Pub Rants

Category: agenting

Turnaround Time

by Kristin Nelson

STATUS: It was a hugely, crazy day and I have 10 minutes to blog before my evening commitment.

What’s playing on the iPod right now? DIDDLEY DADDY by Chris Isaak

I have a new goal this year. For current clients, my goal is to turnaround a read for a proposal with sample chapters in a matter of days (I’m actually achieving this!). If a full manuscript, two weeks.

So far I haven’t managed the latter. It’s taking me more like 3 weeks—edging into four (for which I’m always feeling incredibly guilty about). I do, however, always send my clients email updates with where they are in the queue and my estimated read time (which is invariably off by a couple of days but not usually more than that).

I’m in awe of agents who turnaround in less than a week consistently. I think I’m a fast reader but I guess not that fast.

So why so long for the turnaround on a full?

Well, it comes down to only being able to read at night or on weekends. And if you end up actually having a life while also being an agent (something I would argue is kind of scarce for agents), an evening commitment will nix an evening reading slot. That means it has to wait for the weekend.

There are only four weekends in a month. I can do maybe one full and half over a weekend. Depends if I’m just reading or if I’m doing the edit (as in for revisions before submission). And if there are five or six client manuscripts in the queue…

You can see where the turnaround time starts getting stretched.

Still, I’m committed to this goal. Now if I can just convince my clients not to all submit within a week of each other…

Doing It Exactly Right

by Kristin Nelson

STATUS: It’s a late one. Pretty much tells you what a busy day it was but the Nuggets just edged out the Lakers.

What’s playing on the iPod right now? BELIEVE by Cher

Last week I got a call from an unagented author who had an offer on the table from a publisher. She handled the whole situation exactly right so I had to share.

She received the offer and kept her head. She asked the publisher to email the deal points to her and said she would respond in a week. She was gracious and professional to the offering editor.

Then she started calling agents.

In her phone message, she quietly and carefully stated the following:
–her name
–the offer on the table
–the publisher
–the time frame in which she needed agents to respond
–her contact info

I returned her call immediately. She was calm and professional on the phone while explaining her needs. She had obviously prepared for an agent conversation and answered questions immediately when asked.

Ultimately the project wasn’t right for me so I ended up passing, but I think whichever agent she lands will be pleased with her as a new client on his/her list.

Why It’s Probably Not A Good Idea To “Pop By”

by Kristin Nelson

STATUS: I didn’t accomplish nearly what I wanted today. Yuck.

What’s playing on the iPod right now? GUILTY by Bonnie Raitt

I admire the passion that would propel a writer to want to pitch a book in person to an agent and at the agent’s office.

The motive is admirable; the actual deed is not.

Please! I strongly recommend that you don’t follow this impulse. Regardless of the desire, it can be viewed as unprofessional and despite my best efforts, I end up having to be firm about saying NO about not taking the pitch in person—which is always construed as being rude.

Yes, you can probably guess this happened to me today. Not to mention, if the popper by is aggressive enough (as in not taking NO for an answer via the intercom and waiting in the lobby until somebody exited so they could come through a secure entrance), the whole action can be viewed as a little threatening. Now that wasn’t the case today but you can see where it could be.

When I mentioned the incident to a friend, he said “Your daring intruder may be right about the importance of sharing her passion for her project, but she has a few things to learn about listening, boundaries, and respect.”

And ultimately in the end, agents want clients who understand that.

Last On The List

by Kristin Nelson

STATUS: It was a gorgeous spring-like day in Denver. The kind of day where you just want to sit out at sidewalk café drinking latte rather than working. I controlled myself though.

What’s playing on the iPod right now? (I JUST) DIED IN YOUR ARMS by Cutting Crew

I have to admit that I’m a little behind in reading sample pages and several full manuscripts that I’ve requested.

And not because of lack of desire. I’d love to find something new and exciting.

It’s basically because I have a lot of client material that needs to be read, reviewed, or edited and they are my first priority.

I prioritize by the axiom “live close to the money,” and since it’s my current clients who are earning the dinero, their current projects need to get complete and out on submission before I tackle anything new. And yes I understand that a new project can be money if it’s exciting enough but like a John Cusack film, I’ve to go with the sure thing first.

