Pub Rants

STATUS: Sara and I are still chuckling over a query received this morning that was a real gem. It opened with “do I have the balls to take on a real writer.” Uh, well, if you looked at my website you would see that I am a woman. I guess the answer would be no. It got even better. This person reminded me that I should be thankful that I was queried for such a terrific project. Good because I needed the reminder. The writer also used three obscenities in the query—including the “F” word. Honestly folks, I couldn’t make this stuff up.

What’s playing on the iPod right now? NO REPLY AT ALL by Genesis

So, has your agent lost that loving feeling?

Well, if the first round submission didn’t go, then yes, I can tell you truthfully that the agent has probably lost a little of the love for the project. It’s just natural. That doesn’t mean the project is dead or that you should start biting your nails. Lots of projects don’t sell during the first round but do sell in the second (and even in the third). It’s just part of the process. Don’t sweat it.

However, it’s bad when the agent has really lost that loving feeling and isn’t willing to go the distance to try and sell a tough project.

How do you know if that’s the case?

Well first, you can look at the submission numbers. How many editors saw it? For a lot of projects—like literary or women’s fiction, you’ve got about 25 to 30 NYC imprints to exhaust before the bottom of the barrel is reached.

For genre fiction (like romance, mystery, SF&F), the number of imprints with editors who handle it is smaller—like under 15.

Sometimes an agent will go the smaller or university press route but that’s a lot of time for very little money. It really depends on the project. A literary work has a lot of options at the independent but exclusive smaller venues. An agent might be willing to go the submission distance for the prestige rather than the money or because the agent really loves the book and darn it all, it’s going to be placed.

According to a lot of writers I’ve talked to, the next big clue of lost love is when an agent becomes less accessible about communication. There’s more time between email responses. Requests for submission updates are ignored or followed up weeks later. I’m sure the list goes on.

Frustrating I know. What can a writer do?

That’s a tough question because that’s not how I operate but I would suggest that writers become pro-active. Schedule a phone meeting with the agent to discuss the status, the rejections, any strategy, future possibilities, and a definitive time frame for the submission.

One of my authors went out and did her own research, bless her soul, and really found some niche places that I wouldn’t have dug up. We ended up not needing them (as we sold it to a major publisher) but I loved that she stepped up to become a partner in the process rather than a passive participant.

Some agents hate that though so know your agent’s style.

If an agent loses the love halfway through and only has submitted it to a couple of places (or half the possibilities based on your own Publishers Marketplace research), then that’s an even tougher place to be.

If I were the writer, I would find out if the agent has any plans for a further submission. If not, you can take the project back but here’s the rub. Most agents would prefer to take on an unshopped project.

The reason why is obvious. The agent is taking on a project where some of the submission glow has already worn off. Talk about starting in a tougher place as an agent. There isn’t even the initial optimism going into a brand-new submission. The agent has to re-ignite that loving feeling just to get started.

Have I done it? Yes. But I have had mixed results on then finally being able to sell the project. It’s not my favorite thing to do so yes, I’m hesitant but if I feel that initial love, I’ll take a chance.

And a final word, some projects don’t sell—despite heroic efforts on the part of the agent.

The key is knowing whether the effort was heroic (or, at the least, tenacious). Ultimately, a writer might have to accept that the project couldn’t sell and move on.

STATUS: I have a lot of reading to tackle and unfortunately haven’t been able to devote any time to it during the day. Nothing huge going on but a lot of time-consuming and boring “this is what agents do behind the scenes” details to help clients. In fun news, Sara launched our brand spanking new MySpace page if you want to check it out and friend us. It’s just one more way we are trying to get the word out about our YA (and crossover) writers. It’s probably a trend that is like, so over, you know? We’ll see what happens.

What’s playing on the iPod right now? A LITTLE RESPECT by Erasure

The mark of a good agent is an agent who doesn’t give up after the initial submission glow has faded.

Yep, it happens. Agents take on projects because we love them and think they can sell. Invariably, a manuscript will go out on submission and completely flummox us by not selling. By the way, this happens to all agents (except maybe if your name is Binky but let’s not go there).

Does the glow fade some after the initial submission excitement has subsided? Well, you know I’m honest, of course it does. It’s the worst feeling in the world to think, “Gee, did I miss on this one? Why isn’t my taste matching up with everyone else? Have I lost my mojo?”

In reality, sometimes the market timing just isn’t right (and let me tell you timing is everything) and a good project doesn’t sell right away or just doesn’t sell period.

A good agent rolls up her sleeves (or his cuffs) and gets grubby looking for the non obvious choices, the out of the box possibilities, and tries to get that project sold. Despite our best efforts, sometimes it doesn’t happen.

