Pub Rants

Category: agenting

The Usual Suspects

by Kristin Nelson

STATUS: I’m having weather shock. It snowed lightly this morning in Denver. Such fond memories of the beach…

What’s playing on the XM or iPod right now? LEAVING LAS VEGAS by Sheryl Crow

On Friday, I was reading through the daily emails from Deal Lunch to see what sold this past week. And sure enough, I saw the deal for a YA project that I just loved, offered rep, but the author went with another agent. Project went at auction too! I could have called that. *grin*

Obviously with the posting of the deal, I got to find out who the author had chosen. And drat if it wasn’t a usual suspect. There are certain names that just keep reoccurring if the author doesn’t choose me. If I love a project and offer rep, I can almost always name the other 6 possible YA agents I’m probably up against. We just have the same tastes. And they are all great agents so talk about stiff competition. But since they are all so terrific, I don’t lose sleep over it. If you are going to lose out, lose out to the best. At least I saw the project.

I bet this happens to editors too. They don’t win an auction and they find out who else participated and I bet they run into the same reoccurring names all the time as well.

But darn those usual suspects…

Friday Funnies

by Kristin Nelson

STATUS: Sun popped out. Yay. I was worried it was going to rain.

What’s playing on the iPod right now? QUANDO, QUANDO, QUANDO by Michael Buble

This article totally cracked me up. Stop the New York Times Presses. Huge news flash.

New York City agent moves from Manhattan to….

Brooklyn..

And can still do his job as a literary agent!

I’m still chortling.

One More Question To Ask During The Agent Interview

by Kristin Nelson

STATUS: Totally on a 70s kick!

What’s playing on the XM or iPod right now? WE DON’T TALK ANYMORE by Cliff Richard

I get that a good majority of you might be thinking “could I just get to that place where I’m asking agents questions because they want to rep me” but in the event that you do, I think there is one more question you should add to your list:

Do you enjoy agenting and do you see yourself being an agent for the long-term?

Now, of course, an agent can always agree in an enthusiastic affirmative and still leave 6 months or a year later but I imagine authors don’t often ask this question. The answer could be interesting or telling. (Or it might not.)

I bring it up because I recently read about an agent leaving the agenting biz to take an in-house publishing job.

Big deal, right? Well, not really but we here at NLA were kind of bummed because this agent-no-longer had landed a client or two that we had been vying for when the author was on submission to agents.

This doesn’t mean that they would necessarily have gone with us at the time if the author had asked that question.

Still, probably worth adding to your list.

Why You Can’t Buy An eBook In English Outside The U.S.

by Kristin Nelson

STATUS: Oh, I’ve got a lot to accomplish today.

What’s playing on the XM or iPod right now? LIFE IN TECHNICOLOR by Coldplay

A couple of weeks ago we got an email from a rather upset reader in Denmark. He wanted to buy Gail Carriger’s SOULLESS as an eBook in English for his eReader. According to this fan, he is Danish but reads most of his novels in English. He could see that it was available in the US without a problem but why couldn’t he buy it?

I imagine this fan is not the only non-US resident with this question so I’m going to tell you why he can’t buy the US English eBook version in Denmark (or wherever outside of the US). And yes, we did send a letter to this person explaining why.

It’s a sticky situation folks. As eBooks have global capacity in the English language, the reason why it may or may not be available resides in the initial rights/territories granted to the publisher when the deal was made for the print edition.

I know, not exactly what you wanted to hear when you live in Timbuktu and you just want to buy the dang eBook. Doesn’t the author and the publisher get the money?

So let me see if I can explain more clearly because trust me, it’s causing headaches for agents, for authors, and for publishers, and there is no easy fix-it solution.

If I sell Title X for North American rights only, then that means the US publisher is only allowed to sell its English version in the US, Canada, US territories (aka Philippines etc), and non-exclusive in select countries in the rest of the world (clearly listed in the contract). Print or ebook. The reason for this is that we want the ability to sell English to UK or ANZ (Australia) separately and UK/ANZ insists on certain “exclusive territories” for its print and electronic edition.

Are you starting to see the problem? If UK/ANZ hasn’t been sold, then no eBook version in English is available in let’s say Denmark because Europe is considered exclusive to UK in terms of selling the English edition.

Now, if an agent and author has granted World English or World rights to the US publisher, then there is the possibility for the US publisher to sell its English version world-wide in print or eBook. I say “possibility” as the US publisher may still want to sublicense property to UK or do a deal internally with a sister-UK/ANZ company who will want its version exclusively in certain territories.

