Pub Rants

STATUS: Hooray! It’s a normal day at the office. No flaming bonfires raging wildly out of control or anything. The two outstanding contracts are close to being complete. I’m doing some reading, some submission follow up, talking to clients. All the fun stuff.

What’s playing on the iPod right now? ME EVERY CHANGING MOODS by The Style Council

Here’s a final blurb question. What if you, a published author, are asked to blurb a work and you would like to decline? What do you then say?

Never burn bridges. Always be appreciative and polite because publishing is a small world. Even if you’re thinking, “this is the worst freaking book I’ve read in years.”

You keep that to yourself!

This should be common sense but I’m constantly amazing at how often sense isn’t common. So how to politely say NO to a blurb request.

1. Not the right author for the blurb. If the manuscript is dark and edgy and you as the author only write light and sweet, highlight that as your reason (or insert other similar scenarios). A blurb from you might confuse or alienate your audience. It’s true and no one can take offense.

2. The looming deadline. All authors and editors understand this one and it’s often true. A lot of authors simply can’t squeeze the reading time in if they are on deadline.

3. The oblique but true response. Stay general in sentiment such as the “you just didn’t fall in love with the story response but were very much honored to have been considered and you wish the other author well.”

Happy blurbing (or not as the case may be) folks!

STATUS: It’s issues week at the NelsonAgency! I’m partly kidding because an agent’s job, by its nature, is pretty much dealing with issues. Still, we have quite the abundance considering it’s only Tuesday.

What’s playing on the iPod right now? TELL YOU WHY MAGGIE MAE by The Pietasters

Are author blurbs important?

Darn if I know. Darn if any of the publishers really know. It’s very hard to determine the power of a blurb in terms of nudging a browser into a buyer when at the bookstore. There are a lot of disparate views on the topic. How does one quantify the power of the blurb?

What I do know is that they don’t hurt and they are used for many reasons. They can grace a cover (usually by a really well known name that readers can identify with). The more recognizable the name, the more power of the blurb.

It’s a time-honored tradition to make blurb requests and they can be done two ways—through your agent (who asks the other author’s agent or editor) or directly by the author to the other bestselling author. However, some bestselling authors make it a general policy to not give out blurbs—mostly because they would be inundated.

Given that, the best blurbs are the ones you get because a well-known author, unbeknownst to you, picks up your book and reads it, loves it, and emails you. Carly Phillips picked up CHEATING AT SOLITAIRE by Ally Carter at an airport and loved it so much, she emailed Ally. Excited, she forwarded it to me and of course, being in agent mode, I asked Ally how comfortable she was in terms of asking Carly if she would be willing to formalize her enthusiasm into a blurb. Carly was happy to.

For Mary Jo Putney, a close friend of hers read and loved FINDERS KEEPERS by Linnea Sinclair and told Mary Jo she had to read it and gave her a copy. (Bless those reading enthusiasts!) SF romance is not traditionally Mary Jo’s thing but she had heard some buzz on the book, had the copy and her friend’s endorsement, so gave it read. Loved it and emailed Linnea. Her quote graces the cover of Linnea’s upcoming title GAMES OF COMMAND, which will be out in the spring.

Another use for a blurb? They make great inside cover praise for the front book pages. I know I tend to skim them when looking to buy a new author. Do you? What weighs more for you? Name recognition of the author or what is actually said in the blurb?

Another use of blurbs is for the marketing materials that are often included in publisher catalog copies, letters to booksellers, sales conference etc. It’s just more ammunition for the sales rep to highlight how much attention and praise a book has received.

Do I think they are necessary? No. Authors shouldn’t kill themselves getting them but I do think it’s worth some effort on their part.

STATUS: It was a miserable Monday. Two contracts that should be done, aren’t.

What’s playing on the iPod right now? SMOOTH by Santana and Rob Thomas

Several of my authors have quite a bit of name recognition so it’s no surprise that just recently, they are being asked to blurb quite a few upcoming books. This in, itself, is not a bad thing at all but it certainly got me thinking about some blurb rants.

So, I think I’ll indulge.

A blurb request is great if the author reads the manuscript and loves it. Piece o’cake. Blurb is provided with enthusiasm and delight. However, what should an author do if they don’t like the work?

Tricky situation but a great question. Do you blurb it anyway? What if the author is a “hot” rising star who is getting lots of attention? What if the request came straight from an editor? Can you say NO? Will that burn bridges? What if the request came from an author influential on a loop?