So here’s the reality of the situation from the Agent Kristin perspective (and remember, I don’t speak for all agents):

1. First round submission comes back all NOs. Yes, the glow is definitely off the submission but I don’t just drop the project. I know I’ll move to my second round choice of editors and push forward. This usually happens in pretty quick time—unless an obvious revision per the editors’ comments is needed. (For me, I give editors about 5 weeks to read any submission and get back to me. When the project is hot, it never takes that long before I hear back from an editor. If not hot, most editors will get back to me within that time frame. After the 5-week deadline has passed, then I start my gentle nudging). So, first two submits within a 3-month or so window

2. Second round fails. Oh boy, the glow is really off the project. And yes, it does get regulated to back burner. And I have to be honest; it’s not a first priority for me. Current published clients as well as new submissions take precedence. Perhaps the author needs to revise (first time or some more) and we can go back to some editors that showed some interest. Time to dig deep for the out-of-the-box editor ideas. I don’t give up though.

3. Third round. Most likely a mix of new editors and editors seeing a revised version. Depending on the project (and the genre), we might have exhausted all possibilities as this third round goes out. If it doesn’t sell in this round, it probably won’t. Not to mention, I need to make a living. I really have to start concentrating on what will sell to keep the agency profitable.

4. If it doesn’t sell and I’ve dug deep, I’ll put the nix on the project and urge the author to get started on the next project. I never really give up though. If an opportunity arises out of nowhere or if the market changes, I’ll take it back out. It hasn’t happened to me yet (but then again my agency is only 4 years old so not enough time has elapsed for some trend cycles) but it has happened for Agent friends of mine to sell a project 2 or 3 years after the original submission. It happens. Not often but it can happen.

In the history of my agency, I’ve had the pleasure of selling two great projects that took me over a year to sell.

I feel the greatest triumph for those two. Would I prefer they had sold in 2 seconds? Heck yes but I was pretty darn proud when they sold.

Tomorrow I’ll talk more about how writers can know and understand if their agent has lost that loving feeling or if the agent really has exhausted all possibilities. And also, tips for how writers can handle the “lost submission glow” scenario.

STATUS: Busy Monday. I have a couple of projects to get out by Friday and since we’ve requested quite a few full manuscripts (like 5 or 6) in the last week or so, I’ve got a lot of reading to do. Not to mention, my client delivered her manuscript as promised (and that delights me because I’ve been waiting for this one).

What’s playing on the iPod right now? SOMEONE SAVED MY LIFE TONIGHT by Elton John

First off, my read & critique session on Friday afternoon went pretty well. Or at least in my mind it did. The writers looked a little dazed upon leaving but I do think they felt that the session and the feedback were valuable or helpful.

On Saturday, I took pitch appointments and noticed an interesting trend I’d rather not see repeated so I thought I would share it here—just in case conference organizers and future conference attendees are reading this blog.

About a third of the pitches I received were for projects my agency does not represent.

And many of those projects were quite good but since I don’t represent that kind of material, it really was a waste of time for both the writer and for me.

Flummoxed, I even asked one participant who had what sounded like a cool literary thriller why he had an appointment with me.

He said, “Because all my other agent choices were already booked and you were the only agent that had a slot open.”

Okay, valid, but I have to say I was a little aggravated. If my agency is the only slot open and we don’t rep your type of work, please, don’t meet with me. Decline your spot and allow another writer to take it who has a project that fits my criteria. I actually want to meet that person.

I attend conferences because I’m looking for new projects—in the genres I rep. Agent pitch sessions aren’t for practicing.

So here are two suggestions

Attendees: don’t list an agent on your request sheet if the agency doesn’t fit what you are writing–even if you have to fill in a third request slot or something like that.

Conference organizers: Please, do a final vet before the agent pitch list is finalized. Have the writers list their project and genre and if doesn’t fit with what the agent has clearly listed as what he/she represents, delete the writer from the pitch list. Let another person have that slot.

After all, the whole point of pitch sessions is to match up a writer with an agent. If that doesn’t happen, it’s just a waste of time.

STATUS: In a hurry since I need to be at RMFW in 40 minutes.

What’s playing on the iPod right now? 3 AM by Matchbox Twenty

I have to admit that I have some anxiety over my upcoming first session of the conference.
I’m doing a read & critique for eight or nine brave souls.

Obviously I don’t know how this one will turn out because it hasn’t happened yet but when I’ve done these sessions at past conferences, most of the submissions really aren’t quite ready yet to be under the brutal agent eye. They could use a tough but supportive critique group first.

