Pub Rants

Category: Agents/Agenting

A Tale Of Reimbursed Expenses

STATUS: This week has been about meeting with editors and my authors who have come to town so no “this is what editors are looking for” stories to regale you with. Although I did have coffee with a children’s editor who is looking for anything multicultural. What a refreshing change as I love multicultural stories as well. And rumor has it that Grand Central is going to be starting a Latino/Latina line over there.

What’s playing on the iPod right now? SELF CONTROL by Laura Brannigan

I’m not sure why people think that agenting is a way to get rich quick.

Snort. I can barely type that with a straight face but there seems to be this misperception.

I opened my own agency in August of 2002. I had a small business loan and a five-year plan in place when I embarked on what is a risky proposition. (Actually, starting any small business is risky not just agenting).

When I launched, I truly believed it would take 5 years for the agency to be profitable (and if it weren’t by then, I was in trouble). I hit profitable (as in not operating in the red—salary plus all expenses) in year three by a slim margin. Still, I was quite proud. I was definitely ahead of schedule.

So in those early years, I tracked reimbursable expenses (such as photocopies, postage, the basic stuff) and was reimbursed by the client. But here’s the kicker. The reimbursement ALWAYS happened after the sale of the project to a publisher. If the project didn’t sell, I ate the cost. I repeat. The author was not responsible for anything if the project didn’t sell. Was not recuperating those costs hard to swing in those early years? You betcha but I was unwilling to do otherwise despite my red bottom line.

I have heard of perfectly legitimate agencies (with trackable sales) billing their clients for reimbursable costs at the end of each year regardless of whether a project has sold or not. It’s not against AAR regulations. It’s certainly not sketchy per se but for me personally, I don’t agree with that practice.

For me, the billing for “costs” before any sale has the potential of being abused by agents and agencies that are either ineffectual or operating pretty close to the margin of actually not being legitimate. For my agency, I wanted to make sure the boundaries where absolutely clear.

Now I’m in year five and enjoying solid success, so what did I decide to do (and I actually did this two Januaries ago when I was becoming profitable in year three). I did away with reimbursed expenses.

Yep, you heard that right. I don’t track expenses and expect the client to reimburse—before or after a sale now. The agency foots the bill as the cost of doing business.

There are two exceptions though. The agency does track costs associated with International postage or wire transfers (as those are unusual) and we also do track book purchases used in selling subsidiary rights (because that can get expensive very quickly). We always email the clients first to find out if they want to provide the copies and if not, to check if the cost incurred is okay with them before we proceed.

Perhaps we’re crazy but I find that ultimately it’s not worth the time and effort to track it.

Why do I bring this up? Well, I haven’t talked about fees or reimbursable costs in a long time and I think it’s wise to keep talking about this issue. As I mentioned, legitimate agencies might have this practice and as long as they have a long list of documented sales (where it’s obvious their reputation is impeccable), it’s probably not a worry.

However, I would ALWAYS approach it with caution as there are many marginal agents/agencies that are happy to be reimbursed for submission expenses but don’t have the corresponding sales. And if you are going to be billed for those expenses, it should ALWAYS be accompanied and documented by receipts.

What’s Frustrating For Agents

STATUS: Gearing up for my last week chock full of appointments. Can I say I think I might be lunched out?

What’s playing on the iPod right now? LANDSLIDE by Stevie Nicks

Last night I had dinner with an agent friend. I have to say we dished the dirt on the editors we love and the editors we’d rather not deal with.

I’m sure EVERYONE would love me to list that on my blog but some things are better left unsaid. And just to reassure editors out there who read this blog, it would have to be pretty egregious to get on our “no send” list so don’t sweat it if you are like 95% of the editors out there who are great, sane, normal, and a solid editor who tries his or her best.

But here is an interesting tidbit from our discussion. We were talking about client projects that come in and despite our plea for revisions or a solid edit, the client declines and would prefer to submit as is. And in our hearts, we know it won’t sell.

