Pub Rants

Category: career

Ten Tips for Virtual or In-Person Pitching

by Angie Hodapp

The writing world is transitioning back to in-person conferences, and we couldn’t be more excited! But the unexpected benefits of virtual events means they’re probably here to stay. Whether you’ll soon be pitching in-person or over Zoom, here are ten tips to help you present as professional, knowledgeable, and ready to take on the publishing industry.

1. Practice.

Run through your pitch a few times in front of the mirror (if you’ll be pitching in person) or in front of your computer with your camera on (if you’ll be pitching virtually). You can even record yourself and play back your practice pitches until you feel like you’re nailing it. If you’re super nervous, start by pitching to a sweet-faced stuffie or your least judgy-looking pet. Work up to your friends and family. But know that you’re going to get the best feedback from other writers. They can give you tips on the pitch itself as well as on your delivery, so when you’re ready, ask your critique group if you can practice on them. (See #6 below for another practice tip.)

2. Avoid reading off a piece of paper.

Have you ever attended a lecture or keynote where the speaker read word-for-word off their PowerPoint slides or note cards? Of course you have. Everyone has. It’s a little monotonous, right? The speaker’s lack of interaction with the audience is awkward and yawn inducing. The same can be true of a pitch appointment. Reading the agent your query letter or synopsis isn’t your best move, and there are several reasons why. First, imagine what the agent or editor will be looking at while you read: the top of your head. Second, it can be difficult to hear you if you’re aiming your voice at the paper in front of you, especially in a crowded pitch room. If you’re pitching on Zoom and reading off your screen, speaking right into your mic, that’s not as bad, but your reading-aloud voice might still be a little flat. Which leads me to the third and most important thing: a verbal pitch should be an engaging conversation starter. As such, it should be shorter than your query letter’s pitch paragraphs. Therefore…

3. Avoid talking the whole time.

Pitch appointments average eight to ten minutes, and those minutes go by fast. The best pitch appointments for both the writer and the agent are those that turn into personable dialogues about the book, comparable titles, and the writer’s inspiration, journey, and career goals. Yet my colleagues and I have taken tons of pitch appointments over the years that end with the writer still talking—either because they haven’t practiced their pitch and are kind of wandering through a vague recounting of their story’s events, or because they’re still explaining their backstory, world building, or themes. There’s just not time during the average pitch appointment for that kind of elucidation. Therefore…

4. Encapsulate your premise or concept.

Lead with your story’s title, genre, word count, and character- or concept-based “person with a problem” proposition. You can expand a little, but not as much as your query letter does. Then give the agent an opportunity to ask you questions…or better yet, to just go ahead and request your manuscript.

5. Make eye contact.

Whether in person or on screen, eye contact conveys confidence and commands the attention of the listener. Without it, it’s easier for the listener to zone out.

6. Avoid memorizing your written pitch.

Maybe you’re making stellar eye contact and not reading off a piece of paper. That’s good! But the word-for-word recitation of a memorized pitch also risks being humdrum—especially when the writer forgets to breathe. And let me tell you, pitch memorizers are the most likely to forget to breathe! You’re much better off knowing what you want to say and then letting it come out naturally and personably in the moment. How do you practice that? Here’s something a writer friend of mine did: Write “tell me about your book” on a dozen notecards or stickies and have a friend post them around your world (on your toothpaste, washing machine, fridge, rearview mirror, TV remote). Whenever you come across one, pretend it’s an agent or editor at a conference, and right then and there, deliver your pitch impromptu style.

7. Have paper and pen ready.

Unless your project is too far afield from what the agent is currently looking to represent, the agent is probably going to ask you for sample pages. That’s the only way they can assess whether the idea you pitched is executed well and ready for representation. So be ready to write down (a) what they want you to send (pages, chapters, full manuscript) and (b) how they want you to send it. This is especially important during virtual pitches. In person, an agent can hand you their business card. But over Zoom, you’ll need to be sure to write down their email address or the link to their submissions portal or online query form. When I’m taking virtual pitches, I post these things to the private chat window, so besides paper and pen, also have a document already open on your computer where you can copy-paste. What often happens is that the writer is so flustered by the request that they end up scrambling for something to write with and on…and then later, they can’t remember what they’re supposed to do. So they contact the event organizers, who then have to get in touch with the agent, who then has to reiterate the request, which then has to be re-communicated to the writer. Best practice? Expect a request, stay calm and collected when it comes, and have pen and paper (or an open document) ready.

