learning exactly what it means to be a top agent in negotiation. They are learning how to analyze royalty statements, assess foreign deals in a context, and leverage Hollywood effectively. They are watching and learning how to manage a “big” author’s career. They are learning how to be a top agent.

And the best way for you, the writer, to be a part of that is to say yes to an offer of rep from them in 2018.

I’m going to make a bold prediction: these three ladies are all going to be considered top agents within the next 5 years. Agents whose client lists you’ll want to be a part of.

And all you writers need to do is say yes when they offer in the new year.

*grin*

Creative Commons Photo Credit: dlovins99


Writers! 5 Survival Tips For The Holidays

The natural delays during the submission process are agony enough for authors, and the whole waiting game gets even worse as we move into the winter holiday season.

But there are some things you can do to help yourself feel like progress is being made, no matter what stage your writing project might be in!


Writers, if your project is currently on query submission, here are 5 tips to help you make it through:


* Thinking about pressing send on that spankin’ new query letter and opening pages email you’ve ben working on? Consider waiting until January 2. Agents are trying to clear the decks. You have better odds if agents aren’t in a hurry.

* Have a query currently out to agents? The odds are probably 90%+ that you will hear a response before the end of the year. Be zen about whatever that response might be. There are new agents to query and new projects awaiting your creative muse.

* Write up a query letter for a novel you haven’t even started yet. Just for fun. Sometimes that very process can help you crystallize your hook or story concept.

* If you just finished NaNoWriMo in November, give yourself permission to take a break from this whole publishing treadmill.

* Eggnog Chai. Just trust me on this one. Probably won’t help your writing, but it will improve your holiday outlook in general.


Writers, if your Agent currently has your project on submission, here are a couple of tips to help you cope:


* You might hear something before December 15, as editors are trying to clear their desks for the new year. But if you don’t, quit checking email. You can do it. Shut that laptop down. Enjoy family instead.

* Make time to write something wholly new, and maybe just for fun, over the holidays. Believe me, you are going to get knocked off your writing schedule. And that’s okay. Just book an appointment in your calendar for writing time. Let it be just as important as everything else you might have scheduled.

* Find a new place to write. Coffee shops and bookstores might be extra crowded and noisy during the holidays. Try a local library instead.

* Set one writing goal, hit it, and then reward yourself with something you’ve been wanting all year.

* Do one thing that makes you feel like a writer. Maybe it’s registering for that class or writing conference you’ve had your eye on. Why not try setting up a happy hour with other authors in your neighborhood or city?

Creative Commons Photo Credit: Alex Janu


5 Qs Authors Don’t Ask but Should When an Agent Offers Rep

In the last two weeks, we at NLA have offered representation to seven authors, most of whom received multiple offers. All agents are aggressively seeking new talent right now! It’s awesome to talk to savvy authors who have a list of good questions prepared for their initial conversations with prospective agents, questions like:

• What is your communication style?
• How would you describe your dream client?
• What is your editorial vision for my work?
• What would your submission strategy for this work be if you took it on?
• What happens if my project doesn’t sell?
• Are you open to me writing in different genres?
• Can I chat with a current client?

All these are questions you should ask; you definitely want your agent to be a good personality match and share your vision for your career. But you also want that agent to be your best advocate and protect your business interests in the publishing industry. With that in mind, here are five key questions authors should also be asking, but in general I never hear:

1) What is the average duration of a contract negotiation at your agency? At NLA, average time is three or four months, as we’ll stand firm on key clauses until a compromise is reached. We don’t rush it. If a publishing house has recently revamped its boilerplate contract, then that timeframe can more than double, as we’ll have to negotiate the boilerplate contract first, and then negotiate your specific deal.

2) Will I be involved in seeing the original offer and then the final offer from the Publisher? NLA always shares with our clients the details of the first offer and what we negotiated to create the final offer. Clients are always invited to participate in the process and weigh in.

3) Will I have a chance to review the original contract from the publisher as well as all the requested changes documentation, and then the master redline of the final contract I’ll be signing? Can you walk me through any contract clause that I might not understand? At NLA, we share all this documentation, whether clients want to read it or not, so that clients are 100% confident that their deal and contract have been fully negotiated. And I’ve spent many an hour on the phone or Skype, combing through contract particulars with clients to make sure they’re completely comfortable with what they’re signing. Most agencies simply forward on the final contract for signatures, and that’s it.

4) Do you regularly audit royalty statements? How much money has the agency recovered by doing so? At NLA, we’ve recovered hundreds of thousands of dollars over the years for our authors because we regularly catch errors when auditing their royalty statements. And we catch errors in almost every accounting period—that’s how frequently it happens.

5) How many non-agent support staff are at your agency? This is important, as it’s very hard for an agent to do all of the above, and do it well, without significant assistance from non-agent support staff. At NLA, we have three agents and a team of six in-house non-agent support staff to protect our clients. Most agencies have a lot of agents and very little, if any, support staff. The agents are expected to be independent silos and handle all of the above plus all agenting duties. It’s not possible to juggle all that without letting stuff fall through the cracks.

Bonus question to ask if you are feeling bold: What percentage of your clients make their living solely from writing? If you ask me this question, I can truthfully say that 95% of my clients earn their living as authors—meaning they earn enough money to support themselves without a secondary job or support from a partner.

Back in the crazy days of the late 2000s, there was a popular agent, active on social media, who landed a lot of clients, posted some sexy six-figure deals, and then disappeared. I ended up taking on a former client of this now defunct agent/agency and realized, to my horror, that the author had been signing boilerplate contracts with no negotiated changes. The agent hadn’t negotiated a thing! The author was new to the business and had no way of knowing the agent wasn’t doing the job. Even though that agent looked hot from the outside, s/he had actually done very little to protect the client’s interests.

You can make sure that doesn’t happen to you. This is your career. Ask the above 5 Qs. After all, these aren’t the sexy tasks, but they do affect an author’s bottom line. Don’t feel uncomfortable or worry that you might insult the agent. If an agent becomes defensive when asked legitimate questions, then chances are that agent isn’t right for you.

Stay smart, savvy, and shrewd. Check out my “What Makes a Good Agent” article series on Pub Rants. You are your own best advocate.

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