So, it’s not just a matter of the author or US publisher giving Amazon or Apple or BN or Whoever a thumbs-up to sell away the English language eBook from their distribution channels in other countries. It all depends on the contract.

And yes, we ALL understand that with the electronic book there is now a greater global market for the English language version that needs to be exploited but with all English-speaking territories wanting to protect their exclusive sales area for their version, it’s a bit of tangle with no easy solution.

And yes, I get that avid readers may simply pirate an eCopy when the legal/legitimate one is not readily available. We aren’t stupid but the industry is not shifting fast enough to implement a quick solution.

A Story The Editor Will Never Know

by Kristin Nelson

STATUS: Doing all the crazy wrap-up before the three-day holiday weekend. Yes!

What’s playing on the XM or iPod right now? LEAVING LAS VEGAS by Sheryl Crow

I’ve mentioned before what I call The Curse Of The Sophomore Novel. For whatever reason, authors invariably trip when it comes to writing the next novel after their debut.

My hypothesis is that the first novel took many years to write, had lots of feedback and many drafts. Then novel 2 needs to be written on deadline and usually in under a year’s time. With that crunch, a lot of talented authors kind of blank on all the great tools they used in the debut novel that made it so good. By the way, it doesn’t matter how talented the author, what genre the author writes in, or how many previous novels he/she has under her bed. More often than not, a new author will whiff on book 2.

Good agents anticipate and prepare for this—which leads me to a terrific article my author Kristina Riggle just sent me from Poets & Writers. Editor Jofie Ferrari-Adler has been doing a series of articles on editors and agents and every one of them is a gem. If you haven’t seen them before, I suggest tracking all of them down.

What this month’s article tackles is best described in Jofie’s own words. He says: “This is a story about literary agents. It’s a story about good literary agents and bad literary agents and, more specifically, it’s a story about the tireless, often intangible work that good literary agents perform for their clients during the period after the contract is signed but before the book is published.”

Interestingly enough, none of the agents in the article tackled the curse of the sophomore novel so I thought I would in today’s post.

As I mentioned, good agents anticipate the curse. I always strongly recommend that I see the sophomore novel before it’s delivered to the editor. In fact, I encourage our authors to send it to me (if at all possible) 2 months before the delivery deadline to the editor. Just in case. Occasionally, the author does just fine and the sophomore novel is great. No intervention necessary. More often than not, the curse has reared its ugly head.

For the story I want to share, the editor (to this day) does not know—and this is why details will remain anonymous. In fact, I should say “stories” and “editors to this day don’t know” because it’s happened more than once and none of the editors know.

Author delivered the cursed sophomore novel. I read and said “good heaven! This won’t do. The poor overworked editor will blow a coronary if we send this on.”

Called author and delivered the bad news. Then buckled down with the author to, literally, rewrite the entire novel in 6 weeks. (The author sent me 2 chapters every 2 or 3 days. I would edit and turnaround in 2 days to shoot it back. Author would send next batch and while I had that, author reworked already edited chapters until entire novel was revised.)

Author delivered wonderful “first draft” of novel to editor on deadline.

Couple weeks later, editor called just to tell me what a pleasure reading the novel was and how the editor has never had such a clean sophomore novel delivered to her before.

I responded with “I know. Isn’t the author amazing?”

And I’m positive I’m not the only agent to have ever done this.

By the way, this only ever happens to an author once. After the sophomore curse, the author never missteps again.

Happy 4th of July! See y’all back here on Tuesday.

Talk About the Money

by Kristin Nelson

STATUS: If I read my latest Publishers Weekly magazine at the same time as getting a pedicure, does that qualify as working? Hey, it’s summer time.

What’s playing on the XM or iPod right now? I AND LOVE AND YOU by Avett Brothers

Last weekend I spoke at my local Lighthouse Writers Litfest. They wrapped up two weeks of celebrating literature and authors with an agent panel at the Tattered Cover in Lodo (which stands for Lower Downtown)—and to be honest, agents doesn’t sound overly celebratory to me but hey, they thought that was the way to do it. Didn’t you know that most of us are full of hot air?

One of the questions asked at the panel was how much of an advance can a writer expect for a debut novel.

Admit it. All of you just perked up your ears. Always, always, writers want to know about the dollars involved. The problem is that this question is really hard to answer. Depending on the novel, it literally could go for any amount of money.