8. Respect agents’ social-media boundaries.

In our more virtual world, it seems professional boundaries have become a bit more blurred. Resist the urge to slide into an agent’s direct messages on Facebook, Twitter, Instagram, etc., whether to pitch them, send links to your content, or follow up on a pitch or other submitted materials. It’s simply not professional, and frankly, it feels a bit off. I don’t know a single agent who has ever been impressed by a writer who doesn’t follow the submission guidelines outlined on their websites. So unless an agent explicitly invites professional interactions via their personal media, it’s best not to go there.

9. Remember in-person hygiene.

This one’s a little uncomfortable to talk about, and you might be wondering if we need to talk about it at all. But every agent who’s ever taken in-person pitches has stories. Hey, I’m sure writers have stories about agents’ hygiene, too. No one wants that to be the thing they’re remembered for. So as we all return to in-person life, some grudgingly trading yoga pants and slippers for tailored slacks and hard-soled shoes, here are some tips. First, forego perfume or cologne the day of your pitch. A few years ago, Agent Kristin ended up sneezing and mopping her eyes all the way through a pitch appointment because she had an allergic reaction to whatever scent the writer was wearing. Second, slip some mints or hard candies into your conference bag. These aren’t just for your breath—they also help remedy anxious dry mouth in the moments before your appointment. To that point, have a bottle of water in your bag as well. Finally, I know several conference regulars who carry a little travel-sized deodorant or antiperspirant in their conference bags. Great to have on hand for pre-pitch anxiety, sure, but also for surviving long breakout sessions when the hotel air-conditioning is on the fritz. (Why is the hotel air-conditioning always on the fritz?) Better to have it and not need it than need it and not have it.

10. Don’t be nervous.

Ha! Like it’s that easy, right? Of course there are nerves involved in pitching. The only way to combat the anxiety is to be practiced and prepared, and to keep signing up for pitch appointments every time you have the chance, both in person and online. Once you know what to expect, there will be fewer surprises, and you’ll be a pitching pro in no time.

Photo by Miguel Á. Padriñán from Pexels

One Easy Way to Verify if an Agent is Legit

by Kristin Nelson

With so many stories emerging of agents behaving badly, if only there was a quick and easy way for aspiring writers to verify a literary agent’s legitimacy. What a boon for new writers navigating a complicated publishing landscape. In good news, there is. 

The job of a literary agent is an unusual one. This isn’t a profession that one learns by going to college (although almost all agents have college degrees and many might have attended a Publishing Institute program). This isn’t a profession where accreditation is required, such as passing the bar for attorneys (although many agents are also lawyers). Any person can literally hang out a shingle and claim they are a literary agent. Because of that, many Schmagents have lured in unsuspecting writers. However, there is an organization that does govern this profession: the Association of American Literary Agents (AALA). 

Initially founded in 1991 under the name Association of Authors’ Representatives (AAR), this governing body was implemented to form bylaws and a canon of ethics that member agents are required to follow—thus creating a standard of working in the profession. Membership is by application only. An agent must fulfill the professional qualifications and submit letters of recommendation for entry. 

In 2020, AAR began the process of rebranding to the AALA (as there is a sister organization in the UK)—hence, both websites are currently active as the transition unfolds. This rebranding is reinvigorating the organization, which is now much more focused on agent education (via monthly programming), mentorship, and promoting diversity in our ranks. All very much needed and delightful to see. As a new-to-the-biz agent in 2002, one of my first goals was to fulfill the qualifications criteria so I could become a member. After all, I was a mostly unknown agent operating out of Denver. For me, AAR membership was a stamp of legitimacy to ease the minds of writers considering me when I offered representation. 

Currently, the AALA member directory is a tool that writers can use when doing agent research to verify an agent’s legitimacy. If an agent is a member, they do have to adhere to the AALA’s bylaws and canon of ethics or they will be asked to relinquish membership. 

Now, having said that, here are several things to keep in mind:

  • Not all legitimate agents are members of the AALA. Membership is by choice and not required.
  • Just because an agent is a member does not mean they are an agent with good negotiation skills or that they fulfill other criteria that I outline in my What Makes A Good Agent article series (see right side bar). There are many agents who qualify to be members but might fall under the heading of Hobbyist or turn out to be a Blindsider.
  • An agent who is a member might be a good agent but not a good agent for you. 

