In a few days I will be on a panel with several talented agents and authors at the annual AWP Conference and Bookfair in Washington DC. This pilgrimage of writers, litmags, small presses and MFA programs consists of 4 packed days of workshops, discussions and opportunities to meet those who could help turn your writing into a chance at publication or an opportunity to refine your craft. This is one of those events that, if you’re serious about becoming a writer, you should find a way to attend.

But for those of you who will not be able make it, I’ll share with you what I plan on covering in our panel, Love at First Query: Agents and Authors Share Strategies for Falling in Literary Love.

So, what are you looking for?

I say right on my website that I seek “to establish involved, long term working relationships with talented and dedicated authors of many genres.” Essentially, I’m in it for the long run. Although when I offer a contract it is only for that one project, I would like to then see your follow-up book as well. Though it is usually a contractual obligation to do so with your publisher, it is common courtesy to do so with your agent, and I’d like the opportunity to have a hand in helping a relatively new author establish and maintain a strong writing career.

But that’s not all of it, right?

Correct. I am specific in requesting “talented and dedicated” authors. You must have those two qualities, and here are a few tips on achieving and presenting them:

TALENTED:

It’s easy to say “Do your homework, hone your craft, revise, revise, revise,” but for the sake of this post, I will assume that you are already brilliant writers with equally brilliant manuscripts.

So, what else is there?

I turn down easily 95% of the books pitched to me without even reading a single page. And yes, I am sure that some of them are just as brilliant as yours. Plenty of talented authors slip through the cracks because they simply do not articulate their skill and the brilliance of their manuscript in a well-crafted query letter. Having a knockout query is essential to getting your book published. There are plenty of resources, such as Writer’s Market and various industry magazines that provide examples of proper query letters, but to further help you, I will be offering an in-depth series of blogs from an agent’s perspective on how to craft a query that will maximize your chances of getting a request. Look for that in the near future.

DEDICATED:

To me, just as important as knowing you can write is knowing I can work with you. I have had to let go clients with promising manuscripts simply because they are not a good personality match. And by this, I don’t mean we have to like the same kind of music. I am referring to the writer’s ability to communicate, provide me with the information that I require, and make the changes that I ask for. A few key points to keep in mind:

• I realize that we all have our own lives and associated demands, but when I contact you, you should try your best to contact me in a timely fashion. Out of necessity, agents and their clients communicate a LOT throughout the editing, preparation, pitching, and even after the manuscript is sold. I need to know that I can rely on your presence each step of the way.

• Please do not make me communicate solely with an intermediary. This is both for the reason of the previous point and also to ensure that we are both getting accurate information. Bringing in a third party, besides being completely unnecessary, also shows a lack of trust on your part. For this to work, we need to have complete trust in each other.

• If I ask you for something, it is for a good reason. For example: when I request a fiction manuscript, I will generally ask for 4 things: the manuscript, a synopsis, your author bio and your marketing plan. I have had potential clients blow up at me for asking for a marketing plan, and at that point, I know how they would treat our working relationship and I then turn them down without reading a page. I have also received responses that just include 3 of the 4 elements with the statement, “Here is everything you requested.” That shows me that either they aren’t paying complete attention or they are trying to pull one over on me, both of which are big red flags. If you try to manipulate or ignore a simple request, I know that making the necessary edits on your manuscript will be an absolute chore. One example comes to mind. As a first time author, we got her a deal at a house that, frankly, she should not have been able to get. When she then tried to pull a fast one on the publisher during the editing process, they dropped her, voided her contract, and ended up not publishing her book or paying her (and therefore us) a cent. Although requesting additional material sometimes acts as a gauge of character, my primary goal is to find out how well you know your manuscript, what your resources are and how educated you are on something that will ultimately fall largely on your shoulders. But we can talk about marketing at a later date.

• If you don’t know, ask questions. Many writers hesitate to do so out of a crippling fear of coming across as an idiot. Don’t worry. This business can be a bit confusing at times, and it is changing all of the time. I will appreciate your honesty and your desire for knowledge. It shows that you are active, responsible and not one to sweep potential problems under the rug in hopes that we won’t trip on the lump and break our necks.

