I'm trying to aquire a Literary Agent, but its just not happening. I'm following all the rules, reading up on their Websites, my Query Letter and Synopsis is of standard. My question is what happens when you have already contacted all the Agents that accept your Genre of Novel.
My blunt answer is that you have nowhere to go apart from self-publishing, either in print or online. But you should also have a close look at your manuscript and try to work out what's going on. Simply following the rules does not get an agent or publisher - you need to have an outstanding manuscript. Are you submitting a first draft? What is the standard of your manuscript like compared to published books in that genre? If you're writing crime, for example, you face a lot of competition. Have you ever tried entering a competition, or applied for a mentorship? Published writers have usually put quite a lot of time into the process of creating their novel - especially their first novel - and there is a lot of help available. Try the Australian Society of Authors and the Australian Writers Marketplace.
Friday, September 5, 2008
Submitting an incomplete manuscript
On Friday, after a lot of intense internet research regarding Oz lit agencies and publishing a first-time novel, I read a post on the ALAA website that the agency I am very interested in working with is open to unsolicited MS being sent in. I am a published journalist, have 12 000 words of copy for a novel, I have a clear direction of where my novel is going, who my audience is and indeed its marketing capabilities.
So here is the question: is it completely naive, immature, unprofessional and downright primitive of me to send off a submission with only 12 000 words currently sitting in my laptop? My reasoning is I am working 7 days a week, unhindered, on this ms and figure if I receive a response from the agency in the 10 weeks to 3 months it may take for them to go through my query/submission, I will nearly have finished the full ms. What do you think? Am I showing my complete lack of knowledge of how this business works or indeed ''showing a bit of dash'', as an editor of mine once commented.
There are a few things I'd like to address in this answer ...
First, I am always intrigued by authors who say they have only picked one agency they want to submit to - presumably based on the client list, as there's not much else to go on, although the size of the agency is often a determinant ('the bigger, the better' seems to be the most common mantra). But the personality of the agent/s at the agency should actually be the determinant - and you can't know that unless you actually get to the stage of talking to them. One agency may have a client list you want to join, but what if you don't get on with the agent/s there? It's always worth submitting to more than one agency just in case.
Second, from a writing/editorial point of view: it is unwise to submit a novel before you've even finished your first draft. The first draft is never, ever the final - never even close - and there is a real chance that it will do yourself a disservice - I've never taken on a novel based on a first draft, and I wouldn't mind betting your 'dream agency' hasn't either. Even if you know where the novel is going, you will need to redraft.
Third, if you decide to proceed with the submission: you say you have published a book, so that means you're not approaching them as a first-time author - this gives you an advantage over other authors who are submitting. Also, you can send a query and just be honest, say you haven't finished it and ask if they mind that - they'll let you know.
So here is the question: is it completely naive, immature, unprofessional and downright primitive of me to send off a submission with only 12 000 words currently sitting in my laptop? My reasoning is I am working 7 days a week, unhindered, on this ms and figure if I receive a response from the agency in the 10 weeks to 3 months it may take for them to go through my query/submission, I will nearly have finished the full ms. What do you think? Am I showing my complete lack of knowledge of how this business works or indeed ''showing a bit of dash'', as an editor of mine once commented.
There are a few things I'd like to address in this answer ...
First, I am always intrigued by authors who say they have only picked one agency they want to submit to - presumably based on the client list, as there's not much else to go on, although the size of the agency is often a determinant ('the bigger, the better' seems to be the most common mantra). But the personality of the agent/s at the agency should actually be the determinant - and you can't know that unless you actually get to the stage of talking to them. One agency may have a client list you want to join, but what if you don't get on with the agent/s there? It's always worth submitting to more than one agency just in case.
Second, from a writing/editorial point of view: it is unwise to submit a novel before you've even finished your first draft. The first draft is never, ever the final - never even close - and there is a real chance that it will do yourself a disservice - I've never taken on a novel based on a first draft, and I wouldn't mind betting your 'dream agency' hasn't either. Even if you know where the novel is going, you will need to redraft.