The existence of this organization, and searching through the membership profiles, is just one piece of the agent-search puzzle. It does not take the place of all the other research you should be doing on the agents you plan to query, which should include their sales record and current client list. Writers, good luck on your representation quest. 

Three Agent Types to Avoid… and the One You Won’t See Coming

by Kristin Nelson

Whenever a new story breaks about an established literary agent behaving badly, I cringe. Although I’m not personally responsible, it’s another black-mark moment for this profession that I love. So what responsibility do agents have to protect writers, and what can writers new to the publishing world do to protect themselves?

The answer is surprisingly simple: be armed with knowledge. Agents with integrity should provide information in a public sphere whenever possible, and many do via Twitter, blogs, and newsletters. Writers should gather all they can but also know that things change. Be kind to yourself, as it might not be possible to have “known better” if an agent partnership does not go as planned. 

As an agent who has spent the last fifteen years putting information out there for writers (since I started Pub Rants in 2006), I hope to arm you with info about agent types you might want to avoid. By the way, I highly recommend that writers looking for an agent have a subscription to Publishers Marketplace, where you can do your research. A lot of heartache might be avoided with a little time spent there.

The Schmagent

This type of agent is easy to define. This scammer pretends to be an agent, charges fees for everything a normal agent just does as part of the job (i.e., reading fees, submission fees, marketing fees, etc.). The red-flag word here is “fees.” When writers spot that, it’s an instant tell that the agent isn’t legit.  In 2013, Victoria Strauss of Writer Beware and I were expert witnesses for a lawsuit to take down a scammer masquerading as a literary agent. This person fleeced unsuspecting writers out of hundreds of thousands of dollars. (It’s lucrative, which is why there are so many schmagents out there.) It’s a bit like whack-a-mole, but we put this one out of biz. By the way, Victoria is a tireless advocate for writers, and she doesn’t get enough props for everything she has done and is currently doing. Send her a note, or better yet, buy one of her books. It’s thankless, time-consuming work, and she is an amazing human being. In the internet age, this type of agent might be easy to spot, but scammers still snare unsuspecting writers all the time. If this describes your experience, don’t spend time berating yourself. Scammers are pros at what they do. 

The Hobbyist

This type of agent might mean well, but they pursue this profession for the “celebrity” of the job. This might not make them a bad agent per se, but it also means they probably aren’t a great agent either. How do you spot one? Well, this can be tough. The Hobbyist might have a great presence on social media, but if you dig in to the research (thank you, Pub Marketplace), the Hobbyist will not have a strong track record of sales or will only do deals with small presses or for digital rights only. And so I’m clear, there is absolutely nothing wrong with doing deals with small and digital publishers. I’ve done many in my career, but they should be balanced with regular/bigger deals to Big Five publishers and the well-established indie publishers. 

The Greenie

Some agents might have integrity but are simply too green (and don’t have access to mentorship) to be able to advocate for a client.

Back in 2008, there was an agent who racked up many six-figure deals under her own shingle. She came on the scene quickly, and after two years, exited quickly and without warning. She looked hot on paper with all those deals, but her clients were signing boilerplate publishing contracts with no negotiated changes. This agent had no prior experience at another agency, and it was a nightmare for those clients later in their careers. 

For the Greenie, the key is to look at the agency itself. How long has that agency been in business? What is the agency’s track record as a whole? This will help you determine whether this newer agent is in a place where they will receive guidance from a more seasoned agent. 

The Blindsider

This is the agent that all the research in the world can’t predict. This agent might have a terrific beginning to a career, and then that career publicly derails. You will never be able to spot this one coming. Writers, go into an agent partnership expecting the best. But if the worst happens, try and let go of any self-blame. You did the best you could with the information available when forming the partnership. 

Also keep in mind that some agents are acting with integrity but might simply be a bad fit for certain authors. Communication styles or personalities don’t mesh. My client Courtney Milan tackled this convo recently on Twitter, so give it a look in case you find it helpful. 

As an agent, I’ve put many an article out there trying to assist writers in arming themselves with knowledge. I did a whole series of articles on what makes a good agent well as an article on 5 Questions Authors Don’t Ask but Should when considering an offer of representation.