• And finally, be yourself. Sure, you want to be respectful and appropriate, but you don’t want to get locked into a situation where you feel like you have to act like someone you aren’t. It bears repeating, you and your agent will be communicating a lot. Your perfect agent match should be someone you can talk to, someone who makes you feel comfortable and taken care of. That’s really why we’re here, to take care of you.

That’s it for now. I hope to see you in DC!

GORDON—Read more about this editor

“Do I need an agent?”

I get this wherever I go, and I always joke with the writer about how their question just crushed my sense of self-worth. But then, I always continue with, “It depends upon what you are writing and what your goals are.”

There are certain types of writing that don’t require an agent, like short stories and poetry. Those you take yourself to the appropriate literary magazines. There are also types of writing that aren’t likely to get an agent, just because of how the market has evolved, like novellas for print outside of romance or sci-fi. But for most full-length pieces, your best bet is usually to seek out an agent. But even then, there are exceptions depending upon the nature of the work and where you want to see it.

For example: I represent memoir. If you have a truly unusual and gripping story and are trying to get it into the hands of Random House, yes, you need an agent. The “Six Sisters” in New York and many of the larger independent presses refuse to look at unagented work simply as a means of reducing the amount of submissions that are unfit for their particular house.

But if you prefer the close relationship of an independent press, or if you just want to pass your story on to your grandchildren, then no, you don’t need an agent. Instead, you would take it to the independent or custom publishers who would work with you directly to give you what you want. And if you then have commercial aspirations, some of them are equipped to guide you in your search for a place in the market. There are plenty of options out there, but I can testify to the strength and expertise of the good people at EME Press.

“What does an agent do?”

This could be its own post. Broadly speaking, an agent will help you edit and steer your manuscript and your presence as an author into the places where they will find the most success in the market. They will be your guide and your publishing guru. They will use their knowledge and connections to find the best possible publisher for your work, pitch it to them in the most effective manner and negotiate the best possible contract for you. They will handle payments and issues and remain by your side for as long as the book is in print.  

“How do I know I’m not getting ripped off?”

There are scams out there, and I advise everyone to stay away from any “agent” who asks for payment up front. Thoroughly read the contract that you are offered, and make sure that you won’t be charged for consulting or editing. The agent should either do this for free themselves or recommend a qualified editor with no financial ties to the agent. This is why I list that I will not offer representation to any of my EME editorial or consulting clients. I would not do so anyway, but to make sure my morals are known, I had it written into my contract and bio at EME.

To prevent even running into con artists, you should seek out agents through the regular methods I listed in my previous post, “How do I find an agent?” Make sure that you can confirm their sale of books to reputable publishers, either by looking in the Acknowledgements section of the books, Publisher’s Marketplace or the industry publications I have listed. If they are new, be sure that they or the agent they are working under can be found using these methods and that they are listed on the website of the agency they claim to be a part of. 

“Then how much should the agent charge?”

An agent should only charge you 15% of what you make on the book sale as well as any copying and shipping costs associated with pitching. The latter is an antiquated practice that is rarely necessary in today’s world of telecommunications and should only occur with your prior expressed consent.

“How will I know an agent is right for me?”

Being offered a contract is a good indicator. I sign far less than one percent of the manuscripts that I have been queried for. I will only work with what is the best possible fit for me in terms of my expertise, my tastes and the piece’s chance of success in the marketplace. Your agent should be able to thoroughly utilize all of those.

Remember that the working relationship between and agent and an author is a very close, very involved one. You will be corresponding with them via email and phone a lot. You will go back and forth with your manuscript and receive a lot of consultation. You need someone that you are able to work with to great extent on a professional level. If an agent doesn’t appear to know your type of work or just plain gives you the willies, it may be in your best interest to seek another agent. Realize that it is not difficult, but just very unlikely that you will find another agent for your manuscript. But don’t let that lead you into a working relationship that you are not able to feel good about.

Questions? Comments? I will be speaking on finding your perfect agent match at the big AWP Annual Conference & Bookfair in Washington, DC next month. If you’re in the area, it’s definitely one to attend.

GORDON—Read more about this editor

Lorraine Esposito, author of The Morning Peacemaker describes her experience with publishing her book via EMEPress.

Lorraine has enjoyed phenomenal success since publishing her book including television appearances and guest speaking.

