Pub Rants

Category: Agent Kristin

For over a decade NLA has compiled our yearly stats. This year is no exception but with one big surprise in the data. And it’s all about queries and the possible impact of Covid.

4 : Number of agents at NLA (same as in 2019)

1 : Number of agents who made the Publishers Weekly Star Watch Finalists List. Congrats Quressa!

13,561 : Queries read and responded to. QueryManager gives us an exact number now. As a team, agents were closed to queries for 27% of the year, including for 8 months for Kristin, but we also think it’s because fewer writers queried in the time of Covid, so this is down from 14,000+ in 2019.

430 : Number of full manuscripts requested and read (up from 354 in 2019, as we had more time stuck at home to read): 71 requests for Kristin, 173 requests for Danielle, 77 requests for Quressa, 109 requests for Joanna.

106 : Number of manuscripts we requested that received offers of representation, either from us or from other agents/agencies (down from 127 in 2019, which might mean fewer folks have work out there on submission).

13 : Number of new clients who signed with NLA (1 for Kristin, 4 for Danielle, 4 for Quressa, 4 for Joanna). Four was the magic number for everyone except me, and this is down by only 1 from 2019, so go NLA team!

39 : Number of book deals done (16 for Kristin, 5 for Danielle with 1 debut, 11 for Quressa with 2 debuts, 7 for Joanna with 4 debuts). Way up from 26 in 2019.

2 : Number of debut New York Times bestsellers (1 for Quressa and 1 for Joanna, whose client debuted in the #1 position on the list!).

48 : Number of career New York Times bestsellers for Kristin (up from 45 in 2019).

8 : TV and major motion picture deals (6 for Kristin, 1 for Quressa, 1 for Joanna). Down from 11 in 2019.

41 : Books released in 2020 (down from 45 in 2019).

70 : Foreign-rights deals done (54 for Kristin, 7 for Danielle, 9 for Quressa). Down from 106 in 2019. Thanks, Covid.

0 : Physical Conferences attended. Thanks, Covid. 

2 : Virtual Conferences attended by Kristin (both Denver-based: Lighthouse Writers LitFest and the inaugural Margins Conference). 

102 : Physical holiday cards sent (down from 180 in 2019 as we only sent to clients during this Covid year).

837 : Electronic holiday cards sent (down by one from 838 in 2019).

Not telling it’s so embarrassing : homemade eggnog-chai lattes consumed during December because I wasn’t popping out to Starbucks.

Lots : Late nights reading on my living-room chaise and missing my dear, dear Chutney. Reading full manuscripts is just not the same without her.  

Creative Commons Photo Credit: Clint Budd

On October 15, Publishers Lunch sent out their daily email blast. In it, they rounded up the pre-sales happening before the virtual Frankfurt Book Fair and included this chart, which spotlights the surge in debut-fiction sales. To quote from the article: “As this chart makes clear, the 59 reports in the measured period are almost twice the average number of debut fiction sales from recent years.”

In a nutshell, the number of book deals for debut authors is up in a big way. Sounds pretty fantastic. Publishers are buying more debut authors during Covid than they did in 2019 or 2018. Any news that publishers are buying lots more fiction is good news, in my opinion.

But there’s also another story hidden in this data, one that’s not all rainbows and sunshine for already published authors. When publishers are buying more of one thing, they’re buying less of something else. In this case, that “something else” is most likely option-material projects from current authors who find themselves firmly on what we agents call the mid-list.

A mid-list author is an author who has a book (or several books) published and has decent sales, but none of their books have become a breakout—that is, we wouldn’t call sales for any one of their books phenomenal. A mid-list author can have a long and terrific career, publishing multiple books and maintaining solid sales track records. Historically, publishers have continued to buy new work from mid-list authors; sometimes, a mid-list author can publish four or five books, and it’s number six that breaks and catapults them into superstar standing in their publisher’s eyes. And then there are a lot of mid-list authors who publish three books, maybe five books, don’t break out, and the publisher decides not to pick up the option for the author’s next work. Suddenly, that author is contract-less.

That’s the hidden story in this chart from Publishers Lunch. Debut buys might be up because mid-list option buys are down. Anecdotally, this is what I’m hearing from quite a few other agents, as we do all like to chat with each other. What does this mean for agents in 2021? We’ll potentially be doing a lot of client career strategizing for the next six to twelve months as we position anew our mid-list authors. And we might be signing more debut authors as well. So check out our submission guidelines and keep us in mind for your next project!

Note: Only Publishers Marketplace subscribers can potentially access the full news story.

Creative Commons Photo Credit: winnifredxoxo

As we head into August, we are officially settled into a new, semi-permanent state of Covid. What does that mean for publishing in 2020, and what does it mean for authors?

