Pub Rants

Category: Agents/Agenting

57 Fulls & Counting

by Kristin Nelson

STATUS: You guys are going to laugh but I plumb forgot to blog yesterday. I’ll blame it on all the snow Denver is getting. I’m having a huge affair with Starbuck’s eggnog chai I must add.

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

We keep track of all the full manuscripts we read, and we also keep a copy of the response letter. Since we do everything by email, you never know when a response might not have reached the writer. It’s even worse when the writer emails us six months later asking about the status. Oi. We feel terrible when that happens. The poor writer had to wait all those extra months to hear just because of an email snafu.

Out of idle curiosity, I looked in the file and so far we’ve read and responded to 52 full manuscripts this year.

Must be slacking! We looked at 57 last year.

Then I remembered that not all the reviewed manuscripts are included there. I had a record number of referrals from current clients, other agents, and even editors this year.

That added more than 10 other manuscript reviews to that total. All in all, I’d say we easily looked at about 70 full manuscripts (or proposals from already published authors).

We took on 6 new clients this year. That’s a new record for me. All of them sold except for the last client I took on and she’s only been with me for a week so there really hasn’t been time to do anything but formalize our agreement.

And probably the real statistics you’d want to know is how many authors I passed on that were picked up by other agents and sold. I have to say that I don’t really track that but I do keep a casual list if something sounds familiar or if I remember the project.

I have that I passed on at least five different authors. Personally, I’m glad they found the perfect agent to represent and sell them.

A Two-Day Process

by Kristin Nelson

STATUS: TGIF! Sara and I did a bunch of holiday cards today. Tis the season!

What’s playing on the iPod right now? WHITE CHRISTMAS by Bing Crosby

I don’t why it never ceases to amaze me how long it takes to put a project out on submission. It’s easily a two-day process.

1. First I always create the submission list. Yes, I have a database. Yes, I know lots of editors but I’m always super careful to tailor a submission list for each client/project. Sometimes I have to decide between one editor or another. In the children’s world (where they don’t like if you send to multiple imprints under the same publisher umbrella), I really have to choose who is the best fit.

That can take a bit of research or even my just ringing the editor to find out if this would be up his or her alley.

2. Then I format the manuscript. Basically this doesn’t take too long but I have a standard format and I include my agency info in the header on every page.

3. Up next is the submission letter that will go to the editors. I spend a lot of time on mine (as I hope you can tell). I write them mostly on my own. Sometimes I’ll grab the original paragraph from the writer’s query letter and use that as a place to start. Sometimes I ask the authors to create their own version of the pitch just to see what they focus on. For the most part though, I tinker, play, and rework the letter many times before it’s ready. I sometimes pop it over to agent friends for feedback if I want to get it just right. We’ll often read each other’s pitches.

4. Then it’s time to talk with all the editors. If I know them really well, then I’ll just pop out an email. If the editor is new to me or I haven’t spoken to him or her in a while, then it’s phone call time.

5. Submission goes by email. Every once in a great while an editor will request a hard copy. If that’s so, then I email the manuscript to my printer and he gets it to me by the next day. I send out via UPS ground. Thank goodness this doesn’t happen too often. Invariably I find that the editor needs to read more quickly and I send it by email anyway so I don’t want to spend a lot snail mailing it. I don’t charge my clients for this cost either. I just eat it.

6. Sometimes there is follow up in the next day or so. An editor was out when I called or took a couple days to get back to me. That happens.

So any one submission is easily a 2-day process without my being able to do much of anything else (except a very large fire). I should stop being surprised by that!

Evil Dry Spell

by Kristin Nelson

STATUS: It was one of those busy Mondays that when the day concluded, I had to sit there for a moment and think about what exactly did I do all day. I feel this way when I haven’t been able to tick off my big To Do item for the day.

What’s playing on the iPod right now? DOS GARDENIAS by Buena Vista Social Club

An agent friend just emailed me to say she’s in the “zone.” The evil dry spell. I’m actually happy that the year is winding down because I can already sense the approach of one for me as well.

What that means in agent lingo is that everything we have cookin’ is already out on submission and there’s nothing new in the hopper (and that includes no new current client stuff). They are all off writing like the good authors they are.

For unrepresented writers, this is actually a good thing because that means we are looking furiously for something new to take on because in the dry spell, we start reading our queries faster. We ask for more sample pages then we might ordinarily. We’ll take a chance on reading full manuscript of a work that maybe didn’t win us over entirely initially in the sample pages but because it’s so dry, we’re more lenient and will request a full.

Now I do have to admit that when a dry spell hits, it doesn’t necessarily translate into taking on more clients (at least for me). But I do read a lot more when I’m “in the spell” so to speak.

Unless something amazing hits my desk in the next couple of weeks, I’ll probably be in that zone come Jan. 2, 2008.

And after the holidays, I’ll be gung-ho to tackle it.

Spend Time In Company?

by Kristin Nelson

STATUS: It’s hard to get back into the swing of things. This long weekend just has me looking forward to next month’s big holiday break!