One final comment. As an agent, I wish for no more black marks on my beloved profession, but I’m also practical. Another news article will probably be just around the corner. 

Creative Commons Photo Credit: Nenad Stojkovic

What to Consider When Looking for an Agent

by Quressa Robinson

Many of you are probably querying or preparing to query. Maybe you’re between agents. Whatever the case, I wanted to give a bit of an overview of the things you should keep in mind as your writing career progresses. Much like any relationship, finding the right agent, editor, publisher, etc., can be hit or miss. Everyone has the best intentions and hopes things will work out, but no one can predict the future. We enter into what we hope will be longterm partnerships after a phone call and a series of questions, questions that can never address every possible scenario. Sometimes, the partnership just doesn’t work, which is fairly common in publishing. Regardless, here are some things to consider.

Editorial vs. Non-Editorial Agent. At this point most, if not all, agents are editorial. It has become a significant requirement that agents polish clients’ manuscripts before taking them out on submission. Still, there are a variety of editorial styles. Some agents just edit the first 50 to 100 pages and then include big-picture notes. Some do extensive line and developmental editing and also include an edit letter. Some may only do an edit letter. You can ask an agent what their editing style is, but their answer won’t really matter until you know what style works best for you. Try to get a variety of peer edits in various styles. If one works better for you than another, you know exactly what you’re looking for. If they all work, excellent!

Brainstorming/Concept Collaboration. How involved in the creative process would you like your agent to be? When we go out on sub, I have my clients send me five ideas for their next project. I then give them feedback and tell them which idea(s) make the most sense to pursue based on the market and what editors have told me they’re looking for. My help in walking through a concept is one of the reasons my clients chose me as their agent. Is this something you would need as well? Would you also want feedback as you draft—say, on the first 50 pages so you know you are headed in the right direction? If so, then ask potential agents if this is one of their strengths.

Career Management. In addition to helping with concept building and brainstorming, some agents also give career-management advice. This is helpful if you want to switch gears, perhaps moving from adult to YA or vice versa. An agent can guide you through that career transition, which might include rebranding you as an author or launching you under a new pen name.

Negotiations. How does your agent/agency negotiate? You don’t want to work with someone who is too soft and may push back only lightly. But you also might be turned off by someone who is too aggressive. It is fair to ask an agent what kinds of deal and contract terms they might fight for on your behalf and why. You might not care as long as they can get you a solid book deal, but negotiation is a huge part of what an agent does, so it never hurts to be aware of how your potential agent handles it.

Personality. Lastly, is personality important to you? What kind of personality are you looking for in an agent? Do you want someone friendly? Personable? Is it okay if they only contact you when necessary? Do you want someone patient who will answer all your questions no matter how many you have or how often you ask? Do you want a hand-holder? A shark? That’s a fair thing to want to discern. And agents might not know themselves where they fall. Reach out to their clients. Even if you are just querying and don’t have an offer or rep, you might be able to piece together some clues based on what clients say about their agents online or in the acknowledgments of their books.

Now that you know some agent-seeking basics, you can research confidently. There is still no guarantee that you’ll find the perfect fit for your entire career, but this will certainly help you figure out what you really want at this early stage.

Good luck!

Creative Commons Credit: Apichart Meesri

The Thing That Makes You Special

by Danielle Burby

I’ve been preparing for a conference where I’ll be presenting on plot structure and voice, among other things, and, in getting ready, I’ve been thinking a lot about what makes an author a cut above the rest. What is that special X-factor? The je ne sais quoi that can elevate someone with good technical skills to an expert writer?

We all know writing is a difficult craft to master and that publishing is a hard business to break into. We all know how impossible it can seem to write something totally fresh and new when stories have existed from the beginning and have been told and retold and retold again. And yet. There is nothing more exciting than discovering a story that surprises and delights you. Despite the fact that it seems every story has been told, new novels are published every year that prove otherwise. (Have you read Where the Crawdads Sing? That book is a work of art!)

I’m a big Brené Brown fan. In fact, I have a copy of Daring Greatly sitting right here on my desk as I write this piece. If you haven’t read it, I recommend that you do! It’s a great guide for how to approach your own life, but beyond that, I’ve found that Brown’s work on vulnerability is also the key to the X-factor of writing. The thing that makes you special, that makes you different from every other writer, is the fact that you are, well, you. Remember that as you embark on your writing journey.