We submit anyway, and it doesn’t sell. Our only hope is that the editors point out our same thoughts and feelings in their response letters.

If that doesn’t happen, well, we can always try and beg for another revision so as to take it back out again (which by the way, both of us would be willing to do as we can convince the editors to give it another look if it’s a strong/major revision).

Vampires All The Time Or None Of The Time

STATUS: What news I’ve received this week! Ally Carter is in week 9 on the New York Times Bestseller List with I’D TELL YOU I LOVE YOU BUT THEN I’D HAVE TO KILL YOU. If that isn’t enough, my author Hank Ryan just found out that PRIME TIME has been nominated for a 2007 Agatha Award for Best First Novel. Holy wow!

What’s playing on the iPod right now? WATCHING THE WHEELS by John Lennon

So what became clear today? On the romance side, the editors are feeling a little tired concerning vampires. On the Urban fantasy side, editors say “bring it on.” Vampires sell. Vampires all the time.

And I had lunch with a children’s editor from HarperCollins and she said vampires are still okay with her.

But the one thing EVERYONE agreed on is that the vampire twist would have to be special, something different, really solid world building, for them to make the buy.

Anybody sick of hearing about vampires yet?

In other news, contemporary or urban fantasy is selling very well. All the editors are open to a large (or epic) fantasy along the lines of Patrick Rothfuss THE NAME OF THE WIND but unless it’s a title that can go big like that (and in hardcover), the mood isn’t to take the chance as the market is soft in that general realm at the moment.

High concept, big, up-market commercial literary fiction that can be done in hardcover (or maybe broken out big via original trade paperback) is on everyone’s wish list.

There has been lots of buzz around a Ace buy last year that’s coming out this year called DESTROYER MAN.

That’s military/alternate world fantasy and I have to say that although it’s not my usual bag (military that is), the description of this novel had me wanting a copy. Just proof that any tale well told can cause excitement.

I also had the best sushi in a long time tonight in my hood (Sushi Samba). I had been told it was overrated and I was a bit hesitant but was won over completely by an amazing bottle of Saki and something they call the Pacific roll. Truly, I have not seen the like in Denver and that makes me rather sad.

The Year Delay

STATUS: I’m awake. Heck, that’s a good start to the day. I love being in NYC and doing appointments but it’s tough to be gone all day and then still keep up on all the work that needs to be attended to at night.

What’s playing on the iPod right now? ONCE IN A LIFETIME by Talking Heads

Most of you already know this but for the new readers who might not, this is what you need to keep in mind.

What editors bought last year are the projects that are hitting shelves now. That means if you have a project now that has similar elements to novels hitting the shelves, you’re too late. This is especially true in the world of romance (paranormal in particular) where the trends are pretty easy to spot and the market does shift within a year or two timeframe.

I had coffee with an editor at Dorchester yesterday afternoon. If you know anything about this house, they lean toward debut writers, the editors read a lot of slush on their own, and they don’t mind taking risks with new kinds of material.

This editor is even still open to dark, interesting paranormals but lately there has been a trend of demons being the new vampires.

Or instead of demons, we have dragons.

Folks, it’s not the paranormal element that makes your story fresh or original, it’s the amazing world you build within your paranormal romance that makes the difference. From the slush stuff Sara and I have seen lately, a lot of writers haven’t quite learned that distinction.

So what would this editor love to see?

1. Blends of historical with fantasy (C.L. Wilson’s LORD OF THE FADING LANDS did well—and was quite long to boot)

2. Urban fantasy with a strong romance.

What this editor has too much of?

1. Mystery romance

2. Romantic comedy or straight contemporary romance is a tough field for them (but I have heard that editors are looking for it at other houses so this might be a publisher-specific thing.)

I think what you should take away from all these posts of mine lately is that it’s good to know the market but ultimately don’t get overwhelmingly caught up into it.

