Pub Rants

Category: submission

Silence A NO Answer?

by Kristin Nelson

STATUS: Good. I still have a lot of reading that needs to be done but I’m starting to catch up.

What’s playing on the iPod right now? SUDDENLY I SEE by Kt Tunstall

When I was in New York, I did spend some time talking to a variety of writers at BEA and at the Backspace Conference.

One writer asked me if silence on a full request meant a NO.

Not knowing the agent or agency, I didn’t really have an answer to that but I might be able to shed a tiny bit of insight on to the question.

I would not consider silence a NO response, but I also wouldn’t wait around for this agent or agency to get back to you. Get those queries out there. Get more sample pages in agents’ hands. Don’t pin your hopes on this tiny glimmer of interest.

Because some agents are like a few editors that I know and avoid, they won’t start reading until they get a heads up that there is other interest. I know, it’s awful to say but often times the truth.

At my agency, I really do try and stick by the maxim we highlight on our website that says we will respond to full manuscripts within 2 months. The key word there is “try.” I can count numerous times where I’ve been woefully behind and the fulls we requested were the last thing on my to do list. I hate that; it happens.

Now we never ask for an exclusive so it doesn’t really matter if I’m late to the read or if I don’t get a chance to read at all because the writer has been offered representation by an agent who read in a more timely fashion. It’s simply too bad for me.

If I were that writer though, I’d still continue my inquiry as to the status of my submission—politely, professionally, but persistently (as in maybe once every 3 weeks). Because you are owed a response. I’m not saying that you’ll get one but you really are owed one.

What Editors Bought or Wanted To Buy Recently

by Kristin Nelson

STATUS: I think I’ve officially beaten the “What Editors Want” horse to death now!

What’s playing on the iPod right now? YOU AND ME AND THE BOTTLE MAKES THREE by Big Bad Voodoo Daddy

Over the last couple of weeks, I’ve been asking editors what they have bought lately or what they had been the underbidder for in an auction. Here’s what a couple of editors had to say.

These folks were from a variety of houses such as HarperCollins, Penguin Group, Simon & Schuster, Random house, Macmillan group etc.

You’ll notice the reference to well known projects. Editors use it too. It’s a quick way of summing up a project for someone who hasn’t read it. And I know a lot of my blog readers will say that editors don’t want to buy anything new or original (and that’s certainly true in some respects) but all I’m trying to point out here is how important and effective a tool it can be to know where your book fits in the market.

On the Adult Side
1. A memoir the editor described as 3 Cups of Tea meets Into Thin Air
2. A collection of essays about motherhood
3. A Friday Night Knitting Club type book for the women’s fiction market
4. A thriller with a dark and damaged heroine
5. A thriller with a nasty vampire FBI agent as hero (and this was not to an SF&F house)
6. Women’s fiction about a group of women attending a cooking school
7. Historical novel set in Russia and featuring a Ballerina
8. A literary novel that is atmospheric and interior
9. A literary satire on a main character who becomes a famous novelist
10. A crime caper that’s sharp and funny
11. A commercial novel about the retelling of Dracula from Mina Harker’s POV
12 A commercial novel by a Nigerian author where the main character who has many wives and many children but when his newest wife can’t get pregnant, it calls into question his whole family life.
13. A women’s fic novel where the main protagonist doesn’t realize she is in a coma and reexamines her life.

On The Children’s Side
1. A story with the Fae but from the boy’s POV
2. a middle grade novel set in Afghanistan and San Francisco—kind of like Kite Runner for kids—serious themes but without the adult content
3. A YA done in free verse where the narrator has to save her older sister
4. A YA horror novel
5. An alternate history/steampunk type YA set in London after WWII
6. a YA where a college drop-out crosses a necromancer.
7. A literary YA with a Southern setting from an adult author who is lauded for her literary adult fiction.
8. A telling of the Anastasia story but with a contemporary spin
9. A historical YA with a supernatural twist
10. A biography of Charles Darwin told via letters Charles wrote to his love Emma

[And I forgot to mention this when I originally posted but if you want the real skinny on what editors are buying, sign up for the Deal Lunch daily email via Publishers Lunch. Deals included usually have a short description of the novel sold as well as who sold the project and who bought the project. In three months, you’ll have a good idea on what is selling.]

The Value Of A List

by Kristin Nelson

STATUS: Heading into the final week of meetings and boy the days are packed.

What’s playing on the iPod right now? BIG TIME by Peter Gabriel

Here’s my advice for the day. Don’t read too much into these lists I post. I do it because writers are so interested in knowing what editors want (or don’t want in this case). As if there is some magic formula embedded in their “want” list.