Third, if you decide to proceed with the submission: you say you have published a book, so that means you're not approaching them as a first-time author - this gives you an advantage over other authors who are submitting. Also, you can send a query and just be honest, say you haven't finished it and ask if they mind that - they'll let you know.
Does this writer need an agent?
I am a newish writer of children’s books and I live in Sydney. I’ve had 3 trade titles published and a picture book contracted but I don’t have an agent. Could you please tell me the benefits of having an agent (other than negotiating contracts), and the likelihood of me being able to secure one. I ’d probably have 2 or 3 new manuscripts per year.
This ground has been covered a bit before on the blog (see this post) so I won't go into too much detail ...
Basically, if you've never felt the need for an agent, don't go looking for one. You do seem to be managing just fine on your own. However, if you feel that someone else should manage the business of your writing - dealing with publishers, negotiating contracts - then you should explore the idea of getting an agent. There's also the issue of 'creative support' - a lot of my time is spent just talking to my authors (on the phone or by email), sometimes about writing, often not; I think some authors have an agent more for this function than anything else. The agent understands what the writer is doing creatively but is not (hopefully!) competitive with them; they can offer advice and the writer can discuss things with them that they may not be able or wish to talk about with family and friends. But it's very much a personal decision - there is no absolute 'yes' or 'no' here.
I will say, though, that with your publishing record you would have no problem getting an agent if you wanted one.
This ground has been covered a bit before on the blog (see this post) so I won't go into too much detail ...
Basically, if you've never felt the need for an agent, don't go looking for one. You do seem to be managing just fine on your own. However, if you feel that someone else should manage the business of your writing - dealing with publishers, negotiating contracts - then you should explore the idea of getting an agent. There's also the issue of 'creative support' - a lot of my time is spent just talking to my authors (on the phone or by email), sometimes about writing, often not; I think some authors have an agent more for this function than anything else. The agent understands what the writer is doing creatively but is not (hopefully!) competitive with them; they can offer advice and the writer can discuss things with them that they may not be able or wish to talk about with family and friends. But it's very much a personal decision - there is no absolute 'yes' or 'no' here.
I will say, though, that with your publishing record you would have no problem getting an agent if you wanted one.
Multiple authors for one novel
What would be your advice as an agent in regards to having novels authored by multiple writers? What would be the limit to the number of people involved? Would having more than two effect the chances of representation and publication?
Whether multiple writers can create one novel, and the number of writers involved, depends entirely on the writers. If you're a member of a five-person writing group and you all get along fantastically well and are on the same creative wavelength, then it could be fantastic. But from my experiences working with writers, they're not typically creatures who play well with others once they're in front of a keyboard. Also, there's the issue of consistency of narrative voice - it's very difficult to have a cohesive narrative voice if there are multiple writers - and if you're about to say 'But we'll all write in different voices', please don't ever send me that novel ... too many narrative voices just confuse most readers, including me. A novel is often a slow seduction - the reader is lured into the story, usually by the voice. If there are multiple suitors, we just give up.
On a practical note, it's rare, it seems, to see multiple authors listed on covers if the books aren't sci fi or fantasy. Unless all or some of the authors involved have a successful publishing history, it would be best to use a pseudonym - one name only - to represent all of you.
Whether multiple writers can create one novel, and the number of writers involved, depends entirely on the writers. If you're a member of a five-person writing group and you all get along fantastically well and are on the same creative wavelength, then it could be fantastic. But from my experiences working with writers, they're not typically creatures who play well with others once they're in front of a keyboard. Also, there's the issue of consistency of narrative voice - it's very difficult to have a cohesive narrative voice if there are multiple writers - and if you're about to say 'But we'll all write in different voices', please don't ever send me that novel ... too many narrative voices just confuse most readers, including me. A novel is often a slow seduction - the reader is lured into the story, usually by the voice. If there are multiple suitors, we just give up.
On a practical note, it's rare, it seems, to see multiple authors listed on covers if the books aren't sci fi or fantasy. Unless all or some of the authors involved have a successful publishing history, it would be best to use a pseudonym - one name only - to represent all of you.