And I know all of you were thinking she prioritizes based on the axiom “show me the money” but you’d be wrong.

I negotiate by that axiom. Big smile here.

Going Hollywood

by Kristin Nelson

STATUS: Busy but I’m feeling productive. Contract stuff is still dragging along. So close to finishing too. Maybe it will all resolve tomorrow.

What’s playing on the iPod right now? THE IMPRESSION THAT I GET by Mighty Mighty Bosstones

Am I making too broad a statement by saying that every author dreams of having their book made into a movie?

After all, Hollywood butchers it more often than not. Still, I can’t think of a better 2-hour commercial for a book than a movie. There is no doubt that it sells books—even if the movie isn’t good.

But I think writers are often a little clueless on how a book-to-film deal works. (And I know this by all the queries from screenwriters that I receive.)

Let me clarify to begin. I rep books. I don’t rep screenplays. I sell the print and subsidiary rights for my clients’ projects. Film/dramatic rights are simply one of the subsidiary rights that I shop so my clients can earn more money.

I get queries all the time from authors who have published their works with small publishers and are now looking for someone to shop just the film rights. I don’t do that. I only shop film rights of client projects for which I’ve sold the primary print rights. Why? Because Hollywood is always such a long shot that the money isn’t worth it otherwise. I’m only willing to expend the time and energy for my own clients. Make sense?

To do this, I have Hollywood co-agents because they are the experts (just as lit agents are the experts in publishing). As partners, we split the 20% commission for the sale.

But I don’t work with just one co-agent. I tend to work with a variety of folks at the various book-to-film agencies in L.A. Why? Because the co-agents choose which projects they like and think they can sell. Just because I partner with them doesn’t mean they are willing to take on every project for which my agency sold the print rights. Co-agents want sell-able projects and although lots of stuff is published, not all of it works for the screen. It’s always on a project-by project basis.

That’s why literary agents partner with more than one co-agent. Sometimes it’s simply a matter of finding the right fit (almost like finding the right editor). I’ve had one Hollywood co-agent pass on a project that wasn’t his/her cup of tea only to have it picked up by a different co-agent who loved it and sold it.

Ultimately, I need a co-agent who is enthusiastic enough about the project to keep pitching it even if it doesn’t sell right away.

Sound familiar?

Do Agents Make Clients Revise?

by Kristin Nelson

STATUS: Snowing again in Denver. I think I’m tired of snow (and I thought I would never say that). By the way folks, I said SOME agents keep blacklists. I didn’t say I keep one. And if you’d rather I not be honest with you… then I certainly don’t have to share what is the truth in this biz. But personally, I’d rather let you know the inside scoop—even if it’s not shiny.

What’s playing on the iPod right now? ALL STAR by Smashmouth

Do agents ask their new clients to revise?

In short, yes.

Here’s how it works for me (and I certainly don’t speak for all agents). I don’t sign a client on unless I feel comfortable with sending out the manuscript as is. Why? Because if the client decides not to revise, and that’s his/her choice, I have to be game to submit it regardless.

Now lucky for me, every single one of my clients has been delighted to get feedback. And when I send my critique electronically in track changes, I say, “take what works and ignore what doesn’t.”

Ultimately it’s their story so a revision has to feel right.

This is why I often pass, with regret, on manuscripts that I like a lot but just need too much work before I could be comfortable sending it out. Now often I’ll write a detailed letter to those writers if I’ve read the full in an attempt to give helpful feedback. Often I’ll give them the option to resubmit if they do choose to revise. The manuscript has to be pretty close or in my mind, easily fixed via a large revision.

When I send my revision suggestions to my authors, my comments aren’t always 100% right but what they discover is that I usually put my thumb on what is problematic—even if my proposed solution isn’t quite right. It just gets the author thinking and analyzing and often he/she will come up with a new solution that makes sense to them and the manuscript.

They revise based on that. Now they always feel obligated to explain their reasoning for not making my suggested change, which mostly amuses me because they don’t have to. It’s their novel; their word goes.

Reading That’s Not So Much Fun

by Kristin Nelson

STATUS: Just finished the contract. That’s a way to end a Friday.