What if… and there can be any number of scenarios.

My advice?

If you don’t like the work, don’t blurb it.

Ah, easier said then done. Big smile here. That’s my general advice but if ultimately you, as an author, think there might be severe repercussions to saying NO (and those really vary), well, hey, it’s a valid, professional decision to weigh carefully and you might decide to blurb it. And yes, I can hear the chatter from the comments section already about how that might be jeopardizing one’s principles, blah, blah, blah. My guess is that you really don’t know what you’ll decide until faced with the question for real.

My other advice? If you’re not sure about a blurb decision, consult with your agent.

STATUS: Sara and I might have set a record for how many full manuscripts we’ve requested within a three-week period. 12 to be exact. But seriously, we’ve seen some great queries, solid sample pages, and are reading lots of fulls. We are looking to take on new clients. But what I want to see is something really new, fresh, and original in terms of the story and supported by top-notch writing.

What’s playing on the iPod right now? JEALOUSY by Natalie Merchant.

I hear that writers are often asked about where they get their good story ideas—like there is a factory somewhere that generates them. I don’t know what works for writers but I do know what works me as an agent because it happened last night while I was reading the latest issue of Newsweek.

I read this quote and couldn’t help but think, dang, that would make a brilliant novel concept. That would be a novel I would LOVE to get my hands on sample pages right now. Why didn’t some enterprising young Latina or African American writer not think of this before?

Today, I’m going to give a free book idea for a novel I would love to see and read.

In Newsweek, Jennifer Bayer of Pereira, Colombia, was quoted saying “Violence is not sexy,” on a movement where girlfriends and wives of gang members refuse to have sex until their significant others cease all violence.

Bingo! What a brilliant novel concept–a modern retelling of the classic Greek play Lysistrada from a contemporary Latina or AA perspective. Aristophanes wrote this production in 411 BC and yet it’s still a timeless theme. Maybe this book already exists and I’m simply unaware of it but if not…

Good story concepts? They are everywhere.

STATUS: Getting some new projects ready to go out on submission. There’s always so much excitement when the process is starting.

What’s playing on the iPod right now? BELIEVE by Cher

I’ve blogged about this before so y’all know that one of my pet peeves is writers having the assumption that if an agent is nice, they can’t be a tiger in negotiations. That only mean and nastily aggressive agents get the good deals.

Well, I was watching the Today show while doing the elliptical runner this morning and darn if there weren’t two powerful women being interviewed about a book they wrote about me.

Okay, so it really isn’t about me but I almost cheered in the workout room because their book is entitled THE POWER OF NICE: HOW TO CONQUER THE BUSINESS WORLD WITH KINDNESS. Something I’ve been doing for years and now there’s a book that validates my modus operandi.

STATUS: Received news today that an editor is leaving and dang it all, my author is going to get orphaned. This is especially heartbreaking because this editor is tops and was a perfect fit for the project.

What’s playing on the iPod right now? IF by Dean Martin

This week I’ve been inundated by queries for the Christian market and I’m at a loss as to explain why since I don’t rep projects for that arena. My agency name must have appeared on a list somewhere recently otherwise that’s just too strange to be coincidental.

Now Avon just announced their new Avon Inspire line so I have to wonder if that has anything to do with it. The queries received were for genres we handle such as women’s fiction, romance, and mainstream but all with a Christian bent. That’s material for the Christian market and folks, I don’t track those sales or keep in touch with any of those editors. I’d definitely be the wrong person for these types of projects.

In other news, I just had to shake my head at a voicemail that was left for me last week. A person who had seen me speak this summer was calling to tell me that he had finished his project and needed me to tell him what to do next.

Well, the talk he saw me give answered that exact question.

Lost in translation?

STATUS: Besides the fact that I’m a day ahead of myself? Not much. It’s tomorrow that I’m the guest blogger at Romancing The Blog. Sept. 20. Wednesday. Got it. I only have a calendar on my computer and hanging on the wall to the left of my desk. I guess I’d rather be a day ahead then behind.

What’s playing on the iPod right now? SOMEDAY, SOMEWAY by Marshall Crenshaw

I don’t think that writers realize that good, reputable agents with solid sales track records will often take advantage of writers in a very subtle way. It’s usually the words “in perpetuity” embedded in the agency clause of an agency agreement or a publishing contract. And if you’re smart, you’ll find out ahead of time if such an approach is used by the agent or agency (because it’s a growing practice).