Here are some things you can do or think about to ensure you’re writing in your unique way:

Write what you know (i.e. Know Thyself). I think this is one of the most misunderstood pieces of writing advice out there. To me, write what you know doesn’t mean you can only write your own life again and again and again. Not by a long shot! Write what you know means that you should connect with the many depths and shades of your emotional truths and put them on the page. It doesn’t matter if the truth appears in a galaxy far, far away or in a contemporary setting—it is the internal conflict a character is forced to grapple with and the growth they experience that keep readers coming back for more. If the emotional core of a novel feels visceral and real, readers will connect with it.

The universal is in the specific. As humans, we are all connected by common experiences, feelings, challenges. That’s what makes empathy and compassion possible. When a novel is truly engrossing, readers actually physically experience what the characters are experiencing—this happens on a neurological level. Trust that, no matter your character’s background, religion, sexuality, race, etc., readers have the capacity to connect. Then, rather than trying to write a story that will please everyone, focus on writing a story that will please you. Let your characters have flaws, quirks, strange interests, etc. What makes you unique is the eyes you see the world through. Let that come out in your narrative. The more you hone in on emotional details, the deeper you dive, the more specific you get, the more your characters and story will feel real, and the more readers will connect.

Write what brings you joy. One fundamental truth in life and in publishing is that things are always changing. What was trending two years ago isn’t trending now. The world moves along, and we are forced to move with it. Because of that, it is important to stay on top of what is happening in the book world and to be aware of where the successes in your genre are, but it is equally important not to write to a trend because, chances are, by the time you’ve finished writing your trendy book, the next trend will already have come along. Because of that, the most important thing is that you write a novel that you want to spend time with, that gives you creative pride, and that feels meaningful to you. When an author loves their story, it shines through in the work, and readers connect with that.

So go forth and enjoy the process of writing, of putting your own unique stamp on the world through your words. Because you are the only person in the history of the world who can be yourself.

Creative Commons Credit: Kurtis Garbutt

Financial Literacy for Authors

by Kristin Nelson

Money, so they say, is a taboo subject, so don’t expect fellow writers to spill financial details.

Until now. Hats off to Heather Demetrios for pulling back the curtain and being brave enough to share her mistakes in the article “How to Lose a Third of a Million Dollars Without Really Trying.” It’s considered gauche to talk about money in this industry, yet it’s probably one of the most important topics authors should be discussing.

Agents are often in a weird position when it comes to talking to our clients about money management. On one hand, we are the author’s business partner; on the other hand, we aren’t their parent. We don’t want to make assumptions about an author’s financial responsibility (or irresponsibility).

Over the years, when I have a debut author who has landed a big advance, I have asked for permission to put on my mom hat and give counsel. If the author says yes, I offer these four pieces of advice:

  1. When the advance comes in, don’t wait. Cut a check for 25% of the total that has come in and mail that check to the IRS right then and there. I’ve heard too many horror stories of authors finding themselves in real trouble when April 15 rolled around and the money was already spent.
  2. Ever heard of the adage “pay yourself first”? Most people don’t know exactly what that means. Well, in investing terms, it means immediately placing the maximum percentage allowed by the IRS for that particular tax year into a retirement account (i.e., a Roth IRA, IRA, Vanguard S&P 500 fund, or similar).
  3. If you have a mortgage your advance can pay down (or, better yet, pay off), that is worth considering. Owning your home outright can create a lot of financial freedom. If you have student loans or other debts, consider eliminating them.
  4. Connect with a financial advisor who only charges by the hour rather than taking a percentage of your investments. This is a way to gain expert advice on reasonable terms—especially for authors who feel lost in the weeds about this whole investing and saving-for-retirement thing. Garrett Planning Network is a good resource that can hook you up with a fee-only certified financial planner.

In the end, the best way to think about your advance is to take that amount and divide it by, say, three years. What would the author’s annual salary then be? For example, if an author is lucky enough to get a $150,000 as an advance (sounds fab, right?), that’s $150,000 minus 25% in taxes, which equals only $37,500 a year for three years. If that’s your sole income for those three years, that might be a bit sobering.