When pressed, which happened of course, the audience wanted to know what was “typical.”

Once again, no such thing but if you hold a gun to my head, I’ll say this:

1. Most debut novels will have advances of under 25k per book. I’d say that’s typical.

2. What a debut novel will get for an advance will depend on genre.
a. Romance novels—5-15k per book
b. YA or MG—10-30k
c. Mysteries & thrillers—Uh, no idea. Don’t rep them. Janet Reid, my friend, can you chime in here? I think you are the Queen of repping this genre.
d. Literary fiction—10-30k
e. Women’s fic—10-30k (are you noticing a pattern here?)
f. SF&F—5-25k

Okay, fine. I told you the money—as long as you realize this list is meaningless, we’re fine.

Have I sold a debut romance author for six figures? Yes. Debut literary author for six figures? Yes. SF&F debut author for 6? Not yet (but I’ve gotten really close…).

Etc. It all depends on how many editors want your particularly debut novel. For my part, I often feel the most satisfaction for selling a debut that took forever to place (and the author was on the verge of giving up hope) and the novel I sold for peanuts that then exploded and just sold and sold.

Now that’s the kind of money I like to talk about.

One Possible Peril Of A Multi-book Deal

by Kristin Nelson

STATUS: Heading out into a glorious day.

What’s playing on the XM or iPod right now? THE OTHERSIDE by Breaks Co-op

I’m pretty sure I’ve blogged about this sometime before but it could have been years since my last entry on it for all I know. One of the perils of a multi-book contract is a little detail called joint accounting or cross-collateralizing the titles.

For the record, our agency won’t do joint accounting. All the publishers know that and if they want to insist on it, then we can only talk about selling one book and any multi-book contract is nixed. I see absolutely zero benefit in joint accounting for the author. However, some well-respected publishers do like to push for it—especially for debut authors. Tor being one example. Some houses never practice joint accounting. Harlequin being one example

First off, what is it? Basically, it means that the multiple titles sold are linked in the accounting. Let’s say an author does a 2-book deal. It’s not a series so each title stands on its own. Let’s say the advance was $30,000 (15k per title). In joint accounting, the author would not see any monies beyond the advance until both titles earned out the 15k because of the linked accounting (even if book one has already earned out).

With no joint accounting, each title has its own separate accounting so once the 15k earns out for book one, the author doesn’t have to wait for the other title to earn out to earn royalties on that first title. Or vice versa. Each title is separately accounted.

That’s it in a nutshell. If you are only selling one book, this is never an issue. It’s only a point of discussion if an editor is offering for several books.

As a matter of practice, when an editor calls to offer for 2 books (or 3 or whatever), I always begin the convo with “our agency will not do joint accounting. Given that, are we talking about one book or more than one?” This establishes it before anything else so it’s not even a factor as the negotiation unfolds.

Once again, I can only speak for myself. Other agents might differ on their opinion of this. You might be wondering why any author would agree to it.

Well, if you are getting 7-figure advance for two books and the publisher insists on joint? Do you care? Interesting question, no?

The One-Book Deal

by Kristin Nelson

STATUS: A nice and productive day. I think I want summer hours though. Leave by 1. Play in the sunshine. I know Chutney is all for it.

What’s playing on the XM or iPod right now? DO YOU SLEEP by Lisa Loeb

Today let’s tackle the single book contract. What are the advantages and disadvantages to doing just a one-book deal? Considering what we discussed yesterday, it seems ludicrous to sell just one book!

Well, not really. Most one-book deals are for literary fiction and occasionally for what we would call the “big” commercial literary fiction. Commercial literary fiction is really just literary fiction that has a commercial hook or slant. For example, WATER FOR ELEPHANTS is a good example of commercial literary. Or TIME TRAVELER’S WIFE. Or HOTEL ON THE CORNER OF BITTER AND SWEET.

Does this make sense?

And there are lots of reasons to do a one-book deal.

1. Literary fiction takes longer to write. Sometimes it’s not feasible to write a second book on a prescribed deadline so authors will contract one book at a time. Wally Lamb (SHE COMES UNDONE) is kind of known for never selling a book until it’s written and then he sells that one book only.

2. A one-book contract can alleviate the pressure on the author. The sophomore effort can be a tricky thing. I know from experience that every author hits a stumbling block with that second novel and it really doesn’t matter the genre you write in.