One of the comments last week mentioned that a writer had declined representation because of it and many of his or her friends considered the writer nuts for doing so.

I, however, don’t.

I think the writer was smart. Very smart.

First off, what is it? Well, in all publishing contracts, there will be an agency clause that specifies that the author is appointing this person as his sole or exclusive agent for the property being contracted.

Then the clause will contain such words as, “Author hereby irrevocably appoints in perpetuity the so-and-so agency as her/his sole and exclusive agent (the “Agent”) with respect to the Work and authorizes and directs the Publisher… etc” and then later in the clause states, “For services rendered and to be rendered, the Author hereby does irrevocably, assign and transfer to the Agent in perpetuity, and the Agent is entitled to receive and retain, as its commission..”

It means exactly that. This agent now has the right to receive compensation in perpetuity for this work—even if this work goes out of print and is later resold—by a different agent. Even if this agent drops the author like a bad egg and doesn’t lift another finger to help this project. Even if the author wants to leave this agent and find a new agent because the publishing contract has terminated.

In perpetuity means endless, paid for life, for eternity.

Don’t you think that’s asking for a lot from an author? Isn’t it wise to think twice before signing on to that arrangement when there are so many terrific agents who don’t demand this type of concession from an author?

Read the fine print of an agency agreement first. If it’s not clear there, ask the agent about the agency’s policy. Know beforehand if “in perpetuity” is expected and therefore will be in the publisher contract because goodness knows, you don’t want to have that surprise right before you want to sign on that exciting dotted line.

Weigh the pros and cons of it.

And for the record, my agency clause clearly states, “for the full term of this Agreement…” in all applicable areas.

Not “in perpetuity.”

In my mind, if the contract is still in force, I’m doing my job and should get compensated for it. If not, well then, I either needed to get it back under contract to earn some dough or let the author move on.

STATUS: It’s Monday. Mondays are always crazy and sometimes I’m not sure how that happens. It started off simply enough. I had three tasks to accomplish by evening and now it’s 6 p.m. and I’m only halfway through task 2. Some interesting fires happened today. In fun news, I’m guest blogging on another site tomorrow—a completely original entry so you might want to pop over to Romancing The Blog tomorrow for a peek.

Also, Rachel Vater is doing a query workshop over on her blog so if you are in the query process, you might want to pop over there to check it out.

What’s playing on the iPod right now? YOU’RE THE ONLY WOMAN by David Pack

I was a little crazy this year, and I agreed to judge something like 6 or 7 contests. For the most part, contest judging is a lot of fun and if it’s allowed, I often offer a critique or some feedback with the judging sheet. But 6 or 7 contests is probably about 2 or 3 too many because of the time involved.

I’ll be learning to say “NO” a little more often for next year. Big smile here.

So obviously I recently judged a contest and this time, I really liked the winning entry—liked it enough to ask for the full manuscript once the winner was announced. I’ve actually only done this one or twice in the history of my contest judging so it’s rather a big thing (or perhaps it’s only big in my mind…)

Today the contest winner had to send me an email ‘fessing up. It probably took her a week just to get the wording right (and I thought she did a very nice job with it) but ultimately, she had to tell me that she had submitted chapters to the contest for a manuscript she had not finished.

Oops. That’s like querying for a project that only partially exists. It’s all well and good until the agent asks for the full. We have excitement, momentum, we want to read it right now and alas, we must curb our enthusiasm until the manuscript is complete.

A little tip: You never want to put the brakes on an agent’s excitement.

But don’t worry. I’m not going to punish this writer for her lapse or anything. Maybe she had every intention of finishing it and life got in the way. That certainly happens! When the manuscript is ready, she can send it. But there is danger in that. Perhaps the market shifts between now and then and what I was looking for today has changed by the time I see the manuscript. So much is dependent on timing as I’m often tell you blog readers.

So a word of caution to contest submitters. Have the full ready because the request just might happen and you don’t want to be SOL but able to send it ASAP instead.

STATUS: Remember how much I said I value technology and all that? Well, I finally set up the RSS feed. Shuddup. I know I started blogging in January and many of you emailed me to ask that I get it set up. I love technology but I always have to set aside at least an hour to figure it out. See the little icon thingy on the right but it should work.