I bet you didn’t think agents could get nervous but it’s really a fine balance to strike that right note of being honest yet encouraging for aspiring writers. I’m tough so I’ll get through it but …

I do have to express admiration for the writers who are willing to go under the gun so to speak. It’s not easy being critiqued in a public venue. However, professional writers need tough skins and this is one way to do it.

I’m off. Happy weekend.

STATUS: A solid work day. No complaints. I’m off to the faculty bbq tonight for Rocky Mountain Fiction Writers Conference which officially starts tomorrow.

What’s playing on the iPod right now? HEAD OVER HEELS by Tears For Fears

Dorie Berenger is a southern Louisiana fun-as-heck heroine.

Obviously Romantic Times agrees! They just gave Jana DeLeon’s debut RUMBLE ON THE BAYOU 4 ½ stars. No mean feat.

And it’s a Top Pick.

RT had this to say:

“Rumble on the Bayou is a wonderful, poignant and fun mystery, with a strong romantic subplot, in which all the major characters act in intelligent and responsible ways, not taking stupid chances. Filled with likable and interesting individuals, this first-rate debut novel is a truly fantastic read.”

STATUS: I’m finally caught up. I haven’t felt this feeling in 6 months. I almost don’t know what to do with myself. Good thing I’ve asked for some full manuscripts this week. And next Monday, a client will be sending a new work my way (which means at least 3 other clients will also send me something because they have this uncanny timing and invariably that will happen).

What’s playing on the iPod right now? HANG FIRE by The Rolling Stones

I’ve been noticing an interesting trend in the already published romance books I’ve been reading lately, and I know it obviously works for some agents and for a lot of readers (because several of these books are selling like hotcakes), but I have to tell you that it just doesn’t work for me.

For the most part I’m seeing this in the paranormals I’ve been reading.

Basically there is a really cool paranormal concept (and excellent world building), and sexy alpha hero (yum!), and then this milksop of a heroine.

For example, I just read a paranormal romance and I mapped out the plot. The heroine literally has one horrifying near-rape scene (and not by the “hero” which is always an immediate NO for me and it was well-done so I didn’t have a beef with that), two or three scenes at the office/job, one scene in an alley, and the rest of her scenes were literally at her home or at the Hero’s home having sex. Not very dynamic.

The hero is wild about her beauty and has an overwhelming need to protect her (why is not clear). He also loves her caring and nurturing spirit that is exhibited only once and very briefly after a sex scene and after the hero brings a wounded compatriot back to his home.

And that’s it.

It drives me crazy.

And trust me, I don’t need every heroine to be some action-packed, kick-butt kind of gal. She can be normal (and then rises to extraordinary in unusual circumstances in some way that’s fits with her being a normal person). She can be brain-y too. I love that. But then I need to see her use her brains in action—rather than simply be told that she is smart by the other characters in the story. I want to see her brains help move the action, escalate the conflict with the hero, and be an essential part to the story’s resolution.

I don’t want my romance heroines to simply be a vessel for the hero’s unbridled (and in my mind, completely unexplainable) passion.

STATUS: Tuesdays that are really Mondays are never my favorite but I did have a great weekend. Saw INVINCIBLE. You know my love for sports films. Okay, not a great work of art and certainly not in the top 10 list but fun to watch nonetheless. Is it me or does Mark Wahlberg seem a little small to play a football player?

What’s playing on the iPod right now? BEEN SO LONG by Anita Baker

Nothing drives me more crazy than interested writers who refuse to follow directions that are clearly listed on the website.

In fact, I don’t know any agents who accept email query attachments unless specifically requested so there is no excuse for this cluelessness.

Today Sara and I tried to download the weekend email queries into Outlook—which is usual. Since we haven’t even opened the program since Friday, there are usually quite a few queries that come in.

Well, it just froze. After numerous tries, we gave up. I finally went into the emailbox via the web. Some yahoo had sent me a 4 MB file containing his or her children’s picture book.

4 MB

And I don’t even rep children’s picture books

I probably don’t need to tell you what I did with this excessively large file.

Another yahoo sent his proposal three times—all equaling more than 2 MB.

And I was wondering why we were having trouble accessing the queries. We certainly have high speed internet here but sometimes it just can’t handle 7 MBs worth of stuff and not want to time out.

Happiness from my lovely 3-day weekend immediately dispelled because it took us over an hour to fix the situation and download the queries of writers who actually followed the instructions.

Trust me, this is not how you want to gain our attention with your query. No attachments.

I mean it.

(Does anyone want a peanut?)

STATUS: Well, I didn’t quite finish all I set out to do today but hey, I’m outta here anyway. I may have to work some this weekend. We’ll see. Agents sometimes just need a break as well. I’ll feel more refreshed come Tuesday for it. Happier to be reading and all that jazz.