My client Courtney Milan once told me that a blog article I wrote a lifetime ago on authors and retirement really made a difference in how she managed her money. I wish I could find that original blog post, but chances are good the info would be outdated anyway. For more up-to-date info, here are my recommendations for retirement planning:

So thank you, Heather, for getting the ball rolling for authors to talk about money. Mentorship tends to be a key factor for success in publishing. So let’s not be shy about discussing this topic.

 

Creative Commons Credit: Ben Taylor

Coronavirus & U.S. Publishing

by Kristin Nelson

I hope when this article hits your screen, you are safe and healthy while sheltering at home. If you are in the medical profession, I’m sending extra-warm health karma your way. You are on the front lines, and we here at NLA appreciate all you do. My mom is almost 80 now and long retired, but she was an RN. I know exactly what kinds of sacrifices you and your family are making right now.

As a way to jump into this month’s article, I re-read my February column. The words “and may become a global threat” have sadly come to fruition. In the last two weeks, our world has shifted on its axis. 

We here at the Denver office implemented work-from-home over nineteen days ago, so all of us are luckily sane and virus-free. As half our company already works remotely and all our main processes (including CRM and accounting) are cloud-based, we have seen very little disruption in our work flow. The agent team IMs every day, and we’ve been doing weekly video Chime meetings for the last four years, so it feels like business as usual for us. Where we work literally does not matter, although we all miss laughter and shared coffee.

Publishing as an industry can maintain some stability in this work-remotely world. I can report the following:

  • Contracts-in-process are closing in about the same amount of time as they were closing previously.
  • Payments and royalties have not been disrupted as almost all publishers pay via ACH.
  • Foreign deals are still happening, but they do feel a little slower.
  • Film/TV options are occurring, despite news of major agencies doing pay cutbacks and furloughs. I had two offers come in just this week.
  • NLA agents are submitting projects, and editors assure us they are eager to read. They have lots of time to read.

The publishing picture is currently stable, but I also want to speak to the reality of having physical stores nationwide shut down for weeks on end. I expect much lower physical print runs in the months to come. Recent releases saw much sharper drop-off in sales than what would have been normal. Although publishers’ marketing and publicity teams are devising alternative strategies, if households are strapped tighter with a layoff, etc., book sales will suffer. That translates to editorial boards being more discerning on what is acquired and definitely more conservative in advances offered. 

I anticipate a tightening across the board. Stay inside. Stay well.

Recent news articles:

Publishers Struggle With When and How to Move Pub Dates

HMH Reduces Salaries

Paradigm Layoffs

UTA Cuts Salaries

Creative Commons Photo Credit: Nenad Stojkovic

Pivot Like A Pro

by Joanna MacKenzie

It is a truth universally acknowledged by writers everywhere: every success in publishing is built on stacks of rejection letters. Authors by Agents. Authors by Editors. Agents by Editors. Part of that success is about being agile and knowing when to pivot, whether away from a project on submission or away from a long-running series. Think about pivoting if:

You’re not getting traction.You’ve been pitching your manuscript and not getting any requests, or the rejections just keep coming.

How to pivot:

  • Pitch. Think about your pitch first. Is there something about the story that you’re not playing up? Is there a better way to be positioning your work? Agents do this all the time. If a project doesn’t seem to be connecting, one of the first things we consider is how we’re positioning it. Switching up the pitch (playing up a relationship of note or an underlying mystery, for example) forces the reader to look for different elements in a story and opens up new avenues of connection.
  • Manuscript. Are you getting consistent feedback that something isn’t working or that something isn’t coming across? This might be a tough one to unearth in the world of form rejection letters, but if you’re concerned that something isn’t connecting, make sure to get to the bottom of it. If you’re receiving standard form rejections, seek out other sources: editors at conferences, contests, or a new writing group can help.

You can’t see the forest for the trees. This is the story you very desperately want to write, but you’ve been reworking it for so long you’re not sure if you have critical distance to see if it’s working any longer. How to pivot:

  • Clean slate. Sometimes the best inspiration comes when we put aside the unfixable and start from scratch. Most published authors got their agent with their third or fourth completed manuscript. Some of today’s bestsellers were the projects authors were working on while their agents were out on submission with something else. Try writing something completely different. It’s hard, especially when the idea in front of you has been with you for so long, but it’s worth it. You’re not letting the first one go, just giving it room to breathe.

