Pub Rants

Category: submission

Post-Conference Onslaught

by Kristin Nelson

STATUS: I’m good actually. Tackled some things on my To Do list. Have two new submissions going out very soon. That’s always exciting.

What’s playing on the iPod right now? LONG COOL WOMAN IN A BLACK DRESS by The Hollies

I’m off to another conference this weekend. I’m refraining from smacking myself in the head. Every year I promise myself that I will only commit to doing 3 (and if pushed) maybe 4 a year—if that.

This year I ended up with 6. How the heck did that happen? But when New Zealand Romance Writers came a-calling to invite me down under, I just couldn’t say no. Do you blame me?

So this weekend is another romance conference (but don’t worry, I’m also going to be attending the Surrey International in Vancouver and that encompasses everything—including literary and commercial mainstream—which I’m always looking for more of.)

Not to mention, I was just recently invited to the World Horror 2008 Convention. I had to ring them back up to make sure they had the right person. After all, I don’t really represent “horror” per se. They said that they did indeed mean to contact me and that I was one of their top choices. Tickle me pink. It’s not a done deal yet but it’s a possibility that’s out there.

But this weekend is a local conference (which means I’m usually game to go because I don’t have to travel). It’s the Romancing The Rockies conference, and my author Linnea Sinclair is one of the keynote speakers.

And yes, there is a point to this blog and I’m getting to it.

My agency always gets a large slew of submissions right after a conference because I got a chance to meet and chat with a bunch of wonderful folks and of course I’ll look at sample pages. That’s the point of the conference after all.

But here’s a secret. Most folks send in their sample pages within a day or two so we get buried quickly.

My suggestion? Wait about 7-10 days, then send. That way we’ve mastered the onslaught and might just have a little more time for a more leisurely read.

One of those agency insider helpful hints.

How To Avoid Homer Simpson Moments

by Kristin Nelson

STATUS: I have to say that I’m really worried. I’m a huge HBO Entourage fan and I watched this week’s episode last night—the one where Vince sleeps with his agent (and I’m not talking about Ari). This bothers me on so many levels but please, please, don’t let this show (because of this episode) jump the shark.

DAMSEL UNDER STRESS hit shelves this week and look at this great article on Shanna in the Dallas Morning News. That’s my kind of publicity.

What’s playing on the iPod right now? I SAW THE LIGHT by Todd Rundgren

I have to say that sometimes I’m mystified by aspiring writers.

For example, last week I received a call from a writer who was looking at our website (and said so in the message) but was asking how could he/she submit a query to us.

I have to say that this had me scratching my head. I’m not the most technical person out there either but I think our instructions are pretty darn clear on the Submit Manuscript page of our website.

Or better yet, we’ve received quite a few emails in the last month where the writer emails us to ask if we accept email queries.

You can see where sometimes these types of moments make agents want to slap our foreheads in frustration. Still, I know that these incidents are the exceptions and not the rule. Thank goodness.

What A Difference a NO Makes

by Kristin Nelson

STATUS: Busy and productive. Lots of stuff out on submission. Now I want to be talking about lots of deal making as the weeks unfold.

What’s playing on the iPod right now? JUST LIKE HEAVEN by The Cure

Since I’m in submitting mode, I couldn’t help but think about how editors are just like agents. A project that floats one editor’s boat is just hated by another. So it really is about matching the right agent with a project and then matching the right editor to it.

For example, here are two NO responses from editors for the same book.

“the character was unlikeable and the writing flat”

“I enjoyed reading this. I connected emotionally to the writing. This is a very intriguing manuscript on many different levels. I’ll give you a call later on today to express my dismay about passing”

Obviously they were both NOs but one was a heck NO and the other a very sad, wish I was offering, close-call NO.

Just another reminder how subjective this biz is. For agents, for editors, for writers, for readers.

We all have our like and dislikes.

Turnaround Time

by Kristin Nelson

STATUS: It was a hugely, crazy day and I have 10 minutes to blog before my evening commitment.

What’s playing on the iPod right now? DIDDLEY DADDY by Chris Isaak

I have a new goal this year. For current clients, my goal is to turnaround a read for a proposal with sample chapters in a matter of days (I’m actually achieving this!). If a full manuscript, two weeks.