What’s playing on the iPod right now? I FEEL THE SAME by Bonnie Raitt

I had an interesting thought over the weekend. Just one though. Kidding. I had read a sample pages submission right before leaving for vacation and I have to say that the work kind of stayed with me.

That’s usually a good sign. If I find myself thinking about a manuscript, then I know it’s caught my interest. But this time I was thinking about those sample pages for a different reason. You see, I just loved the writing. I thought the author was top-notch but I ended up passing on seeing the full novel.

Sounds crazy until I explain a bit about why. When I’m torn about a request, I’ll often try and articulate aloud why something isn’t a clear “yes” for me.

For this project, I ended up asking myself this one question: I’m going to devote hours to reading this novel and do I really want to spend time in this main character’s company?

The answer ended up being “no” which is why I passed.

So then that got me thinking. There are different reasons to want to spend time in a character’s company and it doesn’t always mean that the main character has to be likable or nice. The character could be darkly fascinating (DARKLY DREAMING DEXTER comes to mind). It can be something I can’t articulate but draws me into the story (like the character is quirky, self-destructing, yet perversely likable). Maybe I adore the character and can’t wait to see what unfolds. I could answer this question in a dozen different ways.

But when I find myself liking the writing but finding that I’m not all that engaged in the main protagonist, there’s no way to “fix” that—and ultimately it’s probably something that shouldn’t be fixed because it might end up being another agent’s perfect cup of tea.

Does that make sense?

Prickly Protagonists Part II

by Kristin Nelson

STATUS: Today felt like a Monday. I had one task that I absolutely needed to accomplish and it hasn’t happened yet.

What’s playing on the iPod right now? TENDERNESS by General Public

It should have occurred to me yesterday that I hadn’t mentioned the genres for the two projects I shopped with prickly protagonists.

One was literary fiction not unlike The Confederacy Of Dunces but with a female protagonist.

And I’m not kidding when I say that the author and I talked about the fact that if she had been a male writer with a male protag, we probably could have sold it. Yeah. Don’t get me started on that.

The other project was commercial mainstream (with a leaning towards women’s fiction) because the story was told by three female narrators of wildly varying ages (so untraditional in that sense).

And trust me, I’m not confusing an unlikeable character with an unlikeable action. In a lot of sample pages I see, they are one and the same.

I personally adore complicated characters so what I am saying is that I’ve got to love the novel a lot to take the risk since it has been such a hard sell. I think a good question to ask is this: if this character was alive and a real person, would I want to spend time in his or her company?

If the answer is yes, then I’ll take a chance and damn the torpedoes (so to speak). If the answer is no, well then, there you have it.

Prickly Protagonists

by Kristin Nelson

STATUS: I worked hard on a contract today. That always requires my undivided attention.

What’s playing on the iPod right now? DIAMONDS ON THE SOULS OF HER SHOES by Paul Simon

I have to admit that as a reader, I’m often drawn to stories that have a hard-to-love main protagonist. I find the growth of that character’s story arc fascinating and so worth discovering.

Unfortunately, editors aren’t agreeing with me. I’ve shopped two manuscripts this year that had, shall we say, not so huggable main narrators and haven’t found a home for either project.

Main feedback from the editors? Main character was unsympathetic or too hard to like.

And then you wonder how something like Emily Giffin’s Something Borrowed becomes big. For me, the writer accomplished the near impossible—a character who has done something despicable yet still maintains the reader’s sympathy. Not an easy thing to accomplish and shows the strength of the writer.

So now I’m pretty reluctant as of late to take a chance on a novel with a tough main protagonist. Just today I passed on sample pages that were beautifully written but alas, had this fault in the main character.

And yes it probably does mean I’m lacking in courage but when you get shot down too many times, you gotta take a break from it.

So don’t rule me out completely but know that I’m hesitating on those prickly protagonists.

Number One Interview Question

by Kristin Nelson

STATUS: Gorgeous day here in Denver. Sara and I just had to have lunch out on a sidewalk café. You got to do it while the weather is nice.

What’s playing on the iPod right now? CLOSER TO FINE by Indigo Girls

With every interview I do, I invariably get asked whether it matters whether an agent is located in New York or not.

This question always makes me chuckle. Since I’m in Denver, I’m probably the last person to say so if it were true. But in my experience, it really hasn’t been a factor.

Editors care less about where I’m located and more about whether they are on my submission list when I’ve got a hot project to sell. Now that matters to them.

Those of us working outside the Big Apple travel there often enough. We do lots of lunches. We do the face time.

And here’s the big secret. When an issue arises, guess what New York Agents do? They pick up the phone to talk to the editor just like I do in Denver. They aren’t hopping on the subway to Random House on Broadway or wherever.

If something is crucial and important that I handle in person, well I’m going to hop on a plane. That’s still cheaper than office rent in Manhattan. (And yes, I’ve done that for several important meetings.)

I think where an agent is located matters more to writers and their perception of how the publishing business works. And that’s fine. If that’s a high on your criteria list of what you need your agent to have, then it is. For me, I think it’s more important to look at what the agent is doing in terms of a sales etc.