What’s playing on the iPod right now? EVERY LITTLE THING SHE DOES IS MAGIC by The Police

And since I have contracts on the mind…

I pretty much have to say that a contract is agent reading that’s not so much fun. It’s slow and detailed work–even if you already have a boilerplate with the publishing house. You would think that an already-negotiated-boilerplate contract, even for a new client, would be a snap. Plug in the new items and away we go.

Nope. You still have to ascertain whether all your boilerplate items are included. Take today’s contract for example. I caught over 10 items that are normally included in my boilerplate for this house but were just missing in this contract draft.

And before you leap to any conclusions, I don’t think it’s the pub house being deliberately nefarious or anything. Chances are good that they used an older version boilerplate to create this draft instead of my most recent contract at the house which would include all of the most up-to-date clauses.

So even with boilerplates, every contract has to be viewed and negotiated like it’s the first time.

And I bring this up because some unagented authors do their own contract negotiations and if it’s time for a new contract to be generated for your next book, don’t just assume it will be exactly the same as your first. Don’t skim it. Read it just as carefully as your first. You might be surprised at what is missing.

Reading For Fun

by Kristin Nelson

STATUS: Working on a contract.

What’s playing on the iPod right now? BEEN CAUGHT STEALING by Jane’s Addiction

I’m not sure why but writers are sometimes surprised that agents read for fun. Granted, we don’t have a whole lot of extra time to read for pleasure but all of us still do it.

So of course we read for fun. After all, it’s this passion that got us into the biz to begin with. Not to mention, in a slightly off-beat way, it’s also part of our job to stay current on recent releases. We track what’s hot and why. We read what hits the bestseller lists or what is getting a lot of buzz.

This becomes super important when reading partials. Why? Well, there are leaders in each genre and try as they might, some writers can’t help but be a little derivative of the leaders in their field. It might be unconscious—the mimicking of a premise or a world building construct or what have you.

As agents, we need to spot this. We need a work to be wholly original and not just a really well done copy of something that’s currently out there.

How else can we know this unless we read?

So what’s currently on my nightstand? Scott Westerfeld’s UGLIES. My sister-in-law, a Middle School Principal, has been raving about how much she loves these books and how my nieces really enjoyed them as well.

With these endorsements, it behooves me to pick it up and see what the fuss is all about.

Too Many Agents!

by Kristin Nelson

STATUS: Office move. Chaos. Sneezing from way too much dust. Slightly crabby.

What’s playing on the iPod right now? Well, I found my iPod stereo but didn’t have my iPod with me. Knocks hand against forehead.

Last week I did an email interview for Finn Harvor’s blog Conversations in the Book Trade (I don’t think it has posted yet). He asked me an interesting question. He wanted to know if I thought there were too many literary agents working currently in the field.

Jokingly I replied that when I’m vying against several other agents for the same client, then yes, I’d have to say there are way too many agents.

Guess what happens today? I read a fab project that I must have. I have a great conversation with the author. And yep, you know it. Five other agents also want to sign her.

Five good agents. Five agents that are tough competition (I grumble to myself). I’m happy to be one of the five but lol, too many agents!

But if you’re reading (and you know who you are), pick me. Hehe

(hey, do you think this blog gives me an edge on the competition?)

No Agent Answers Hotline

by Kristin Nelson

STATUS: Everything is in chaos because my agency is moving to larger office space starting this weekend. I’m carefully marking boxes that have the “must open immediately” important stuff like my contracts that are currently in process. Now half the boxes have the urgent pink label on it. Hum…

What’s playing on the iPod right now? WHITE FLAG by Dido

Just recently I’ve been receiving a rash of phone calls from writers who are calling because they want free advice about their publishing career. I don’t know why but this always surprises me. Do they think I’m going to actually return these calls? I’m nice but…

Now I realize that by writing my blog, I’m putting myself out there and that writers will often feel like they “know” me but I want to gently remind all readers that I’m not a personal consultant that a writer can just ring up and get a question answered. This isn’t the agent answers hotline (but heck, that’s a brilliant concept for an enterprising individual!).

I’m certainly committed to helping writers. Just know that the extent of my free advice is what I give via my blog and my eNewsletter.