Pub Rants

Category: agents

How Agents Make Money—Hint: It’s Not By Attending Conferences

by Kristin Nelson

STATUS: And no one ever talks about the late nights we agent keeps.

What’s playing on the iPod right now? CORNFLAKE GIRL by Tori Amos

I have to say I was highly amused to read a hypothesis from a writer that agents make their money from attending conferences.

If that were true, it would certainly be a poor way to make a living.

For the record, the good majority of conferences pay for travel, hotel lodging, and food. Occasionally, a conference will pay a small honorarium. I’ve personally seen remuneration of $150.00 to $250.00. Let’s say an agent attends 8 conferences at that level. That would be a whopping $2000.00. To put that into perspective, that would just about cover my business class internet for the year and maybe one-quarter of my yearly phone bill. As the honorarium stands now, it might cover our yearly office coffee budget for Starbucks and Common Grounds. Big grin here.

Now I have heard rumors of conferences paying anywhere from $500 to $1000 as an honorarium but I’ve never had the good fortune to participate in any of those conferences (although can someone tell me where I could sign up?).

No, agents don’t attend conferences to earn money. We attend conferences in the hopes of meeting an author and finding a project that will, in turn, earn us money.

It’s actually pretty simple. Agents make money by taking a percentage of what authors earn when an agent sells a project on that author’s behalf.

And there are a variety of revenue streams:
1. The initial sell to the US publisher
2. UK sale
3. Foreign translation sales to foreign publishers
4. Audio
5. Film
6. Other subsidiary rights such as first serial, book club, etc.

And trust me, I’m in my seventh year of agenting and this is certainly not the path to get rich quick. However, it’s a more than comfortable living—for which I feel extraordinarily blessed.

Exploding The “Must Have Connections Myth”—Guest Blogger Megan Crewe

by Kristin Nelson

STATUS: For a Monday, it was actually fairly quiet. Only one major issue to solve.

What’s playing on the iPod right now? RASPBERRY BERET by Prince

I thought this a pertinent and timely entry in light of a lot of recent discussions I’ve seen in the comment section of agent blogs lately.

Megan’s debut hits shelves this week—all done with nary a networked connection.

I think every aspiring writer hears this message at least once: You don’t have a hope of getting published unless you’ve got connections. I saw it pop up on message boards and websites as I was preparing GIVE UP THE GHOST for submission to agents, and couldn’t help feeling nervous. After all, I’d never talked to an editor or an agent in my life. I didn’t even live in the same country as most of them! And my close writer friends were currently unagented, so I didn’t have a referral, either.

But I’d also read posts by authors talking about getting picked out of the slush pile, and agents mentioning their excitement at finding a gem in their inboxes, and that gave me hope. So instead of digging into my savings to fly off to every conference I could manage, I simply wrote a query letter, revised it, and started sending it out.

Three and a half years later, I have an agent, a publishing deal, and a book that just hit the shelves. I met Kristin in person for the first time this past May, two and a half years after we started working together.

I know now that there’s nothing to worry about–people receive offers of representation and book deals without any prior connections all the time. I did, many of my writer friends did, and I’ve happily told this to writers who’ve said they’re afraid they won’t be able to find an agent or get published because they don’t know anyone.

Unfortunately, I realized offering my experience isn’t enough. Why should anyone believe me over those claiming that it’s impossible? Maybe my case was just the exception.

Which is why, last month, I set out to collect solid data. 270 fiction authors from a variety of genres filled out a poll asking them about their experiences selling their first published novel. With the results now in, I say with assurance that the idea that you need connections to get published is nothing more than a myth.

62% of the agented authors who responded got the agent who sold their first book through cold querying–no prior meeting, no referral.

72% of the authors sold their first book to an editor they had no connection to (either by cold querying themselves, or submitting via their agent).

You can find my full discussion of the poll results here.

Can connections help you out? Of course! But if you don’t have them, don’t sweat it. I’m a Canadian author who signed with a Denver agent who sold to a New York editor without my having any prior connection to either of them, and that novel can be found right now in stores across both countries. If I can do it (along with more than a hundred other authors who answered the poll), there’s no reason you can’t, too.

Agents Get Rejected Too

by Kristin Nelson

STATUS: I’m ready for an exciting new project to come my way.

What’s playing on the iPod right now? POEMS, PRAYERS, AND PROMISES by John Denver

I know that writers don’t necessarily think of this but agents get rejected as well. Last week I offered representation to an author for a novel that was really really good.

Alas, I wasn’t the only agent who thought so. The author had several offers of representation and in the end, the writer didn’t go with me.

So how does an agent feel when this happens?

Does the agent feel disappointed? Of course! If you really like something, it’s hard when you don’t get a chance to go out with it.

Does the agent feel angry? Not really. You can’t win them all. At least I was seriously in the running.