Learn how you can publish your manuscript and make your business a success. Sign up to learn more at the FREE Webinar. E-mail webinar@emepress.com.
Webinar March 1 2010 8pm (EST) 7pm (CST), 6 (MST) or 5 (PST)

If you’d like to learn more about Lorraine’s book, her business, or her experience with EME, or if you’d like to chat with Lorraine directly, please visit:www.morningpeacemaker.com

Having trouble finding a publisher? Perhaps you should let your publisher find YOU! In this article, a former acquisitions editor for Crown–Random House and Perigee–Putnam gives an insider’s view of how self-motivated authors are attracting the attention of publishers—even in today’s economy.

Changes in the Publishing Industry

Back in the good old days of publishing, there were editors, publishers, agents and the infamous slush pile. Editors and agents met, usually over martinis and lunch, to discuss writers, writing projects, trends, and whatever other publishing “business” was the sizzling topic of the day. Back in the office, the editorial assistants laboriously read through the slush pile, passing on to the editors any hopeful manuscripts that had come through the mail—the regular pony-express mail, that is.

Flash forward to 2009. There are still editors—acquisitions editors, specifically, meaning those who have the challenge of actually buying enough manuscripts to fit a publisher’s spring, winter and fall lists. These acquisitions editors continue to meet with agents, who continue to represent writers with the hope of selling their manuscripts to the highest bidder, thereby generating a nice income for both agent and client.

There are, however, two notable changes between the editors and agents of the past and those of today:

1. Because of the current economy, many editors are no longer able to meet agents for lunch. They must conduct business over the phone or via e-mail. Some publishing houses have even temporarily put a hold on acquisitions altogether, preferring to have editors focus on the manuscripts they already have under contract.
2. Because of restrictions put on them by publishers, agents often feel they can only afford to represent clients whose projects they anticipate will ship many, many books—100,000 is a nice number to toss around.

As for the slush pile? Perhaps an occasional manuscript makes its way via regular mail into some publishing house, somewhere. But considering that many publishers are actually asking writers and agents to only submit query letters electronically, and since, by now, most serious writers have given up on the hope of being discovered without having agent representation, and since less than 1% of the books published actually ship 100,000 copies, well, suffice it to say there’s a whole new game afoot in publishing.

Writers Taking Matters into their Own Hands 

One fact remains: Editors, publishers and agents need writers and they must be increasingly clever in finding them. No longer are they served up over lunch by a savvy agent.

Writers, too, must find increasingly clever ways to convince editors, publishers and agents that they have the talent and mettle to make a career out of writing.

So, take the current economy, add the downsizing of many publishing houses, the need for manuscripts and writers, the hand-tied agents who can’t afford to take on new clients and the abundance of writers since the advent of the computer. Shake and toss on the table and one solution will surface: writers who are serious about being published will take matters into their own hands. They will

• self-publish
• write blogs or e-zines
• have a website dedicated to their topics and
• be active on Facebook and Twitter 

 Here’s why:

1.     Serious writers write. This may sound obvious but there are many writers who continue to hold the lofty idea that someone will come along and discover that mystery novel they wrote years ago because it’s so good—everyone says so. What they fail to realize is that writing a manuscript, whether it be fiction or nonfiction, is only one small part of the writing business. There must also be proposal writing, query letter writing, self-promotional writing, marketing plans and any other possible way to get your message in front of readers. That’s where the Internet comes into play. If your message and your qualifications are out there for all to read, you have another avenue to attract readers, agents, editors, or like-minded souls.

2.     Serious writers help editors to find them. Since a project represented by an agent will cost the publisher more, and since editors want to buy numerous projects and stay within budget, they must find writers who are not necessarily represented by agents. This means magazine writers, e-zine writers, bloggers, self-published and print-on-demand authors who have a track record of selling their own books, via seminars, the Internet, a lecture series or on a table at the county fair. In the numbers game that is publishing, how you sell isn’t as important as how many.

Getting Serious About the Tools of the Trade

If you are serious about writing, get serious about using the latest tools of the trade. Believe it or not, these methods actually put the power of publishing back in the hands of the writer and take it out of the hands of large conglomerates who, more often than not, pander to those 100,000-copy authors and ignore the vast majority of other writers who make up most of their lists.

 Have some experience with POD publishing? Encountered any particularly successful techniques for attracting publishers’ or agents’ attention? Dealt with literary agents, acquisitions editors, or publishers? Leave us a COMMENT to let us know about it.

IRENE—Read more about this editor