Pub Rants

Category: client books

Big In Russia Actually

by Kristin Nelson

STATUS: Almost finished with all my Book Expo follow up stuff.

What’s playing on the iPod right now? WHEN IT’S OVER by Loverboy
(Bring on the red leather hot pants!)

I’m almost embarrassed to admit I have Loverboy on my iPod. Almost. They are still actually quite a lot of fun to work out to.

I’m not sure why but Russian publishers are buying a lot of projects as of late—and in all types of genres—but they are. Recently I’ve sold two debut fantasy and romance authors in that territory. They love historicals and I just sold a client’s recent book and her entire back list to a Russian publisher. They’ve also bought a young adult urban fantasy in that territory (but traditionally I haven’t sold a lot of YA there).

The hardest country to place right now is the UK. I recently did a deal for my middle grade project in that country but I think it was helped by the fact that the England is also the setting for the novel.

The UK has been notoriously tough for the past 2 years. If a manuscript doesn’t have international appeal (read: if it’s too American), they won’t touch it. They’ve become very tough for Historicals as well (which have traditionally worked well over there but the market has grown tighter in the last couple of years).

But here’s a first. Just recently I sold a YA project in Finland. Finnish! How fun and exciting is that? I also sold a YA in Turkey! Not two countries that immediately pop to mind when selling young adult titles but there you have it. I’ve also recently sold a new romance author in France as well as another young adult title there. Those are some firsts in the French language. Romance in general does tend to sell well in Denmark and Germany, but the latter has cut back as of late on its buys. Publishing has been hit hard in that country and I’ve noticed that offered advances are lower than they have been in the past.

I really love seeing the cover art and getting the foreign copies of books sold. If you go to our website, we actually post a lot of the foreign editions of our books. I must admit that Sara and I haven’t updated it recently but we’ll get around to it when we are a bit less swamped.

So from my limited perspective, that’s what is currently selling abroad as of late.

90210

by Kristin Nelson

STATUS: It’s been a busy day so far and I still have one meeting scheduled for this afternoon and then dinner with another Hollywood co-agent tonight.

What’s playing on the iPod right now? BLUES BEFORE AND AFTER by The Smithereens

Got back to my hotel around midnight last night. I couldn’t quite make myself blog so late; sorry about that.

I flew into LA yesterday for Book Expo. I came early to meet with a variety of Hollywood co-agents. Some I’ve worked with for years and quite a few whom I am meeting for the very first time (even though I’ve worked with them on projects). Some are brand, brand new as I’ve heard good things from other agents and producers and I want to be on their radars and vice versa.

Meetings with Hollywood co-agents are not unlike meetings with editors in New York. The film agents talk about their current clients and what they are working on and I talk about my clients and what books I’ve recently sold. Most of my meetings have been located in the zipcode area of 90210—otherwise known as Beverly Hills.

Now I’m definitely getting the scoop on what is currently selling in the film world but I’m weighing whether it’s all that valuable to share with blog readers. Why? Because Hollywood changes its mind every 4 to 6 months. So whatever is considered “hot” right now will change when a new film releases and either “breaks out” or doesn’t. Even though Hollywood moves at a glacial pace in terms of production, it still bases its buying decisions on what currently has done well.

I know. Doesn’t make sense to me either. So, there isn’t much point in sharing the info really. Not to mention, it’s not what I base my decision on when taking a on a project for representation. I just take on what I really love etc.

But I know you readers would want to know anyway despite the fact it really can have no bearing on any work-in-progress as only a very small percentage of books published actually get optioned for film.

You gluttons for punishment! Okay, I’ll tell you. Every single film agent has asked me whether I have any projects that would fit the bill for the all-encompassing family entertainment segment (in other words, projects with enough appeal to hit the four quadrants outlined by the family—mom-friendly, enough action for dad, and something that will appeal to both teens and kids. If you have the next Shrek, they are all over it.

Right now no one is willing to risk a women-driven historical (that is until the next independent film maker has a wild success in that field which could happen at any time.)