Tuesday, August 12, 2008
Assessors and agents: a reply
A little while ago, in this post, I addressed the issue of manuscript assessors and agents existing within the same body. Full disclosure: the agency I work for is a member of the Australian Literary Agents Association and bound by codes of conduct. Therefore, we can never accept a fee payment to assess a manuscript in addition to performing our agent duties. However, more than once I have wondered at the economic wisdom of that in a market the size of Australia. It is extremely difficult to make an agency business work here because there's just not that much money in it, and it would certainly make life economically easier if we could charge for editorial advice. But there is some murky water there.
In response to the post I received the following from Sally Bird, which I'm publishing in the interests of a balanced view. Thanks to Sally for her permission to do so.
***
Dear Agent,
Not having read your blog for some time I've just had a squiz and feel compelled to comment on the issue of agents and manuscript assessors 'in the same body'. I have thought long and hard about even contacting you because you have the luxury of anonymity and I am 'exposing' myself here but I have also thought long and hard about this issue and I do not believe it is one about which you can generalise.
I was invited to join ALAA when it was first formed and I was still living in Sydney. At that stage my agency business was very much a part-time operation while I was a salaried employee in the book trade, which is the way I understand quite a few agents began. You may recall at the time ALAA was set up that there were murmurings about the conditions for membership from manuscript assessors?
While I do understand that reputable literary agents do not charge any upfront fees I do not feel that agenting and assessing need to be mutually exclusive. In my own case, the decision to take on manuscript appraisal came partly out of financial need. More importantly though, having seen a number of so-called assessments sent to me by potential clients, I felt that I could provide a more professional service - one that would at least give the client an honest opinion and not be a financial rip-off. Some of these 'assessments' were merely a synopsis, many were semi-literate and/or littered with typos and at least one was done by someone listed on the AALA website under 'Literary Contacts', so there is no quality control there either.
I do many assessments myself but I also have two Sydney-based senior editors I can and do call on for assistance or to do the entire report. If I liked a manuscript enough to think that I could find a publisher for the author I would offer representation and, on securing a contract with a publisher, refund the fee the author had paid for the assessment. I have a note (under Submission Guidelines) on my website stating the reason I am no longer a member of ALAA and that as an agent I do not charge a fee. I decided against stating that manuscripts considered outstanding would be offered representation as I didn't want to open the floodgates! I don't know whether you have thought of this 'scenario' - it would seem not because you appear to assume that anyone asking for a fee is a charlatan and I object to this and would like to see your comment/reply to my email on your blog.
Sally Bird
In response to the post I received the following from Sally Bird, which I'm publishing in the interests of a balanced view. Thanks to Sally for her permission to do so.
***
Dear Agent,
Not having read your blog for some time I've just had a squiz and feel compelled to comment on the issue of agents and manuscript assessors 'in the same body'. I have thought long and hard about even contacting you because you have the luxury of anonymity and I am 'exposing' myself here but I have also thought long and hard about this issue and I do not believe it is one about which you can generalise.
I was invited to join ALAA when it was first formed and I was still living in Sydney. At that stage my agency business was very much a part-time operation while I was a salaried employee in the book trade, which is the way I understand quite a few agents began. You may recall at the time ALAA was set up that there were murmurings about the conditions for membership from manuscript assessors?
While I do understand that reputable literary agents do not charge any upfront fees I do not feel that agenting and assessing need to be mutually exclusive. In my own case, the decision to take on manuscript appraisal came partly out of financial need. More importantly though, having seen a number of so-called assessments sent to me by potential clients, I felt that I could provide a more professional service - one that would at least give the client an honest opinion and not be a financial rip-off. Some of these 'assessments' were merely a synopsis, many were semi-literate and/or littered with typos and at least one was done by someone listed on the AALA website under 'Literary Contacts', so there is no quality control there either.
I do many assessments myself but I also have two Sydney-based senior editors I can and do call on for assistance or to do the entire report. If I liked a manuscript enough to think that I could find a publisher for the author I would offer representation and, on securing a contract with a publisher, refund the fee the author had paid for the assessment. I have a note (under Submission Guidelines) on my website stating the reason I am no longer a member of ALAA and that as an agent I do not charge a fee. I decided against stating that manuscripts considered outstanding would be offered representation as I didn't want to open the floodgates! I don't know whether you have thought of this 'scenario' - it would seem not because you appear to assume that anyone asking for a fee is a charlatan and I object to this and would like to see your comment/reply to my email on your blog.