The actuality is this. There are certain trends in publishing. Right now in YA it’s the paranormal element—be it a zombie, vampire, werewolf, witch or what have you. Basically, editors end up seeing so much in this genre, they get weary of it. Only THE best projects will stand out in the crowd. Only a really unique story will grab the attention of the sales force in an editorial meeting. In fact, editors contemplate their spin (how they’d pitch it) before they are even willing to make an offer to buy it. If they don’t have that new spin, they’re passing. Market is crowded.

Logically, you guys all know this. So when I say that editors aren’t buying epic fantasy, is that true? Sure. Until I put an amazingly written, wholly original epic fantasy in front of them. Suddenly, they are open to buying.

But what I’m trying to point out with my lists is what editors are seeing too much of—so those books are going to be a much harder sell for the agent. That’s it.

Today I spent the morning at a wonderful literary house—Grove Atlantic. They don’t have mandates. They don’t follow trends. They buy brilliant writers who write screamingly well. (So hard to find I might add…)

They did a title called BROKEN FOR YOU that I wish I had sold. In fact, I’d love more submissions in that vein—literary novels with emotional heart. Oh, that’s so hard to find. The level of writing matched with the emotional complexity of character… A lot of times writers will have one or the other fabulously done. That’s what upmarket commercial fiction usually encompasses. To have both together, well, that’s the trick.

As an agent, I’d love more of that. I’d love to do a book with Grove Atlantic. I waited five years for a book like Hotel On The Corner Of Bitter And Sweet. I’m willing to wait another five for a title like Broken, but I’m hoping I don’t have to.

What They Don’t Want

by Kristin Nelson

STATUS: I’m always an optimistic. It’s no longer morning (shoot, it’s almost dinner time) but I am going to blog today. TGIF!

What’s playing on the iPod right now? WHAT YOU NEED by INXS

Sometimes it’s just as interesting to find out what editors don’t want. I’ve perused my notes to come up with this little list to share with y’all.

1. Thrillers where the conclusion is obvious.
2. Police procedurals that try too hard to be multicultural rather than authentic.
3. Romance that is too soft and fuzzy with no real meat to the emotional story.
4. Romance set in the Regency ballroom. Let’s mix it up some.
5. No stories about women over 40 starting a new life. Seen this too many times. Even if well written, it’s going to be too hard to push.
6. In YA and MG, taking popular trends and trying to make the story deep and literary.
7. MG fantasy that is too average and with the regular story tropes.
8. Epic fantasy—unless something really unusual or phenomenal writing.
9. Chick litty YA with no substance.
10. A bad story poorly told

Just wanted to check that you were really reading…

And just to top it off, in film, dark stories with no happy ending are a tough, tough sell.

Sign Of The Times?

by Kristin Nelson

STATUS: Ah, only two meetings today. It’s such a nice break. I feel like I can actually tackle the 170 emails sitting in my inbox from yesterday.

What’s playing on the iPod right now? I GUESS THAT’S WHY THEY CALL IT THE BLUES by Elton John
(Ok, I ‘fess up. I put that song on so I could write this blog entry.)

I saw this deal post on Deal Lunch and burst out laughing. I just love it. I think Caitlin and I might be kindred spirits—even though I’ve never met her.

CHILDREN’S: MIDDLE GRADE
Sarah Prineas’s THE CROW KING’S DAUGHTER, featuring faerie lore without the urban setting and without drugs, sex, and angst, to Toni Markiet at Harper Children’s, in a good deal, in a three-book deal, by Caitlin Blasdell at Liza Dawson Associates (NA).

A faerie story. A real one! Not meant to be urban paranormal. Not meant to be a Twilight knock-off. It’s truly a sign of the times when an agent posts a deal for what a story is not. I’m so tickled, and I can well believe it went for 6-figures. I’d buy this book!

In other news, I had a great lunch with a children’s editor yesterday. She mentioned that she was seeing a lot of what she called Karaoke young adult novels. Mystified by the term, I asked her to explain. She said she was seeing a lot of submissions where teens passionately talk about their issues in dialogue but there doesn’t seem to be much of a plot per so. Lots of angst. Not much story.

Needless to say, this editor was not buying them. As for me, I couldn’t say I’d be snatching one up to represent.

Karaoke novels. Get it? Teen characters that sing their own angsty song—and I certainly wouldn’t call it singing the blues.

Now that term cracks me up too!

Submit Now Or Later?

by Kristin Nelson

STATUS: Work all morning. Meetings all afternoon. That’s New York!

What’s playing on the iPod right now? HEY JACK KEROUAC by 10,000 Maniacs

Yesterday I had an agent friend who doesn’t handle a lot of adult trade fiction shoot me an email with an interesting question. She asked this: with fiction, she had heard that some agents were not even submitting right now and were planning to wait 6 months to let things settle down. In other words, things were a little volatile right now with lay-oofs and projects that might have been bought 6 months ago were now being passed on in this current cautious climate. (Hard to sell a project if you are unsure the editor is going to be there 2 months from now.) Since I did a lot more adult fiction than she did, what did I think?