Does the agent feel validated? Absolutely. It’s always nice to know that my taste isn’t off. If other agents are fighting for the same project, then I was right on how I felt about the manuscript.

Does the agent feel regret? Only when we see the “good” or “significant” or “major” moniker on the deal posting on deal lunch. Grin.

And what might be surprising to writers is that most agents wish the author well. Strange as that may sound it’s actually true. This may sound a little woo-woo but I do think that karma plays a big part in what projects come your way and what is meant to be.

Otherwise this biz could drive you nuts…

Florida Attorney General Sues Scammer

by Kristin Nelson

STATUS: Today was all about foreign contracts. It’s been stunning. We’ve done 38 deals so far this year in foreign territories. Wow.

What’s playing on the iPod right now? LEGS by ZZ Top

As I’ve been out of town, I haven’t been able to read my Publishers Lunch daily. This morning I was getting caught up on my emails and my industry reading when I came across this news item. I couldn’t help but crow in delight. Let another scammer bite the dust.

And be sure to spread the word and link to this so word gets out in the writing community (and especially to newbies) that they should never, never, never pay a fee to a literary agent.

Florida Attorney General Sues Writer’s Literary Agency and Robert Fletcher
The state’s crimes division “received more than 175 complaints from around the world claiming Fletcher and his associates, who claimed to act as literary agents and publishers, allegedly collected money from victims anxious to see their work published.” The lawsuit seeks injunctive relief as well as full restitution. (full article)

I was appalled to read that he was pulling in an estimated $600,000 a year for fleecing writers. Crime certainly does pay—until you get caught that is.

One Good Reason For An Agent

by Kristin Nelson

STATUS: Working on a reading day from home.

What’s playing on the iPod right now? WHEN I DREAM OF MICHELANGELO by Counting Crows

I know that a lot of frustrated writers view agents as evil gatekeepers.

This is a problematic view on so many levels and not just because I’m an agent! I always fear a mindset that buys into the idea that “somebody else is to blame.” Hard to succeed if you’re wed to that viewpoint.

But that’s beside the point. I’m actually writing today’s blog entry to point out one good reason to have an agent.

Remember last Friday when I related the horrific story of an agent who had received an offer and was in the middle of negotiating it when the publisher decided to rescind it? (Bad Sign Of The Times, July 23).

Here’s an update.

The agent went to bat on the issue and told the publisher, “Yo, that ain’t cool.”
(Actually I’m positive that’s not what the agent said but you get the picture).

After several rounds of discussion, the publisher agreed and the offer was reinstated.

Without the agent, I’m convinced that this resolution would not have happened for the author.

So, one good reason.

Beyond The Call Of Agent Duty—Part II

by Kristin Nelson

STATUS: I think I need another weekend to recover from my weekend. Grin.

What’s playing on the iPod right now? ROUTE 66 by Natalie Cole

Really? Could I blog about anything else today? Enjoy!

So you can track us, I’m wearing a white visor and Simone has on a blue bandanna.

Watch the chick in front of Simone. She ends up falling into the boat. Better than the alternative I have to say.

Lesson of the day: tuck you feet securely while in the raft.

Also, we are going through two sets of the rapids. In the second set, look at the rock to the right of the picture.

My personal favorite is the shot where pretty much everyone in the boat disappears in the spray.



Beyond The Call Of Agent Duty

by Kristin Nelson

STATUS: Yesterday, one blog commenter said they didn’t want to hear any more doom and gloom so in good news, I’ve done three deals in the past 2 weeks for already established clients. All six figure deals. That’s positive.

What’s playing on the iPod right now? YOU’RE THE ONE THAT I WANT from Grease soundtrack

Yesterday, my author Simone Elkeles flew into town to do some research for her next YA title that is going to be set in Boulder, Colorado (sequel to her wildly successful title Perfect Chemistry (almost 100,000 copies in print!).

She has never been to Boulder, Colorado and since she’s a big believer in experiencing what she plans to use in her books, here she is.

Well, little did I know that she also wanted to have her main character, Carlos, do white-water rafting in this new novel.

Yep, you can see where this is going. Who else is going to take her to go and do white-water rafting but her Colorado agent?

Hey, I never want to hear that I don’t go the distance for my authors.

So tomorrow morning bright and early (heading out at 5 a.m.) we are tackling the class III and IV rapids of the Arkansas river through Brown’s Canyon.

Don’t worry, it’s mandatory to wear life vests (not to mention Simone’s editor emailed and said her author had better be wearing one and I don’t want to upset her editor).

Hope to see y’all back here on Monday…

What Surprises An Editor

by Kristin Nelson

STATUS: I love going to conferences abut I have 246 emails in my inbox. And I was checking and responding to emails when I was away!