And I found out who the real life person the character of Ari Gold on my fav show Entourage is “loosely” based off of. But perhaps Hollywood gossip should stay in Hollywood. Or 90210 as the case might be…

What’s In An Edit (After The Sale)

by Kristin Nelson

STATUS: Total confession time. Yes, I’m addicted to nostalgia because I couldn’t resist going to the Duran Duran concert last night for their new album Red Carpet Massacre. Last time I saw this group was in 1984. Yep, twenty-four years ago when I was 16. Oh, how time flies. I have to say that the group as a whole aged fairly well. They even did Planet Earth and Girls on Film in concert. Those were the days…

What’s playing on the iPod right now? RIO by Duran Duran (duh)

Yesterday I talked about new clients and on agents editing manuscripts before going out on submission for the very first time. What about new projects by current clients who are previously published? Do agents edit those manuscripts as well?

The answer is both yes and no. For the most part, when a current client has sold that first book and has an editor, then I, as the agent, don’t usually work on the edit with the client for the next subsequent book. After all, that’s why they have an editor and I don’t want to interfere with the editorial process.

There are some exceptions to this though:

Exception 1: the author has an editor who isn’t editing and sending in the delivered book straight into copyediting (and yes, this has surprisingly happened). If an author doesn’t need much editing, then this can be a positive thing but for the most part, I have to say that most writers need a bit of editing and guidance before a project is ready for copy edits. So as the agent, I have worked with my authors to do the edit if this is happening.

Exception 2: if this is an author’s sophomore attempt, I will sometimes read and work on an edit with the author before their editor sees the manuscript for the very first time. This way we can avoid the sophomore disaster that often happens when an author has spent several years writing the first novel and then has to write the second on a deadline under a year or 8 months or whatever. It’s hard to imagine this is a different process but it is. Editors often complain of the messes they have to clean up when the second (sophomore) contracted book is delivered. If I can help to avoid that, then we’ll do it because I want my author to look great.

(If my client has a strong relationship with his or her editor and I know the editor likes things done a certain way, then I stay out of it—even for the sophomore effort. It’s the editor’s job to edit and there’s nothing worse for an editor than having an author who is getting conflicting opinions on the edit from the agent. My job is not to make the editor’s life more difficult on this aspect—on other things yes, but not on the edit. Now if the author is convinced the editor is wrong about the editorial direction, then I’ll be jumping in but as you can see, it all depends on the situation.)

Exception 3: If a current client published in one field with one editor is looking to do something else in another genre or in YA (if they write for the adult market), then yes, I’m usually reading and editing that project.

Exception 4: If a current author client wants feedback on a new idea or proposal and they’ve put together sample chapters, then I’ll often read and give some feedback for revision before the editor sees it. This doesn’t always happen though. It depends on how strong the client’s relationship is with his/her editor.

As you can see, there are just as many ways to edit as there are to agent and how involved the agent is in the editorial process varies greatly! It all depends on the situation.

What’s In An Edit (Manuscript before Submission)

by Kristin Nelson

STATUS: Today was about working out the glitches in the new software. But I think we are finally done with that.

What’s playing on the iPod right now? CHICKENMAN by Indigo Girls

This weekend I was working on editing for current clients. I know this has been a question that I’ve received a couple of times at conferences. Do all agents edit their client manuscripts and how does that work?

Well, I can’t speak to all agents but this is how it works at my agency. This answer has several components and I actually only have time to handle one aspect of it in today’s entry. Tomorrow I’ll try and go into a bit more depth.

Let’s say I take on a brand new client who has never been published. When I read their full manuscript that I’ve offered representation for, I will usually do an edit with the client before it goes on submission.

Sometimes the manuscript is in great shape and just needs a few tweaks here and there. Sometimes it needs a bit more work (in plot or character—never in voice or in the quality of the writing) and I have that revision conversation while I’m offering representation so the client can have a good idea of what might be involved if they sign with me.

Seems only fair to know the scope…

Now, there are different approaches to editing as well. I have to be honest and say I’m not much of a line editor. I’m more of a big picture kind of gal, and I concentrate my edits on fixing plot issues, building character development, or just forcing the author to dig deeper into the writing and pull out all the stops their talent allows.

I do all my editing electronically in track changes in Word, so the manuscript can be sent by email. I add my comments directly into the scenes so the author can know and understand what I was thinking the moment I thought a revision point needed to be done.

Now, it’s always the author’s call if my editorial note is on target or not. I’ve been told that I will often highlight the problem but not necessarily the best solution and the author comes up with a better way to handle whatever I’ve pointed out.