So does it matter where the agent is located? Don’t ask me because you know what my answer will be!

It’s Good To Eat Humble Pie

by Kristin Nelson

STATUS: What a day! Got a film offer for a project that I’ve been shopping for three years. Kid you not. I made the author sit down before I revealed the details.

What’s playing on the iPod right now? OPERATOR by Jim Croce

Sometimes I need to laugh at myself. When I first started my own agency back in 2002, I think I was more surprised when an author said they would come on board than when they said they wouldn’t. After all, I was pretty unknown back then and hadn’t established nearly the track record I have now. It made sense to me that if it were a choice between me and a more established agent, I’d lose.

But here’s where I get to eat humble pie. As most of you may or may not know, I take on only 3 or 4 new clients a year—if that. (I’m not a take-on-everything-and-see-what-sells kind of agent.) I don’t offer representation often and when I do, most authors are ready to say “yes” because they have already done their research and would know if they really wanted me as an agent or not. It’s not to say they don’t ask questions or don’t contemplate other agent offers seriously. They do and I have lost possible clients to some mighty fine fellow agents (and you know who you are!) But as of late, I’ve always known that I was a serious contender.

But it’s been a while since I’ve gotten a flat-out NO from an author.

And I was so surprised. And then I had to laugh at myself because goodness, why should I be surprised? I’m not the be-all, end-all. If I think so, that means I’m getting too big for my britches!

Agents, Agents, Agents!

by Kristin Nelson

STATUS: Rainy days and Mondays. Kind of sums it up.

What’s playing on the iPod right now? BIG LOG by Robert Plant

Kind of reads like Girls, Girls, Girls! on an Adult entertainment site billboard.

But seriously, if you want to attend a conference with a serious agent list, take a look at this line up for Backspace’s Agent-Author Conference on Nov. 6 & 7 in New York City.

There are a couple of mighty fine editors thrown in there for good measure but Agents, Agents, Agents! just sounded better.

I’m just sorry I won’t be there. I imagine you could ask about any question your heart desires at this conference and then you wouldn’t need to read my blog anymore. Look at this program!

Speaking of reading my blog, boy did I cause some consternation on Friday.

And y’all are so smart. You figured out right away it wasn’t about me since I only do submissions electronically (and can you tell that to all those folks who keep snail mailing me stuff). Next year we are going to have to stop responding. It’s eating up to much letterhead and time. I hate to just recycle without replying but desperate measures may call for desperate action.

But back to Friday’s post.

The problem was not with the request to email it. Some agents might not be fine with that but then they’ll simply tell you so and then you can choose whether to snail mail it or not.

The problem was not in letting this agent know that the full manuscript was out with other agents. To me, that’s just professional.

The problem was in detailing that 30 other agents (or pick some other high number) had already requested the full by email.

Why? Because of the subtext of what is implied. Look at me agent. My manuscript is hot. You’d better get on board and let me email it to you because so many other agents have asked to see it right away and I’ve emailed it to them. (By the way, this author could be lying. It’s happened before…)

Yuck. I’m not sure I care how good this manuscript might be and the reason why I shared this story is that many of the agents I knew felt the same.

Unreasonable? Maybe. I don’t know. I’m just telling it like it is and if it’s helpful, great. If not, it’s not.

Don’t Worry, Agent Unhappy

by Kristin Nelson

STATUS: I’m making headway in my client reading. It really is strange how clients all seem to submit stuff within days of each other. How do they do it?

What’s playing on the iPod right now? BLACK COFFEE IN BED by Squeeze

All agents will tell you that our time is valuable but here’s what is interesting. It’s not valuable in the way that most writers probably think.

It has nothing to do with ego—as in “I’m such a big shot agent you’d better not waste my time.” (Although I imagine some agents might feel that way!)

When I say my time is valuable, I mean it in the sense that there is never enough time to accomplish all that needs to be done to be a good literary agent. There are only so many hours in the day to give clients good service, to respond to queries and sample pages promptly, to address contract or royalty statement issues, or to simply negotiate a new deal with an editor, or to ______ And then fill in the blank with a hundred different possibilities.

Nope. There’s never enough—even when I find myself working 12 or 13-hour days (not unusual by the way).

So when I say my time is valuable, that’s what I mean. And I’ll tell you what agents appreciate. If I have your full manuscript and you’ve decided (or are about to decide) to sign with somebody else, please tell me right away.

I can either read immediately or if the decision has already been made, I can wish you Godspeed and a quick sale.

But if I read quickly, and let’s say I took the weekend to do so, because I don’t know that your decision has already been made and I find out on Monday that I took 6 hours to read your full but you’ve already signed with someone else…

Hum…I don’t have happy feelings because of the problem with time; there is never enough. All I can think about is what I could have gotten accomplished in those 6 hours (or whatever) that I spent reading a-no-longer-available manuscript.

Let’s just say it doesn’t have me whistling “Don’t Worry, Be Happy.”