Darn good question. To be honest, I didn’t have an answer. I’ve been doing quite a few deals as of late but all for current clients who are already established at their houses. None for debut authors in the adult field. Now I do have some YA submissions out but that’s not the same thing.

Since I’m here in New York, what better way to find out than to ask? Well, the lucky editors at St. Martin’s Press were first up to bat so I asked them, what is SMP’s stance on buying adult fiction?

Here’s what was said:

1. They had wondered why it had been so slow. They weren’t seeing the usual amount of submissions that normally happens for this time of year. (Interesting.)

2. That SMP (and this was emphatically said) was aggressively buying so bring it on. (Nice!)

3. Major accounts were tightening their buy lists. Not ordering as much and not as far in advance. (I’ve heard this from several places—not just SMP.) So if a project is borderline in terms of an editor loving it, they might pass. (Agents might not be submitting right now in order to not risk this.)

So what had they bought recently? SMP just paid big money to lure two mystery authors to the house. One editor had bought two novels—a mystery caper and then a literary commercial novel about a Viet Nam soldier and his specially trained German Sheppard who worked as a team in a special army unit.

You know how much I love dogs. I would have LOVED to have seen that second novel. History. Dogs. A War. Gosh, no one ever sends me that kind of stuff. Oh wait. Hotel On The Corner Of Bitter And Sweet (although there are no dogs in that one.)

So novels with that intense emotional hook or connection. Check. Historical novels. Check. American based narrative mystery or crime nonfiction (a la Devil In The White City). I don’t do but check. Memoir. Check. And I learned a new term. Editors are looking for midstream mainstream. (i.e. Stuff in the Jodi Picoult realm where it’s ordinary people faced with extraordinary decisions about real problems).

Midstream mainstream. Try saying that 5 times fast! (I think I just call it upmarket commercial fiction.)

Okay, check.

Snooze We Lose

by Kristin Nelson

STATUS: It’s really too late to be blogging but there you have it.

What’s playing on the iPod right now? SHE’S LEAVING ME BECAUSE SHE REALLY WANTS TO by Lyle Lovett

Now I have to say that I really don’t consider 10 days as snoozing but the reality is that another agent was faster. It really is as simple as that.

And what most of my blog readers know (or are learning), every situation is different. Perhaps we were not the dream agent for this particular person and another agent was. I know so many wonderful agents; it wouldn’t surprise me if I actually knew who ended up landing this project (Now I don’t because the writer didn’t offer that info and we didn’t ask.)

Do I think a writer is obligated to tell other parties that have partials that an offer of representation has been made?

Nope. Not if we only have a partial. Now I’d love it if they did, but we don’t expect it.

When we request a full, however, we always ask in our request letter that the writer keep us apprised of any other interest. There’s nothing worse than spending a weekend reading a full, getting excited about it, then finding out on Monday that the project is no longer available. Ack. I could have spent those 8 hours on a different manuscript.

But it’s not like we are going to send out the agent police after the writer if they don’t inform us of an offer. It is the writer’s prerogative after all. But boy, I really do think it’s helpful when a writer does give us that heads up.

Despite best efforts to read in a timely fashion, I always feel like I’m 2 or 3 weeks behind on my reading than where I should be.

Ain’t That Fast Enough?

by Kristin Nelson

STATUS: Just a note to let you know that on Friday, I’m off to New York for my month-long corporate rental and Book Expo. I’ll be giving y’all the inside scoop on everything I hear from editors.

What’s playing on the iPod right now? ARE YOU GONNA GO MY WAY by Lenny Kravitz

Sara and I went to lunch today as it was 80 degrees and just lovely. We popped over to Green Salad Company to get some leafy lunches and then sat outside soaking up the sunshine. We try to have lunch together at least once a month so we can touch base on both work related things but just personal stuff too. Reconnect so we aren’t always about work.

Today Sara suffered her first disappointment on this lovely road to agenting. A project she was really excited about and interested in taking on landed an agent before she could request the full. Ack. I hate that feeling.

So we were talking about the timeline over lunch.

On May 1, we received the query regarding the project. On May 2, Sara responded asking for sample pages. The author didn’t actually upload to our database until four days later on May 6. Today is May 12 and yesterday (so May 11) Sara read the sample pages. Today she eagerly opened the email program to send off a request for a full but noticed that the author had emailed us.

Yep, that email was to tell us that the writer had already accepted representation. Sara was hugely bummed. Now maybe the manuscript wouldn’t have lived up to her expectation upon reading the full but she doesn’t think so. She really liked the voice and the writing.

So from query to asking for full—10 days. Ain’t that fast enough? Guess not!