Readership is dwindling. Series with recurring protagonists sound like bestseller gold, and they can be, but there is such a thing as jumping the shark in books. Typically, readership declines book to book in long-running series, and at some point it might be necessary to call it quits with a protagonist you’ve been writing into many books, but there are ways to keep your engaged audience coming back.

How to pivot:

  • Keep it fresh. Just because you’re working with the same protagonist doesn’t mean you have to keep writing the same book. Consider switching up POV or narrative voice or locale for the next installment.

The market shifts. You’ve been writing (fill in the blank: dystopian, cozy mystery, spy thriller, etc.), and suddenly they tell you there’s no market for it. How to pivot:

  • Rebrand. Market shifts happens all the time. A life-long career as an author is just that, life-long, so consider a lateral move to a different genre.

Creative Commons photo Credit: Ron Mader

Be a Warrior!

by Quressa Robinson

It should be no surprise to anyone who knows me that I’m a huge nerd. Science fiction, fantasy, pop culture–I have a deep love of many fandoms. So many of them have their own identities that are easy for me to relate to–for instance, Slytherins are competitive, ambitious, and deeply protective of those they call their own. These are all qualities I feel I possess, and also think are great qualities for an agent!

As we gear up for a winter that’s teeming with exciting fandoms, I’ve been increasingly drawn to the hopeful and uplifting trailers that have rolled out for A WRINKLE IN TIME, directed by Ava DuVernay. “Be a warrior,” Oprah says to Meg. I felt ready to fight! I don’t know what, but I was ready. Yes! Be a warrior!

So how can you be a warrior when it comes to your writing career? Many aspects of the process can feel daunting, so learning to wage war on your doubt and feelings of defeat will only propel you through the arduous, never-ending process.

What tools does a warrior-writer need?

Persistence: A warrior never gives up! They keep going no matter what obstacles are thrown in their way. It’s easy, at any stage of your career, to throw your hands up and quit. Rejection is consistent and doesn’t stop when you sign with an agent, or even when you have a published book. Knowing how to push through the hardships, the rejection, the feelings of doubt, even imposter syndrome, makes all the difference. Being a persistent warrior can help you keep your emotional sanity in an emotionally sapping industry.

Endurance: Most writers give up at the querying stage. There are just too many NOs to handle. Maybe they weren’t prepared for the wave of rejections. Maybe they were too invested in their work to have an objective view of it. If you want a lasting career in publishing, you’ll have to overcome a lot of obstacles. Querying is just the first step. If you can’t get past query rejections, you’re already dead in the water. Be a warrior. Remember that there are many battles left to fight. You can lose many of them and still win the war. You just need that warrior perspective.

Adaptability: Publishing is a changing industry, and trends ebb and flow. What’s hot now might not be hot later. Everything is cyclical. Most writers don’t realize that the books being publishing now were likely sold to publishers a year or two ago. It’s also possible that it was another year or so before that when the author signed with their agent. Vampires might feel passé, but eventually readers will be excited for a new wave of vampire books. Keeping this in mind, a warrior will be able to go with the flow or roll with the punches. It’s not easy to predict which stories will become a hit with readers, so being ready to change things up is an important warrior trait to have.

Communication: The best warriors know how to share their strategies with others. In an industry where people spend most of their time with words, you’d think good communication would be a given. But you’d be surprised how many struggle to effectively convey their thoughts and ideas. Knowing how to advocate for yourself and express your needs is essential to moving ahead in this industry, but that all begins with your writing. Craft a solid query letter and make sure you have written a strong manuscript. It’s challenging to differentiate between good and bad when you’re first starting out, but getting feedback from others, giving feedback in return, and being clear about expectations will go along way in helping warriors craft strong writing that will get them the win they are looking for.

Dedication: Warriors need to be fully committed. The road is rough, and if you aren’t 100% all-in, it will be obvious. Publishing is a very collaborative industry. Agents are working with their clients to get manuscripts ready for submission; agents and authors are working with editors to make sure manuscripts become books that sell well; and authors are engaging with readers to build their fan base and ensure future success.