What’s playing on the iPod right now? MRS. ROBINSON by Simon & Garfunkel

First off, I have to say that I’m not talking about scamming agents with these last few entries. If someone wants you to pay a fee, be it a reading, editing, critique, signing, or what have you, you should have lost that loving feeling even before you began making out a check. And that goes for that whole Sobel Contest scam highlighted by Miss Snark and Galleycat and bunch of other bloggers.

I’m talking about agents with verifiable sales, are legitimate, but aren’t meeting author expectations.

It’s those reasons I want to chat about.

So, here’s the list so far.

#1 Complaint: poor communication
No updates on submission lists
Not returning calls or emails either at all or not in a prompt fashion

#2 Complaint: Not shopping projects
Agents sitting on them for too long a period of time/no feedback
Forgetting them when they are out on submission
Forgetting them altogether and is surprised when the author calls for an update
Sending only to 5 or 6 editors and then giving up

#3 Complaint: Original agent leaving and author being passed to another agent
The new agent doesn’t feel the love

#4 Complaint: Inept submitting of projects
Agents getting the info about the author and project incorrect.
This wasn’t in the comments but I participated in a chat loop this week and an author was pretty steamed that the agent had done a mass submission with hers just one of several client projects sent to an editor.
Not reading the project even before sending

#5 Complaint: Lack of career planning
Agents who basically submit projects but don’t do anything else.

#6 Inability to sell manuscript
All the other complaints are pretty darn valid. This one gives me pause because hey, there have been projects I haven’t been able to sell. No agent can sell everything he or she takes on. Now I have to say my sell-through is pretty darn high but it’s still not 100%.

On the other hand, sometimes I can understand why an author would want to make a change. Maybe a new agent can create what the other agent can’t. I have my blindspots. Maybe a new agent can see what I can’t or maybe the material has become too familiar and a fresh set of eyes is needed.

#7 Complaint: Personality conflict
Agent too cold or distant
Working styles too different

These reasons seem pretty valid to me. My suggestion? When an agent offers representation, ask for the contact info of current clients. Then contact those folks and get the scoop. How does the agent work? What is the communication style? Have there been any hiccups? Any agent drawbacks? Etc.

I’m always happy to forward on the email and phone numbers of current clients (with their permission) who are happy to talk with a potential new client about me.

That’s your best bet for getting the inside info on an agent. Even with this, I’ve heard of agents who were right for one author but so not right for another. It happens.

Happy weekend folks.

STATUS: Some absolutely fabulous news today. I’D TELL YOU I LOVE YOU BUT THEN I’D HAVE TO KILL YOU by Ally Carter has just gone into its third huge printing. I’ll leave it up to Ally if she wants to reveal how many copies are now in print but it’s an impressive number! And today, I also sold the German rights to ONCE UPON STILETTOS. Go Shanna. Do you know she is a bestseller in the Netherlands as well with ENCHANTED, INC.? This book went back to print there last month. They love her in Dutch! Some of her fans even ordered the English version of STILETTOS because they just couldn’t wait for the translation. That’s love.

What’s playing on the iPod right now? NON DIMENTICAR by Natalie Cole

Transitions go in waves—I’m telling you. Lately, every other Pub Lunch has a tidbit about an editor who has left one house to move to a new publisher.

And the agent dance wave is going on as well. In the last two weeks, I’ve received at least three emails from authors looking to leave their agent and are seeking new representation.

So, I have to talk about the reverse. Sometimes authors lose that loving feeling about their agents.

Last month I was perusing a chat forum and I was appalled to read about an author who blamed her agent for not getting enough money in the initial advance (even though, by her own admission, it was the only offer for the book) and she was convinced that that was why the publisher didn’t get behind the book for marketing/publicity (and that the agent didn’t do enough to force the publisher to spend the marketing dollars).

She fired the agent.

Oi, that makes my blood run cold. She blamed the agent for the advance not being big enough on the only offer made and for not forcing the Publisher to spend money. I don’t know any agents who can FORCE the publisher to spend the marketing dollars. What? Should I show up at their offices with a shotgun in hand?

And maybe there is more to the story but in my mind, there are lots of good reasons to fire an agent and the above ain’t one of them.

So, what are good reasons to lose that loving feeling for your agent and move on? You tell me and we’ll list ‘em (and maybe talk about some of them) tomorrow.