So far I haven’t managed the latter. It’s taking me more like 3 weeks—edging into four (for which I’m always feeling incredibly guilty about). I do, however, always send my clients email updates with where they are in the queue and my estimated read time (which is invariably off by a couple of days but not usually more than that).

I’m in awe of agents who turnaround in less than a week consistently. I think I’m a fast reader but I guess not that fast.

So why so long for the turnaround on a full?

Well, it comes down to only being able to read at night or on weekends. And if you end up actually having a life while also being an agent (something I would argue is kind of scarce for agents), an evening commitment will nix an evening reading slot. That means it has to wait for the weekend.

There are only four weekends in a month. I can do maybe one full and half over a weekend. Depends if I’m just reading or if I’m doing the edit (as in for revisions before submission). And if there are five or six client manuscripts in the queue…

You can see where the turnaround time starts getting stretched.

Still, I’m committed to this goal. Now if I can just convince my clients not to all submit within a week of each other…

Rejection Letter Revised!

by Kristin Nelson

STATUS: Today I spent lots of time on the phone. I can’t quite believe it’s 3 in the afternoon and I still have quite the TO DO list. I think it’s going to be a late one in the office.

What’s playing on the iPod right now? MESSAGE OF LOVE by The Pretenders

Y’all convinced me; it’s time for a standard rejection letter revise. A quick thank you to all who commented and contributed. I found the reasons why a change should be made quite helpful.

I’m ditching the “sounds intriguing part” and revamping the last paragraph about finding the right match.

Here’s the new and (hopefully) improved letter.

March 15, 2007

Dear Author:

Thank you so much for sending the Nelson Literary Agency your query.

We’d like to apologize in advance for the impersonal nature of this standard rejection letter. Rest assured that we do read every query letter carefully and, unfortunately, this project is not right for us.

Because this business is so subjective and opinions vary widely, we recommend that you pursue other agents. After all, it just takes one “yes” to find the right match.

Good luck with all your publishing endeavors.

Sincerely,
Kristin Nelson
Sara Megibow

My comments:

1. I decided to keep the apology because I am truly sorry that we have to send an impersonal standard letter, and it makes me feel better to have that line included.

2. In the beginning, we actually did “personalize” our standard letter by including the author’s name and title of the project, but the time saved by no longer doing do so is huge; I regret it but we really can’t go back. Sorry! I hear you on how much nicer it is and although query letters are important, they aren’t our first priority.

3. As you noticed, I changed to “project” rather than “we aren’t the right agency for you.” It was a great point you folks made that maybe I’m not interested in this project but the next one could win me over. It’s important to leave the door open.

4. I totally changed the last paragraph and now that I’ve done so, I like this version a lot better.

Other Random Thoughts:

1. When we request and read a full manuscript, we do actually write a completely personalized letter explaining why we are passing. We also semi-personalize our sample pages rejection by including the author’s name and title of the project. I will often write a personal note as well.

2. We don’t have multiple rejection letters. Too time-consuming yet again. Besides, the general consensus from writers is that they appreciate a prompt response and it’s what we have to do to respond quickly. I’m in awe of other agencies that can quickly fire off personalized letters. We’ve tried it and it just doesn’t work for us.

3. And finally, just an interesting tidbit. Sara and I use the same rejection letter when responding so actually there really isn’t a way for anyone to tell if Sara passed on the letter during the first read or if it went to me and I sent the rejection letter.

Market Savvy

by Kristin Nelson

STATUS: I’m battling myself to not leave the office early. It’s 70 degrees out. Must go to Park. Must take Chutney for a walk RIGHT NOW. No, I must be good and wait until at least 4 o’clock when it might be reasonable to pop out early to enjoy the day.

What’s playing on the iPod right now? FALL ON ME by R.E.M.

I have to say that I really enjoyed reading the discussion in the comment section of last Friday’s blog so a quick thank you to all who chimed it.

It’s clear to me that writers who have considered the question of market will not run into a problem when querying a work—even if it’s not clear exactly where the work might fit.