And that’s just fine with me. It is the author’s work after all and he/she will always have final say.

I also edit obvious grammar and punctuation issues.

The Email That Started It All

by Kristin Nelson

STATUS: Blogging late. No particular reason other than it has been a rather busy day.

What’s playing on the iPod right now? THICK A** STOUT by Skankin’ Pickle

It never gets old. When Wednesday comes and the NYT bestseller list for the next week is released and Ally Carter is still on it, holy cow. You’d think the thrill would die down but it really doesn’t.


And this is what gets me. Three years ago, I didn’t even represent young adult or anything in the children’s world. In a sense, Ally has my author Jennifer O’Connell to thank for starting me down the children’s world road (which I absolutely love, is totally a natural fit, and I can’t imagine why I didn’t rep it to begin with).

Jennifer was the person who started it all when she wanted to write for the YA market and asked me if I could sell it. Of course I said sure (even though I didn’t know any children’s editors at the time), and got on the phone immediately with a good agent friend who only reps children’s books to get the scoop. Then I went to New York to meet the people I needed to for Jennifer’s submission. And that’s how my repping YA began.

Her first young adult, PLAN B, sold at auction in less than a week. Thrilled, all I could think of was that I love YA and where could I get more to sell.

That inspired an email to all my current clients asking if any of them had ever thought of writing for the young adult market.

Ally immediately emailed me back with a list of ideas—which I promptly shot down (Ally tells a more colorful story on her website if you want to check it out). But it inspired her to come up with 3 more ideas and I’D TELL YOU I LOVE YOU BUT THEN I’D HAVE TO KILLYOU was the second on the list. It hit me immediately that that was the novel she had to write so I called her to tell her so.

She did. And here we are on the NYT bestseller list for 14 weeks running.

So thank you Jennifer! I think it’s her turn to hit the list so mark your calendars for June as LOCAL GIRLS and RICH BOYS hit the shelves and these two books seriously rock. It’s her best stuff yet (and I want that girl’s abs…).

Potpourri of Publishing Tidbits

by Kristin Nelson

STATUS: Do you know how hard it is to work today when it’s 78 degrees here in Denver and the forecast for tomorrow is for cold and rain. Sara and I are really making a heroic effort…

What’s playing on the iPod right now? TAXMAN By The Beatles
(couldn’t resist playing this one today)

You guys are all way cooler and hip then I am so I’m definitely behind when it comes to pointing out other cool blogs and stuff. Just recently (I know, I live under a rock), I’ve discovered two new-to-me agent blogs that might be worth checking out—if they aren’t already a part of your daily reading.

Agent Nathan Bransford

And Agent Rachelle Gardner –who I had the pleasure of meeting at the Northern Colorado Writers Conference. She works in the CBA market (and I’m not talking basketball but Christian literature for those of you who might not know the acronym).

So that might be worth checking out.

And here’s an interesting tidbit (that will probably cause controversy) but what the heck, it’s worth sharing and discussing. My author Mari Mancusi participated in an anthology entitled THESE BOOTS WERE MADE FOR STOMPING. Her publisher, Dorchester, did an interesting promotion for this book. They partnered with an actual online shoe selling company so readers who pick up the book, which is about magical shoes granting powers, can actually buy the shoes featured on the cover via a website listed in the book.

This isn’t brand new as I can name at least two other books (one a YA and the other a nonfiction work) that also experimented with product integration.

Future of publishing going to heck in a hand basket or is this the publishing future as book readers decline and new sources of revenue need to be explored to make it viable?

Or is this just a cute concept for shoe lovers who might dig the boots that were made for stomping featured on the cover?

Let the discussion begin!

Waiting On A list

by Kristin Nelson

STATUS: Why did I plan two writers’ conferences on back-to-back weekends? What was I thinking?

What’s playing on the iPod right now? SOME ENCHANTED EVENING from the musical South Pacific

I really wish I knew the how and the what of when a book lands on the NYT bestseller list. If I did, I would certainly share. It’s proprietary information so any big reveal is definitely not happening any time soon.

I can tell you that here at the Nelson Agency, Wednesday afternoons are met with much anticipation as that is when the next week’s list are announced (before the info is known to the general public).

We jump on that email in about ten seconds.