I’ll tell you right now that if I found a new, exciting author with a fresh mystery/romance or a vampire paranormal, I could sell it if the story was original, amazing, and basically reinvented how we view the paranormal romance world.

And that’s the kicker. It would have to be just that good when the market is awash in vampire stories or what have you.

Make sense?

No Two Editors Are Alike

STATUS: It’s super late here but I’m just getting this blog in under the wire Denver time.

What’s playing on the iPod right now? D’YER MAK’ER by Led Zeppelin

I had lunch and several meetings with the editors of Bloomsbury/Walker Children’s today. It was a day at the Flatirons.

And the adage couldn’t be more true. No two editors are alike.

I asked them to name the top 5 things they don’t want to see in a children’s submission.

One editor said “no more vampires.”

But the other editor said, “I’m still good; send me the vampires” (but she says she is “slightly tired” of trolls in middle grade fiction).

I have to say that for troll fiction, I have not seen nary a one.

Top five list for Editor A:

1. No more girl stories with famous dad, friend, family member or other. Give her a couple of years and then she’ll be game to see Hollywood insider stories again.

2. No teaching a lesson
(and let me add for the record that saying such in your query letter is always the kiss of death at the Nelson Agency. We are interested in the story you want to tell; not the moral you’d like to teach. Blech!)

3. Time travel is not this editor’s cup of tea (but the other editor says to bring it on).
Once again proving that an agent’s knowledge is often key concerning who is the right fit for a manuscript.

4. No more vampires, please.

5. No more comparisons of Harry Potter meets anything (and the same can be said about the Twilight series).
Darn it all. When are the other agents going to compare their submissions to the Gallagher Girls?

Editor B:

1. No including a sales or marketing plan where you tell the publisher how the book should be published.
(Gee, can’t imagine why that would go over like a lead balloon)

Dang I’m funny this late at night…

2. This needs to go to Oprah.
(Just in case you folks didn’t know, Lady O only does adult trade books).

3. No comparisons to Harry Potter
(hum… where did I hear that before?)

4. For picture/chapter books, please refrain from feeling the need to provide cover illustration done by a friend or Uncle Bob or better yet, your nephew. In fact, no “drawings” are necessary.
(Learning moment: Publishers hire the illustrator—not the author.)

5. If it’s over 400 pages (and first ask the question why your YA or middle grade is that long), but if it is, don’t send the whole thing. A couple of chapters will suffice.

Common sense that is perhaps not so common.

‘night all.

Hold The Gimmick

STATUS: Snowing like crazy today in New York. I actually didn’t have any lunch dates for this Friday as I was running an auction instead and that can be quite time consuming.

What’s playing on the iPod right now? LOVE’S DIVINE by Seal

However, I did have lunch with an editor from the Penguin Children’s group yesterday (I know, my waistline doesn’t much appreciate breakfast immediately followed by lunch but what can you do!)

This editor likes girl stuff (so this is the context.) She wants high concept novels because they only have a few slots open per season and the work would need to stand out as a debut.

Problem is that she’s getting gimmicky novels with very little substance or a plot that’s not big enough. She’s dying to buy that manuscript that achieves the fine balance of a great voice, terrific writing, high concept, and good character development.

In other words, just write a great novel.

Well, duh. That’s all you need to land an agent and a book deal as well.

But I do think I understand. She’s seeing submissions that have a good hook but don’t seem to have much else and that can be a problem. I know this because we see similar patterns in our own submissions.

It can be equally problematic to have great writing and no solid story to drive the plot forward.

So, for what that is worth…

Too Many Space Ships Spoil The YA

STATUS: Heading out to check out the Off Broadway musical Altar Boyz.

What’s playing on the iPod right now? AUTUMN IN NEW YORK by Harry Connick, Jr.

It was late when I wrote yesterday’s blog so I can be forgiven but I totally forgot a key point the editor from RH had shared. She’d love to see urban fantasy with a male protagonist. They’ve been kind of scarce and there seems to be room for a new Dresden Files type work (nod to fav agent friend Ms. Jackson).