Sally Bird
Tuesday, July 15, 2008
The reality of picture books
I have created a children's picture book with watercolour paintings, colour pencil sketches, digital media and hand-stitching. The language is intentionally simple and direct, so as to be read by children. However there is great symbolism behind the story, as I desired the book to educate both adults and children, like how Saint Exupéry's acclaimed children's book The Little Prince, could educate adults about life and human nature.
I followed the links to Australian literary agents on your site. However after reading through the conditions provided by individual agents, it appears that there is very little interest in children's books. I honestly believe my story holds potential due to my detailed illustrations and subtle, but powerful messages to adults.
Do you believe I have a good chance of getting published? If so, I would greatly appreciate it if you could recommend certain steps I should take, so as to interest agents and publishers.
There are two parts to this question and, thus, its answer.
Part one: the agent thing
It's not true that there's no interest in children's books amongst agents. We love children's books, but it's hard to sustain a business doing too many of them - particularly picture books (see part two for more information). I'm one of those agents who adores children's books but it's unlikely I'll ever look at picture book submissions again, unless they come through a recommendation. It's not all gloom though: a lot of publishers will take submissions directly from the public so you don't necessarily need an agent for children's books, not the way you do for adults' books.
Part two: the picture book thing
Picture books for children are arguably the most competitive category of publishing at the moment. Every second writer I hear from is doing a picture book. But hardly any picture books are published in this country (relatively speaking) so there are a lot of disappointed people out there. Even major publishing companies won't put out more than six picture books a year, and for some it's more like two. And, even then, it's safe to say that a lot of those books are by previously published authors. So the chances of becoming a debut picture book author/illustrator are very slim. You need to have an exceptional book.
Now, not having seen your book, I can't say if it's exceptional or not. But I will say that it sounds hard to produce - 'hand-stitching' and 'digital media' are the red flags. Picture book production is labour intensive compared to that for other books - the illustrations have to be scanned on appropriate machines, the pages have to be colour matched and proofed, the books need expensive paper and they have to be printed offshore. They also can't be given to any old editor to look after - because they're so different to other books, they need a specialist, if possible. In other words: a picture book is a not inconsiderable undertaking for a publisher. So they're very judicious about what they take on and if you give them any reason to think twice - hand-stitching would be one reason - then they will. They'll expect that you want your final book to be hand-stitched too, and have digital media included, and that will just sound like a nightmare in the making. Their default answer is 'no'. You need to give them a reason to say 'yes'. And the overwhelming reason is if you have a fantastic story and beautiful illustrations. Again, not having seen your book, I don't know if it has either of those things so I can't comment on your chances of publication. Your next best step would be to research your market - go to a library and look at all the picture books; find out who publishes what. Then approach the publishers you think may be a good match. You could also get involved in programs like CYA (Brisbane) which give you direct access to publishers. Your local writers' centre would be the best place to find out what's available.
I followed the links to Australian literary agents on your site. However after reading through the conditions provided by individual agents, it appears that there is very little interest in children's books. I honestly believe my story holds potential due to my detailed illustrations and subtle, but powerful messages to adults.
Do you believe I have a good chance of getting published? If so, I would greatly appreciate it if you could recommend certain steps I should take, so as to interest agents and publishers.
There are two parts to this question and, thus, its answer.
Part one: the agent thing
It's not true that there's no interest in children's books amongst agents. We love children's books, but it's hard to sustain a business doing too many of them - particularly picture books (see part two for more information). I'm one of those agents who adores children's books but it's unlikely I'll ever look at picture book submissions again, unless they come through a recommendation. It's not all gloom though: a lot of publishers will take submissions directly from the public so you don't necessarily need an agent for children's books, not the way you do for adults' books.