What’s playing on the iPod right now? HOME by Face

When I was at RWA in D.C. last week, I was having drinks with an editor from The Penguin Group (I think that was the house—it’s all a blur really). We were talking about passing on sample pages and I had mentioned that I had just passed on an author who already had an offer on the table.

She was really surprised and said, “I didn’t know that agents did that. I thought you’d always take the sale.”

And then I looked at her surprised (there was a lot of surprise going on in this conversation) because I just had assumed that editors knew that agents pass on projects—even with offers in hand. Even if the agent can see that the project might excite other agents and probably sell. Guess I shouldn’t assume what an editor would know or not know about the agent side of the biz.

Maybe I’m unusual. Maybe other agents wouldn’t have passed but right now, when I think about taking on authors and really pushing them in what is a tough fiction market, I’ve gotta feel the love. It could be a tough slog—even with a prior publishing record!

This offer was from a previously published author with a debut track record (so neither good or bad in that aspect). It’s not like I didn’t like the project or didn’t see the merit it. I did. It just didn’t speak to me so I could champion the author’s career.

And in this case, I don’t think the author had prior representation but had worked directly with the publisher. I don’t remember. She may have left the previous agent (which is a requirement for me as it makes me uncomfortable if an author is shopping new agents without leaving the old. I know it’s done and I know we’ve debated the pros and cons on this blog about that. I’m just saying what I’m comfortable or not comfortable with.)

Of course, I’m always wondering why my favorite authors aren’t ever dissatisfied with their current agents. Grin.

If You Think You Are Going To Meet Up With An Agent At A Conference

by Kristin Nelson

STATUS: Safely arrived in D.C. for the annual RWA conference. I started with a bang with a breakfast meeting at 9 a.m. Off and running.

What’s playing on the iPod right now? BIG GIRLS DON’T CRY by Fergie

Because I was going to RWA, last week several previously published romance authors looking to get an agent on board for their career got in contact with me. They were hoping to meet me in person at the National conference.

Great idea! There’s only one problem. The timing. My schedule has already been booked up for over 4 weeks. I haven’t got an open slot to meet with a potentially new client—even if I’d like to!

Let’s say you’d really like to do this in the future. Here’s my suggestion for those of you who are previously published.

Start this process about 6 to 8 weeks before the conference. That’s when you want to get in touch. Offer to send samples of your work because any agent who might be contemplating a physical meet up will want to read your work first. We may or may not be a good fit for each other. (Also, I read widely so there is a chance that I might have read your work on my own but it’s probably more likely that I haven’t.) Seeing material is usually the best first step.

Once material is reviewed and I like what I see, then I’ll still have plenty of time to fit you into my schedule before the conference actually happens. This way we can then find out if we are a good match for each other both personally and professionally.

Big smile here.

Young Guns

by Kristin Nelson

STATUS: I’m off to Washington D.C. tomorrow for RWA. I’ll be blogging but it might be sporadic—just like Friday’s lost entry. Sorry about that. Some days there really are not enough hours to finish everything.

What’s playing on the iPod right now? ME AND MRS. JONES Michael Buble version

Just recently, an aspiring writer sent me this note:

“One thing that worries me is how young many of you agents are. [Young in my forties, I love this person!] I feel so old when I meet these youngsters who will have so much power over my future.”

This isn’t the first time I’ve heard this concern from an aspiring writer. First off, “young” is a relative term. Are we simply referring to agents in their twenties? Yes, that’s certainly young but that doesn’t mean inexperienced. Agents in their thirties? Well, A thirty-something being in a position of power at any type of company (not just publishing) is not an unusual thing.

Being in my forties, well I guess if the writer is in his or her eightes, I’m certainly a whippersnapper in that context but I don’t think that’s what this writer means.

So I’m going to assume that we are talking about agents in their twenties. And here is what I can tell you. Publishing is a young profession (You have to be young to be willing to take on such low-pay for considerable length of time and do it all potentially in New York City but that’s an aside.)

The young agents I’ve met (which is quite a few) are scary bright. I look back at myself in my twenties and think, “did I have it together like that?”Maybe, I was a college teacher in my twenties so I must have had some act together but boy, I’m not sure I had the focused that a lot of these young agents do.

They are dedicated, passionate, and hard-working. As a writer, I would worry less about age and more about these young guns’ reputation, commitment to your work, etc. These young agents know the young editors who will be running the publishing houses in about 10 to 15 years (and I’m not kidding here).

So keep that in mind. And of course, what I’ve said above can’t possibly apply to every young agent but I’m willing to bet that if the above doesn’t apply, those youngsters will be weeded out before they have an opportunity to build their own client lists.

“Old timer” Janet Reid raves about “youngster” agent Barbara Poelle on her blog. On mine, let me rave about two young agents who have also got it going on—Holly Root and Emmanuelle Alspaugh.

If you haven’t checked them out yet, maybe you should.