What’s playing on the iPod right now? AMERICAN GIRL by Tom Petty and the Heartbreakers

At night, I’ve actually been trying to read already published books. I like to keep my finger on the pulse of what’s currently hot, getting a lot of buzz, or just staying in touch with the younger folks by reading YA novels and watching YA movies (which, let me tell you, is no chore). Next to sports movies, I love, love, love movies set in High School or feature teens.

And I especially loved the aptly named High School Musical.

But I’m getting off-topic. So, I’ve been reading a lot of different authors. And here’s what I wanted to ask. For many of them, I love the first half of the book (I mean really getting into it) and then suddenly, for me, the book just loses steam. Either the character isn’t interesting enough or the story gets predictable or something just happens.

Then I can’t force myself to read on. This has happened several times in a row now so I have this stack of about three or four unfinished novels on my night stand.

So do you finish it?

I’m thinking I’m going to just move on. But there’s always the chance the author could get it back so I’m tempted to slog on.

What do you guys do?

I’m out.

Have a great Labor Day weekend. See you Tuesday.

STATUS: Reading client material like mad! I want both projects done and out to the authors by 5 p.m. on Friday and then the weekend, here I come.

What song is playing on the iPod right now? TOTAL ECLIPSE OF THE HEART by Bonnie Tyler

Publishing is a business and a subjective one at that.

As I was reminded of that yet again just several weeks ago.

I gave a talk to a local community of writers about queries. Not unlike what I did on the blog, I showed some of my client queries and talked about what got my attention, why I asked for sample pages, and to where the project sold etc.

One attendee raised his hand and expressed his opinion, quite pointedly, that he found one of my client’s queries to be unexceptional and generic and he didn’t understand why any editor would be interested in that project.

I have my moments and I did have to stringently resist the urge to say, “and that is why you currently remain unpublished and my client is not” but I didn’t because his comment points out something that I’m always trying to remind writers who read my blog.

Publishing is totally subjective. Agenting is totally subjective. So much of this business is based on one person’s opinion and getting a manuscript into the hands of those we, as agents, know will share that taste and opinion.

It’s an odd business model if you think about it.

So, yes, this biz is subjective. A query that floats one agent’s boat might not even make a little dent in the hull of another agent’s boat.

But I also want to convey a warning. Was this attendee’s perspective shaped in any way by frustration that others weren’t recognizing the value of his work? And yet, what he sees has a generic project is getting the coveted publishing spot? Is green-eyed jealousy in any way limiting you from learning what needs to be learned to get your stuff published?

Because the query wasn’t generic and I really tried to point out, outside of the plot elements that may or may not float a reader’s boat, why it worked. Why it would work on other agents besides me and why this project did, indeed, sell—therefore implying that others saw the value (as in dollar signs that the book could sell to a wider audience than we two).

What I’m saying is to not let your vulnerable artist side interfere with what you need to know to be a savvy writing professional.

STATUS: Doing great. Getting tons of reading done because it’s so slow in New York. Everyone is out for vaca already or soon will be with the long weekend. I love the sound of that. Looonnnnggg weekend.

What song is playing on the iPod right now? SHORT SKIRT LONG JACKET by Cake

Note to self: I only indulge in polite rants on this blog. Oh to be snarky for just a brief minute.

I’ll behave.

So, here’s what I want to rant about. I know I’ve said this before but it bears repeating.

Publishing is, first and foremost, a business.

And people who forget that astound me.

Recently I received a chastisement email from the parent of a young writer who sent me a query and was rejected.

Folks, let me repeat. Publishing is, first and foremost, a business. We read queries with only business in mind—regardless of race, gender, age, or religion.

Either it’s a professionally done query that piques our interest or it’s not. All other factors are moot—even if you are under the age of 18. Heck, even if you are under the age of 16 (and I have received queries from aspiring writers as young as 12). If it’s a well done query, we’ll give it a serious read. We have even asked to see sample pages on numerous occasions because we were impressed with the query letter.

I have yet to take on a really young person (and just as a reminder, if I were to, the parent or guardian would need to be involved), but I’m certainly open to it if the story is right. Age is certainly not a barrier.

But if the query is not well-written or professional, we’ll reject it (with our standard but nice rejection letter)—regardless of the writer’s age because publishing is a business. I’ll try not to repeat that yet again in this blog entry.

To receive an email from an angry parent accusing me of willfully dashing his or her child’s writing dream with my rejection strikes me as wrong on so many levels, I’m not sure where to begin ranting.

So I won’t. I’ll just leave it at that.

Or the one thing I will say is that the parent is not treating the child as a writing professional that he or she is aspiring to be.

And as all writers know, rejection is part of the biz. A badge of honor on this journey to publication.