For publishing:

  • Editors will not be going into their main office spaces for the rest of 2020.
  • Agents are getting quite good at Zoom coffee chats as a way to connect with or meet new editors.
  • I’ve seen a lot of editors’ and publishers’ living rooms, and they’ve seen mine.
  • Marketing meetings are full-on eight- to ten-person Zoom gatherings, which is kind of fun.
  • Editors are still acquiring. All agents at NLA have closed deals since March, one of which was a pre-empt for a debut author. That particular project was submitted on a Friday, and the editor pre-empted the following Monday.
  • Marketing directors and publicists are getting remarkably good at leveraging virtual spaces—although the verdict is still out on how their efforts are translating to book sales. (Although one agent here at NLA had her debut author land on the New York Times bestseller list!)
  • Publishers are taking the time to re-evaluate leadership and hiring practices, and they’re rethinking publishing’s lack of diversity and representation.
  • August is not going to be the dead month. Traditionally, that’s when most editors and decision makers go on vacation, so agents usually avoid submitting until after Labor Day. Not this year. We are in it full speed.
  • There will be no travel to New York. Oh, I miss my Manhattan neighborhood walks and excellent pastries! And no international travel to book fairs for the foreseeable future, mainly because America is not getting a handle on the coronavirus, so there are travel bans or mandatory 14-day quarantines. 

For authors:

  • Known and established authors are seeing a rise in sales as readers gravitate to the tried and true.
  • Debut authors are having a rougher time. More creative strategies are needed to make debuts stand out. Hard to say whether more debuts would have broken out in the past six months if COVID hadn’t happened. I have no statistics, but I would say, yes, we probably would have seen higher numbers for newly published authors had the pandemic not been a factor.
  • Mid-list authors, as always, will be the most at risk. Editors, driven by decision makers with the final say, are scrutinizing option material, only looking for the “bigger” books and often passing on subsequent books by authors who haven’t broken out. That leads to a need for more career strategizing between author and agent.
  • Big books are going for big money. But the definition of a big book might be narrower now.
  • Film/TV deals that would be great for animation are hot properties. That is one field of Hollywood that is pandemic-proof, so all studios are aggressively looking. 

If you are an aspiring writer, you need to stay the course. The world could shift once again if a vaccine becomes a reality. And no matter what, publishers still need books to publish to stay afloat. 

Creative Commons Photo Credit: Miki Yoshihito

(Just a note, this article was featured in our November 2019 Newsletter. Some references may not correspond with recent events. To receive our articles first, you can subscribe to our newsletter here.)

It seems like yesterday that I launched my agency, but it has actually been seventeen years. I could write a whole article about how much has changed in the last two decades (the rise of ebooks, anyone?). But there has been another tectonic shift in an unexpected arena in the last two years—one that has been consuming an incredible amount of agent hours in the day. Still, authors should be rejoicing. This is THE time to be a content creator, and I’ll explain why.

I used to be pretty dang proud of the fact that in my first fifteen years of agenting, I did more than thirty film/TV deals. It was hard to land an option, and I was averaging two a year. Stellar numbers! Now I laugh as I write this article.

Why? Because with the advent of streaming (Netflix, Disney+, Apple, Amazon Prime, and the list goes on), all these platforms want content, content, content. The result? Film/TV options coming from every which way.

In the last two years, I’ve done fifteen film/TV deals, and I have another two coming down the pike in just a few weeks. That is a stunning number of option deals. So yay for clients! But as an agent, working through film/TV deals right (terms are getting onerous, and Hollywood is trying to make a grab for a lot of rights), any negotiation can take five to eight months to complete—with numerous rounds on potentially deal-killing issues. My fave? When a producer or studio insists on “novelization rights” when they are buying an existing novel on which to base their movie. Yep, you read that correctly. Needless to say, any insistence on that point will kill the option deal outright.

In good news, we almost always manage to find common ground so the deal can happen. But it can take a lot of phone conferences, emails, and conversations to make it so.

A lot of agenting hours in the day dedicated to something other than selling an actual book to a publisher.

Creative Commons Credit: Tri Nguyen

For us here at NLA, it was paramount to get June’s newsletter right. We are living in a civil rights moment in history; we simply couldn’t do a business-as-usual publishing article. We embraced and then discarded many a topic for this space. None seemed right (and many would be powerful articles, but my voice is not what needs to be heard in this moment in time).

Then we realized we could release this newsletter on June 19, 2020: Juneteenth. One way to honor #BlackLivesMatter is to amplify black voices in literature on this date. So that is what we are doing.

What is Juneteenth? It is a holiday observed each year on June 19 to mark the official end of slavery in the U.S. For the history of this holiday, let me pass the mic to Henry Louis Gates, Jr., who is an Alphonse Fletcher University Professor and the Director of the Hutchins Center for African and African American Research at Harvard University.

To honor Juneteenth, we encourage our newsletter readers to buy a book, fiction or nonfiction, by a Black author today. Actually, buy two, or three, four, or more. At a loss for ideas? This is by no means an exhaustive list; however, we are positive that you will find a gem.

NONFICTION

NLA BOOKS

LITERARY

HISTORICAL

COMMERCIAL

SCIENCE FICTION & FANTASY

YOUNG ADULT

LINKS & LISTS

Creative Common Photo Credit: XoMEoX

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. 

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

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

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