Part two: the picture book thing
Picture books for children are arguably the most competitive category of publishing at the moment. Every second writer I hear from is doing a picture book. But hardly any picture books are published in this country (relatively speaking) so there are a lot of disappointed people out there. Even major publishing companies won't put out more than six picture books a year, and for some it's more like two. And, even then, it's safe to say that a lot of those books are by previously published authors. So the chances of becoming a debut picture book author/illustrator are very slim. You need to have an exceptional book.
Now, not having seen your book, I can't say if it's exceptional or not. But I will say that it sounds hard to produce - 'hand-stitching' and 'digital media' are the red flags. Picture book production is labour intensive compared to that for other books - the illustrations have to be scanned on appropriate machines, the pages have to be colour matched and proofed, the books need expensive paper and they have to be printed offshore. They also can't be given to any old editor to look after - because they're so different to other books, they need a specialist, if possible. In other words: a picture book is a not inconsiderable undertaking for a publisher. So they're very judicious about what they take on and if you give them any reason to think twice - hand-stitching would be one reason - then they will. They'll expect that you want your final book to be hand-stitched too, and have digital media included, and that will just sound like a nightmare in the making. Their default answer is 'no'. You need to give them a reason to say 'yes'. And the overwhelming reason is if you have a fantastic story and beautiful illustrations. Again, not having seen your book, I don't know if it has either of those things so I can't comment on your chances of publication. Your next best step would be to research your market - go to a library and look at all the picture books; find out who publishes what. Then approach the publishers you think may be a good match. You could also get involved in programs like CYA (Brisbane) which give you direct access to publishers. Your local writers' centre would be the best place to find out what's available.
Fantasy author overseas
I'm an author of young adult fiction about time travel, adventures in prehistory and lost civilizations. The first book in the series has been published twice. Since I currently live in South Africa (tiny market, no agents, small publishers), I'm looking for a capable literary agency and an international publisher. My current publisher is willing to license the publishing rights. A major publisher in London are currently assessing the material as well as agents in London and Sydney. I'm showered with praise, but one publisher in Frankfurt said that they are too small on the fantasy side and one agent in Sydney is too ill to represent me.
I just need more options. What do I do? Can you recommend a good agency that can represent me or advice me on how to approach this?
The only advice I can give it to keep querying agents, especially in the US. Fantasy (for adults and young adults) is not a big genre in Australian publishing - only Voyager (HarperCollins) and Orbit (Hachette Livre) have any kind of commitment to it. Accordingly, not many agents look at it - we have to run a business, and it doesn't make sense to specialise in a genre that not many publishers will publish. The agency I work for has recently made a decision to no longer look at fantasy (for adults or children) for this reason and also because, frankly, most of the books are too long - staring down a 200 000 word manuscript makes my spine go cold. I just simply don't have the time to read enough fantasy books to become an expert or enough fantasy manuscripts to be able to tell what's good and what's not. It's not because I don't believe in fantasy novels - they make a lot of people happy, and that's always a good thing. I just simply don't have the time.
So the answer is: go to a bigger market, and that means the US. Try agentquery.com to work out which agents you should approach, and tell them that you're a published author. It will take persistence and application, but I'm sure you'll get some interested parties.
I just need more options. What do I do? Can you recommend a good agency that can represent me or advice me on how to approach this?
The only advice I can give it to keep querying agents, especially in the US. Fantasy (for adults and young adults) is not a big genre in Australian publishing - only Voyager (HarperCollins) and Orbit (Hachette Livre) have any kind of commitment to it. Accordingly, not many agents look at it - we have to run a business, and it doesn't make sense to specialise in a genre that not many publishers will publish. The agency I work for has recently made a decision to no longer look at fantasy (for adults or children) for this reason and also because, frankly, most of the books are too long - staring down a 200 000 word manuscript makes my spine go cold. I just simply don't have the time to read enough fantasy books to become an expert or enough fantasy manuscripts to be able to tell what's good and what's not. It's not because I don't believe in fantasy novels - they make a lot of people happy, and that's always a good thing. I just simply don't have the time.
So the answer is: go to a bigger market, and that means the US. Try agentquery.com to work out which agents you should approach, and tell them that you're a published author. It will take persistence and application, but I'm sure you'll get some interested parties.
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