Writers who understand and have analyzed the issue will figure out how to label it (literary fiction in an SF setting for example) or decide to not even try and really focus on the storyline in the query.

It’s hard to explain the issue of market savvy versus not when I can’t share a real query letter received that so exemplifies when it misses. The closest example I can give is that when writers miss, it’s usually because they describe the work in an odd manner so it ends up sounding like some strange cross between nonfiction and fiction (my work is women’s fiction that embraces many principles of psychological self-help that will really help readers). Or something like that.

That’s when Sara and I end up shaking our heads in wonder about the aspiring author’s cluelessness regarding the market. If I want psychological self-help, I’ll read a nonfiction book for it. I don’t read a novel to get those principles. I’m much more interested in the story unfolding and how the characters will grow and develop (and if those psychological self-help principals are subtly interwoven so I don’t notice it but it does enhance the story, all power to the writer—but it doesn’t need to be highlighted in the query.) Did I explain that well?

But I do agree that sometimes the most interesting and original fiction can come out of the exercise of writers bending the genres. I personally love that.

Several years ago when I first shopped Shanna Swendson’s ENCHANTED, INC., we were in a little quandary about what to call it.

Was it paranormal chick lit? Or was it fantasy? We ended up calling it paranormal chick lit for submission but in truth, that wasn’t quite right. Maybe today I’d call it lighthearted contemporary urban fantasy (and how many descriptors can I put on that?). That’s actually more accurate but three years ago, nobody in publishing was calling stuff “lighthearted contemporary urban fantasy” so we opted for the first option.

It can be annoying but we do have to name things when going on submission.

And I personally like to hear how writers consider their own work (even if it ends not being completely on target). It can be very telling about how writers perceive themselves, what they want from the work, their career, their style, their direction etc.

Third Time (Or Fourth) Might Be The Charm

by Kristin Nelson

STATUS: Tech day at the Agency. I finally bought a new Tablet PC and my tech person had to get it up to speed. I can’t wait to use it.

What’s playing on the iPod right now? JACK & DIANE by John Mellencamp

I was reading the Romance Writers Report last week (for those of you who don’t know, this is the official magazine of Romance Writers of America). In the mag, they have a first sales column where writers get to announce their first sale.

Okay, sounds like Deal Lunch but for romance. But what I love about this column is that oftentimes, the writers will share how many manuscripts they wrote before finally selling that debut novel.

And let me tell you, it is never novel number one.

How many manuscripts, on average, do you think writers tend to write before selling?

If I do the math (and this isn’t scientific in anyway because I’m only using one column and not gathering statistics from let’s say all last year’s issues), the average comes out to about four.

Yep, most authors, on average, wrote four novels before selling.

And this probably holds true for more than just romance. Just chat with published authors and most will tell you they have a manuscript or two under the bed gathering dust.

So I guess what I’m saying is that you shouldn’t give up or lose faith if novel number one doesn’t go anywhere.

The Agent Call—Take 2

by Kristin Nelson

STATUS: I had a great week and I’m ending early. It’s only right around 5 p.m. Yahoo.

What’s playing on the iPod right now? ACCIDENTALLY IN LOVE by Counting Crows

The most delightful thing has happened. An agent has called to offer representation. Now what?

First off, unless the agent is absolutely your first choice and you have no reservations, you won’t accept the offer during that phone call. You’ve got some work to do. One, you want to have your list of agent questions ready and you want to ask those questions. If you don’t have them ready, you might want to schedule a phone conference with the offering agent for when you do (but just have them ready).

It’s not presumptuous. You’re setting up a business partnership. You want to know what you are getting into. Ask about the agent’s agency agreement (if they have one), so you can read it (and ask questions) before making a decision.

Hiring your agent should be an informed decision. Maybe on Monday I’ll tackle what you ask during “the call.”

But for now, you have one offer on the table. Now what?

1. While on the phone, you tell the agent that you have several other agents interested (if you do—don’t lie if you don’t obviously) and that you will need to contact them before making a decision. All the agents I know fully respect this. And if you don’t have any other interest, you can ask for a short period to contemplate the offer before accepting. That’s reasonable too.