Today I had breakfast (so rare to get the editors out early!) with an editor at Tor who acquires young adult and adult SF&F.

We mostly talked about her children’s list so here’s the lunch plate of the day.

If you didn’t already know this, SF children’s is a tough sell. It has to be the right balance between SF elements and a recognizable world that has a larger general appeal. Good author examples of successes would be Garth Nix and Scott Westerfeld.

This editor is dying for something that will be accessible to a wider audience and all she seems to be getting is space ship stories, zombies, and disaster scenarios—all of which feel tired or a bit old-fashioned. She also sees a lot of stories where the parents or all the adults have kicked the bucket and it’s up to the teens to save themselves, the planet, or all of the above.

Now it’s not to say that these elements won’t work in the right story with a fresh twist but it’s the fresh part that seems to be missing.

She wants stories that are about social issues but have a cool SF element that is integral to the story. Some good Tor examples are Cory Doctorow’s LITTLE BROTHER and debut author Isamu Fukui’s TRUANCY.

No Vampires Please

STATUS: It’s really late to be blogging…

What’s playing on the iPod right now? JUST CAN’T GET ENOUGH by Depeche Mode

So I had lunch with an editor from Random House who acquires for SF & F.

Her plea? No more vampires. Please. Every urban fantasy does not need to include them. Hum… where did I hear that refrain recently? Big smile.

She also expressed a longing for female heroines that aren’t killing machines. It’s okay to have a little vulnerability or emotional pull in the character.

I have to say I didn’t realize that the heartless woman assassin was a current trend but there you have it.

Paranormal to UpMarket Women’s Fiction

STATUS: I got several emails this morning asking me if I was okay since I didn’t blog yesterday. I never blog on holidays! And yes, maybe President’s day is a bit of a debate but nobody in publishing was working yesterday so I took that as permission to take the day off. Besides, it was 60+ degrees here in New York and Chutney and I had Central Park to explore. Like a dork, I forgot the camera.

What’s playing on the iPod right now? FIELDS OF GOLD by Sting

Today I had three meetings.

I had lunch with an editor from Little, Brown Children’s. Coffee with an editor who does both young adult and adult at Kensington. And then in late afternoon I had a meeting with an editor at Ballantine who handles upmarket commercial/literary women’s fiction.

So what did I learn?

Paranormal elements in YA is still quite hot but (an especially for this editor at Little, Brown, if she sees another Twlight vampire look-alike, she’ll spontaneously combust).

So the paranormal elements have to be really different, intriguing and in a really well-built world because the editors are seeing a lot of submissions. The manuscript would really need to stand out to cause excitement.

In terms of upmarket commercial women’s fiction, it’s all about the writing. Really, editors are looking for literary writers who can tackle the more commercial themes in a way that’s fresh and well constructed.

In other words, if you are writing in this area, go to the bookstore and see what is coming out in hardcover in this realm and start reading. Some examples from Ballantine would be Nancy Thayer’s MOON SHELL BEACH, Carol Goodman’s THE SONNET LOVER, and Nancy Pickard’s THE VIRGIN OF SMALL PLAINS.

When Love IS Better The Second Time Around

STATUS: Had my first real appts. at HarperCollins this afternoon. Funny enough, the editors and I spent more time talking about my new Kindle than upcoming projects. The associate publisher even popped in to play with it.

What’s playing on the iPod right now? MAMBO No. 5 by Lou Bega

Here’s another spin on the second time around. Last year I took on a new client from whom I had seen a previous novel but I had passed on (but remembered that I liked the writing). She hooked up with a different agent, but the project didn’t sell. The agent wasn’t interested in her next novel so she decided to try me again for her new stuff since it was so different from her previous novel.

Loved it. Took it on. Sent it out and it’s going to auction.

The love was definitely better the second time around.

Happens all the time by the way.