How I Submit

by Kristin Nelson

STATUS: Working on client manuscripts this evening. Will have to switch music to something softer for concentration.

What’s playing on the iPod right now? ARE YOU GONNA BE MY GIRL by JET

I have a very simple agent policy. It goes like this. If I were an author, what would I want to know about my project and submission?

Well, I’m a control freak. That means I’d want to know everything. So that’s what my authors get—whether they like it or not!

Now every agent does it differently but when I’m putting a project on submission, here’s what I do.

1. Once the project is in the hands of all the editors, I send the author the editor submission list. (Now I do have to ‘fess up here that if I add an editor to the submit list at a later time, I often forget to tell the author of the addition. Not because I’m withholding the info but just because I forget to let them know. The author will often tell me when I forward the response that they didn’t realize that editor was looking at it. Then there is an oops moment. It was simply my bad. I probably thought I had told the author and hadn’t.)

2. When a response comes in (and it’s almost always by email these days), I immediately forward to the client. I don’t sugar coat either. I send the exact response we received. Now I often include a note if I feel like there should be some softening of the blow (so to speak). Or encouraging words if the submission is looking bleak or it has been a hard push. But if I were an author, I’d want to know exactly what was said. So, that’s what the clients get. Every once in a blue moon, an editor will mail a response letter. How quaint! If that happens, we scan the letter to PDF and email to the client. Also, some editors like to call—even if they are passing. If that happens, I take notes and then I forward my notes by email to the client. They aren’t escaping the response gosh darn.

3. Updates. I actually don’t really give any update unless the author emails and asks if I’ve heard anything. Then I’m happy to respond. Basically I just don’t remember to email the client to say that nothing has happened so far.

4. If we end up having to do several rounds of the submit (they do go in waves), then I simply follow this same process all over again.

5. I also share positive responses—as in an editor is seriously considering the work. Mostly that’s just me emailing the author and saying “not to get your hopes up too high as they can still pass, this editor is liking the read so far.” Have I had editors do that and then pass? You bet. That’s why I always caution the client. I realize that my effort to not raise hopes is futile (who can help getting excited by an editor’s interest?) but if I were that author, I’d want to know, even if there is pain later because the editor passed, or couldn’t get in-house support (which happens) or what have you.

Pretty basic but that’s what I do.

Get Specific Names

by Kristin Nelson

STATUS: I totally forgot to blog last night.

What’s playing on the iPod right now? LONG HOT SUMMER by Style Council

It sometimes happens that a writer lands an agent, goes on submit, but then the agent gives up after just a short time or a few submissions.

Personally, I can’t figure out what the agent was thinking. Why bother taking on someone if you don’t think you can commit for the long haul? Besides, every agent I know has a story of getting 30+ rejections and finally selling the book. It only takes one! Such a cliché but often true. I’ve even heard of agents taking up to 2 years and 5 years to sell a project.

But that’s an aside. Let’s say this has happened to you (as awful as that would be). Here’s the info you need to be an animal about getting from that former agent. Bug that person with emails and phone calls (politely of course—I always advocate being professional and polite) but do annoy them until you get the exact names of the editors who saw the work and the imprints/houses. And if you can get the responses, that’s even better!

Why?

Because if a new agent is going to take you on, it’s imperative to have that info. (And just about every agent I know has taken on at least one client who has been previously submitted so it happens.)

Here are a couple of reasons why we need the info:

1. If I have the submit list in hand while contemplating offering representation, I can clearly see if I think the former agent sent the work to the right editors or not. If they haven’t, heck, I’ve got a clear field and can probably sell the work by getting the project into the right hands.

2. Having the info allows me to weigh my decision on whether I think there are enough viable other places to take it to.

3. The editor list lets me see if an editor has left publishing or has moved to another house and suddenly, I’ve got a clear shot at that imprint again. It’s musical chairs in publishing.

4. The editor list allows me to pinpoint an editor who has already seen it (maybe a year or more ago) and I can sway him or her to look at it again if we’ve done a big enough revision on it that I can pitch it like new.

5. Some editors are notoriously bad at never responding and if that’s the case and I see that on the list (and the responses you have—or lack thereof), I can target a different editor at that imprint and it’s like submitting fresh.

6. There’s nothing worse than not knowing that a project you took on was previously shopped and you, the agent, now have egg on your face when an editor writes and tells you that they’ve seen it before and it was NO then and it’s still NO now. Ouch. That pisses me off and so if you have the editor list, then you can give it to me before this can happen.

Not to mention, it’s your right to know who has seen your manuscript, who turned it down, and what they said about it so even if you are parting ways, get that info. Most agents (I hope) are good people and happy to give you that info as a matter of course but if the agent isn’t doing it, be wonderfully annoying and politely make it clear that you will continue your inquiry until they do. They may just send it your way to make you go away!