2. Then you contact all the agents who have your full manuscript and inform them. I’d start with email and then if you don’t receive a reply from some of the agents, I would follow up with a phone call to make sure they know.

3. Give those still reading agents a deadline. You need to make a decision by XYZ date so please get back to me by such-n-such a date if interested.

You now might end up with more than one “the call.” How exciting is that?

If other calls come, ask questions, review the agency agreement beforehand (all the stuff I mention above), and now you might also want to chat with current clients.

And it’s okay to have more than one conversation with the offering agents if you are undecided and you like more than one. You’re now in the driver’s seat because agents want to land you as a client. It’s our time to woo you.

In the end though, you can only choose one.

When It’s Okay To Call An Agent

by Kristin Nelson

STATUS: The morning was devoted to following up on contracts in process but I did, oddly enough, get to do some editing on client work this afternoon. That’s pretty rare for me to accomplish that while at the office.

What’s playing on the iPod right now? ASK THE LONELY by Journey

As most of you know, agents don’t take phone queries. We simply don’t have enough time in the day to take 5 minutes and listen to a pitch for every writer who wanted to call.

Just thinking about that makes me shiver.

So when is it okay to call an agent? Well, the list is pretty short so I’ll be able to sum it up quickly.

1. You are a previously published author with a great track record that’s looking for new representation. Agents will be happy to take your call.

2. You have an offer on the table from a respectable publisher with real money involved (a least a couple thousand dollars) and you are looking for an agent to negotiate the deal. Agents are happy to discuss this possibility via phone.

3. You have been personally referred by a current client and would like to request permission to send sample pages. (Actually I’d still prefer an email first but it would be okay if you called.)

4. You have a full manuscript request from me and it’s been more than 2 months and you are simply following up on the status. (Once again, I prefer you email but I think it’s professional and reasonable to call and follow up.)

I love technology but it can go astray. I’ve only had this happen once (knock on wood) but I was mortified when I realized what had occurred. I read a full manuscript, sent a lovely letter by email mentioning that I was passing with regret, and the writer never received it. (I can’t remember if it got spam blocked or if the writer had changed email addresses or what). This person ended up emailing the agency months later with a request for the status. I keep all letters sent so it was easy to email it again but I felt terrible that the writer had waited all that time to hear the news. And then to get bad news…

That’s pretty much it.

When folks do call, Sara handles it. For the occasional times I’ve answered the phone, I’m very nice but I simply direct the caller to our website and the submission guidelines listed there.

Do Agents Make Clients Revise?

by Kristin Nelson

STATUS: Snowing again in Denver. I think I’m tired of snow (and I thought I would never say that). By the way folks, I said SOME agents keep blacklists. I didn’t say I keep one. And if you’d rather I not be honest with you… then I certainly don’t have to share what is the truth in this biz. But personally, I’d rather let you know the inside scoop—even if it’s not shiny.

What’s playing on the iPod right now? ALL STAR by Smashmouth

Do agents ask their new clients to revise?

In short, yes.

Here’s how it works for me (and I certainly don’t speak for all agents). I don’t sign a client on unless I feel comfortable with sending out the manuscript as is. Why? Because if the client decides not to revise, and that’s his/her choice, I have to be game to submit it regardless.

Now lucky for me, every single one of my clients has been delighted to get feedback. And when I send my critique electronically in track changes, I say, “take what works and ignore what doesn’t.”

Ultimately it’s their story so a revision has to feel right.

This is why I often pass, with regret, on manuscripts that I like a lot but just need too much work before I could be comfortable sending it out. Now often I’ll write a detailed letter to those writers if I’ve read the full in an attempt to give helpful feedback. Often I’ll give them the option to resubmit if they do choose to revise. The manuscript has to be pretty close or in my mind, easily fixed via a large revision.

When I send my revision suggestions to my authors, my comments aren’t always 100% right but what they discover is that I usually put my thumb on what is problematic—even if my proposed solution isn’t quite right. It just gets the author thinking and analyzing and often he/she will come up with a new solution that makes sense to them and the manuscript.

They revise based on that. Now they always feel obligated to explain their reasoning for not making my suggested change, which mostly amuses me because they don’t have to. It’s their novel; their word goes.