3. Literary fiction—especially those that lean commercial—often get undersold initially and then break out big later. If there is a sense that that could happen, why lock the author in for a certain amount of money?

4. The author might not have a second novel to propose and he/she just doesn’t want to throw ideas at the wall and see what sticks. And the author might take 10 years to write next literary novel. It happens.

5. If the author’s editor leaves and there is just a one-book contract, it can make it cleaner for the author to follow his/her editor to a new house. One’s editor tends to be really important in literary fiction. There is a certain trust that can be very beneficial to the literary writer.

Now having mentioned these things, you can kind of see the flipside to the argument.

1. A two-book contract might be preferred if there is a lot of hype and a book sells for a lot of money and then doesn’t perform. How nice would it be to have a commitment to two books already lined up if that’s the case? A chance of redemption or getting those numbers back up.

2. A Publisher may delay acquisition of a future book until they have sales figures for the first book. Since books easily take 18 months to publish, it’s a long time to wait to get a new contract—especially if the author is trying to earn a living here.

One Book or Two? Maybe Three?

by Kristin Nelson

(Just a note, this post is from our archives. Some references and links may be from past years.)

STATUS: I was “this close” to getting to everything on my TO DO list today.

What’s playing on the XM or iPod right now? MY WAY by Frank Sinatra and Willie Nelson

Last year, a fellow agent friend and I gave a workshop on doing a single-book contract versus a multi-book contract. I was a little surprised at how many writers showed up for it. Hey, maybe these would make a few good blog entries.

First Q: When is doing a single-book contract ideal and when is a multi-book contract best?

Answering this question takes into consideration a lot of different factors. Let’s start with the obvious. If you write genre fiction, it’s almost always to an author’s advantage to do a multi-book contract.

For example, if you write fantasy and the first book being sold is the first in an envisioned trilogy, well, it would be better to have the publisher commit to three books. That way the entire series has a shot of being published. It often takes several books for a series to pick up momentum. What’s important is the publisher commitment—even if in the end a series does well and it was “undersold” initially in terms of the advance.

More common case is that a series has to build over time with the subsequent books and then the books start to earn out. Besides, who wants to sell book 1 in a trilogy only to be left in a lurch if the publisher doesn’t pick up the other books? It’s not easy (read “nearly impossible) to sell books 2 & 3 to another house. If sales are sluggish, it’s really unlikely another house will pick it up.

For another genre such as romance, careers build best if an author can release books within 6 to 8 months from each other. That means really tight schedules/deadlines for the author to make that work so doing multi-book contracts make sense. It’s also best to do multi if the stories are “linked” (as in they stand alone but have characters that might have been introduced in first novel).

Is there an advantage or disadvantage for doing 2 books vs. 3 or 4? Sure. Lots of agents differ on their opinion of this so I can only speak for myself. In general for me, the number of books sold at one time depends on the author (how fast he/she can write), on the project (how many books envisioned) and whether I think the author was undervalued. What I mean by that is if the offer was initially too low for a 3 or 4 book deal or if I thought the monies should have been higher in the auction and I don’t want to lock the author in for too many books at the lower rate. Obviously, reverse is true. If the monies are good, then why not lock in for more books as the commitment is strong from the publisher.

As you can see, lots of factors at play. How does an agent know? We’ve been doing this long enough that we pretty much use our gut sense of what feels right as the offer unfolds. I’ve yet to be wrong.

I’ll talk about single-book contract tomorrow.

Photo by Black ice from Pexels

Not The Flashy Stuff

by Kristin Nelson

STATUS: I think we managed to conquer my home tech issues.

What’s playing on the iPod right now? 6 O’CLOCK NEWS by Kathleen Edwards

So much of what an agent does on a daily basis is rather subtle and not written into the job description per se. For example, today I changed an editor’s mind. She was only going to offer for one book and I talked her into going back to her boss and getting permission to offer for two.

Now this didn’t happen just because I asked her to. This happened for a couple of reasons: 1) I gave her good ammunition to use in persuading her boss to reconsider and give the okay and 2) because we’ve had a business relationship for years and the editor trusts that I’m not just blowing hot air when I say that I will make XYZ happen.

In all the discussions about agents and what we do, I’ve never heard this particular aspect spotlighted–that part of our value is in our established relationships with editors—and not just in terms of getting submissions read or larger advances offered for projects etc. because that I do hear a lot of times.

Today was not the flashy stuff but equally as important. And every agent I know does this kind of stuff regularly.