Ally Carter’s I’D TELL YOU I LOVE YOU BUT THEN I’D HAVE TO KILL YOU spent 10 weeks on the top ten NYT list before dropping off. With much sadness, we were greeted with that news about 2 weeks ago.


And then, rather suddenly (or at least it feels that way as it is not readily apparent to us as to why), the title hit the list again

Now we can’t wait for 3 p.m. each Wednesday to find out if the title has stayed on or not. I’m happy to say that we are still there for the week of April 13 in position number 5. That’s makes 12 weeks total (three months).

That’s an amazing fact to contemplate.

And now I’m waiting eagerly for next week’s list as we might be hearing about another title that has very strong sales right out of the gate but since we don’t know the factors involved (and it may or may not be harder to hit the adult list), we’ll just have to wait on pins and needles for the list announcement tohappen next Wednesday.

Now you know what we are doing every Wed. afternoon when we should be working as the waiting is the hardest part!

Talking Book Trailers

by Kristin Nelson

STATUS: Just a heads up that tomorrow morning I head to Salt Lake City for the World Horror Conference so I can’t promise I’ll blog on Thursday and Friday. I’ll try though.

What’s playing on the iPod right now? STAR 69 by R.E.M

I actually tried to post this directly from youtube.com but for some reason, the post wouldn’t show up. With my luck, after I post this entry, it will show up three different times for all three of my tries.

If so, sorry about that.

Last year when the book THE MANNY hit shelves, there was a fun book trailer floating around blogs and easily spotted on youtube.

I have to say this trailer was uproariously funny. I watched it several times and laughed heartily with each viewing but ultimately, I didn’t buy the book.

There in lies the rub. Book trailers can be great, fun, and generate buzz but do they sell books? That’s the million dollar question. If we could accurately measure the books sales generated by a trailer then that would help quantify whether it has a positive impact or not.

But ultimately it can’t hurt book sales so if you are creative, or have the dinero to hire professionals to make one, I say go for it.

Especially when the trailer is clever or quite funny as that in and of itself might get the link spread around. With that in mind, I give a huge thumbs up to Sherry Thomas’s new book trailer for her debut PRIVATE ARRANGEMENTS, which just hit shelves yesterday for all you historical romance readers that have been eagerly awaiting the release.

I laughed outright while watching. No stuffy trailer here. Enjoy and let me know if it encourages you to buy the book. If it doesn’t, well…

2008 RITA Nominations

by Kristin Nelson

STATUS: Lots of smiling in the office today. Lots of smiling on the website as well as the new headshots are up if you want to check them out.

What’s playing on the iPod right now? ON THE STREET WHERE YOU LIVE from My Fair Lady

The phone literally rang of the hook this morning as the RITA-award nominees were being announced.

We have, count them, six RITA-award nominations for four of our clients. Huge news here at the agency and I couldn’t be prouder to share the announcement with all of you.

PRIME TIME–double nominee for Best Romantic Suspense and Best First Novel
GAMES OF COMMAND–Best Paranormal Romance

GRAFFITI GIRL–double nominee for Best First Novel and Best Young Adult

*LEAVING PARADISE –Best Young Adult

*please note that NLA didn’t actually sell this book but Simone is now one of our authors so we are super excited all the same!

Congrats Hank, Linnea, Kelly, & Simone

Doing Foreign Rights Deals

by Kristin Nelson

STATUS: Contracts and more contracts. I have four total that I’m working on. A fifth one just came in and I just started negotiating a new deal for a current client. Busy.

What’s playing on the iPod right now? DON’T GET AROUND MUCH ANYMORE by Natalie Cole

Last year the agency did 29 foreign rights deals on behalf of our clients and I have to say that the sales remain unabated into 2008. We are doing several a week for various clients. All great news.

But I had an interesting thing happen last week. I turned down a foreign offer for one of my clients (and obviously with the client’s permission) because I didn’t think the offer was on par with where it should be in comparison to other foreign offers and the client’s current sales etc.

This is a first for me. Because so many of my clients are (or were) debut authors (as my agency is only five years old), most often we are thrilled to get foreign interest at all. And yes, we always negotiate up the foreign advances etc. but you only have so much leverage when the client hasn’t got a sales track record.

But obviously the agency has reached a new level—especially for established clients with success. Yet another threshold we are crossing as we finish up year five and head into year six of our existence.