Prolificacy: A warrior is always thinking about that next step, that next campaign. A writer should always be writing, thinking about writing, and forming story ideas. It’s all too easy to get over-invested in one idea, one manuscript, to the point that you can’t move on. When you’re querying, write your next book. That way, if your manuscript is rejected, you’ll have another ready to send out. When you’re agented, work on a new manuscript while you’re out on submission. If your agent can’t sell your first book, you’ll have your next lined up. If they do sell it, your editor will be grateful that there are options for a sophomore book right away.

So warriors, go out there. Be bold. Be smart. Be strong. Be a Warrior.

The Power of Persistence

by Danielle Burby

We are in the season of hot chocolate, sweaters, and storytelling late into the night. Because of that, and because this is the last NLA newsletter of 2017, I wanted to share a story of authorly hard work, hope, and, ultimately, perseverance with you. If you have gotten nothing but rejections for your query, or you haven’t landed that agent, or your full manuscript has gotten nothing but passes, DON’T GIVE UP!

I met Jillian Boehme when I landed my first agency job in 2013. I was an assistant and she was my boss’s client. At that time, she had already spent eight years working toward a book contract. She’d written several manuscripts before landing an agent and been on submission to editors at every reputable publishing house with three additional manuscripts that had gotten nothing but passes. In 2007, she had also started a popular (and, at the time, anonymous) writing advice blog called Miss Snark’s First Victim, which boasted many success stories by connecting numerous authors with agents who went on to sell their books. And yet, despite her hard work, despite her industry connections, despite continuing to write and building her platform, despite having an agent, despite her persistence, she could not seem to sell a novel.

The thing about Jill is that she has an unrelenting work ethic mixed with a deep core need to create art. Every time she was knocked down (and it happened many more times than either of us wanted), she shook it off and approached her writing with a renewed sense of determination. When she submitted her fourth novel, a YA sci-fi, my boss and I gave her a massive revision that, among other things, included eliminating a love triangle by changing the gender of a character, throwing away an entire central plot line, and replacing it with an entirely new one. She got the edit letter, took a breath, and pulled it off beautifully, improving the manuscript by miles in the process. Sadly, that book didn’t sell either, but it did do something important. It pushed her to be a better writer.

By the time Jillian wrote her fifth book for submission to publishers, she had switched to YA fantasy, which my boss at the time didn’t represent, but happens to be one of my favorite genres. I was building my own client list and she and I had been working together for almost three years. We had developed a relationship built on trust, jokes, a love of chocolate, and mutual admiration. Neither of us knew for sure whether she’d ever land a book deal, but I had never seen any author work harder, bounce back from rejection more completely, or improve so drastically in skill and technique with each project. She approached her career with a dogged determination and kept trying even when she had every reason to give up. I loved her fifth book; it was the strongest thing she’d ever written. My boss stepped aside, we formalized our agent/author relationship, edited together, pushed it to be even better, and enthusiastically submitted to editors. We got so close. Every rejection was a heartbreaker, glowing and filled with praise. It still didn’t sell.

Now, twelve years in to Jillian’s journey to publication, five years in to my own relationship with her, and six publisher-submitted manuscripts later, all that hope and hard work has finally paid off. In November, we announced a deal with one of NYC’s major publishers. Jillian’s debut YA fantasy, Gathering Storm, sold to the brilliant and insightful Elayne Becker at Tor Teen in a two-book deal and will be published in Summer 2019. It is already generating film interest.

It is my personal philosophy as an agent that I need to be my clients’ biggest fan and cheerleader. We are a team. There were times when Jillian felt discouraged and couldn’t find hope; in those moments, I told her I’d take care of hoping for the both of us. I have read each of her books upwards of five times and we’ve had endless (and wonderful) editorial and strategic conversations. The agent/author relationship is a special one of shared enthusiasm and dedication to art and business. Through each rejection, we looked to the future and strategized about the next step. This was a very meaningful win. When the offer from Elayne came in, Jillian and I both cried a lot of happy tears.

Whether you are querying agents, waiting for that first book deal, or already published and working to climb higher, you can look to Jillian and her journey for inspiration. Remember that rejections are a badge of honor. It means you are in the game; people in the industry are reading your work. No matter how many no’s you get, all you need is one yes. And, most importantly, there is no such thing as overnight success. To move forward in this business (or in any business), you must constantly learn, grow, and improve. Work hard and don’t ever give up. You are reading this because you are a writer; keep writing and keep getting better. The rest will follow.