Spotlight on Deidre Knight
Interview by Christina Hamlett
Name: Deidre Knight
Agency: The Knight Agency
Address: P.O. Box 550648, Atlanta, GA 30355
How long have you been an agent?
I began agenting nearly seven years ago, in the spring of 1996. My husband, Judson Knight, has been a silent partner since that time, and in 2003 will join our staff full-time as business manager. Our staff also includes administrative assistant Lisa Payne, hired in 1999, and agent Pamela Harty, who joined us in 2000.
What attracted you to the business of representing writers?
I have always had a talent for selling, an interest in books, and a sense of what works in a story. Agenting gave me an opportunity to combine all three.
What categories are you the most excited about selling these days?
Romance and women’s fiction remain key areas of interest for the Knight Agency, and we are always in search of quality literary fiction. In nonfiction, we are interested in business, self-help, pop culture, travel, health, inspirational/religious, and reference books.
How does an author become a prospective client of your agency?
We usually recommend that a prospective client visit us at our Web page (http://www.knightagency.net), learn a little about the agency, then query us via e-mail. Snail-mail queries are also welcome. Romance writers interested in representation are encouraged to attend major national conventions, such as Romance Writers of America in the summer, as a means of meeting agents working in that genre.
Conversely, what really turns you off?
Prospective clients who query or submit manuscripts by means other than the ones that are recommended either by our agency or by authorities on the business in general. Whereas e-mail and regular mail queries are welcome, phone calls are not. If someone becomes our client, we will probably talk regularly on the phone, but until then, we are simply not equipped to handle phone queries. If we request a sample or manuscript, we expect to see something that looks professional, as per Writer’s Market, Jeff Herman’s Writer’s Guide, or a similarly authoritative guide. Keep in mind that, with thousands of writers for every agent, the agent must pick and choose authors with whom he or she will work, so it pays to be polite and considerate.
Do you charge fees? If so, what do they cover and are they charged up front or as reimbursements after the sale?
The Knight Agency does not charge a reading fee, nor do we charge for basic expenses such as copies and general mailing expenses.
How many titles have you sold in the past year?
What is your commission?
Fifteen percent on domestic sales, and 20-25% on foreign and film rights sales if a sub-agent is employed.
What percentage of manuscripts do you reject and what is the most common reason for that rejection?
Sadly—and this is true of virtually all literary agencies—we reject more than 99% of the manuscripts we see. The most common reason for this, in the case of fiction, is that a novel simply lacks that “something special” that would make it a standout in the marketplace. Many times, we review books that are perfectly good, yet fail to grab the reader, and we are forced to say “No.” In the case of nonfiction, rejection is likely to be for reasons that include the following: the market is too broadly defined, the market is too narrowly defined, or the author lacks credentials that would give him or her the “platform” sufficient to make the book a success.
If you could have lunch with any author (living or dead), who would it be and what would you most like to ask them?
Ernest Hemingway—in a sober moment, pre-World War II. I would ask him how he finds the courage to let go of all those extraneous details that writers love to hold on to but should leave on the cutting-room floor.
What would you say is the most important contribution you make to your clients’ careers?
I see my role not as simply that of selling manuscripts to the publisher, which is only the beginning of a process; rather, I help the author plan an entire career. An active writer needs an agent who will serve as an advocate at all stages of the sale, and who will help him or her gain additional benefits in the form of foreign sales and so on. My job is to assist the writer in developing a recognizable “brand name” (or several brand names); therefore, rather than focus on the current book or the next one, I help the author create a strategy for an entire body of work.
Best words of advice to new writers?
Just keep writing. History is full of stories about classics that were rejected over and over and over by publishers. All too often, writers—and this is especially true in this era of instantaneous everything—want it all now, and that’s not usually how it works. If you’re a female Olympic gymnast, then yes, it’s likely that you would need to achieve something within a certain age window, but for writers, no such restriction exists. If anything, age can improve an author’s work, and it usually does. Be patient with your work, and give it the respect it deserves; don’t just throw something out there. In fact, if you want something that will give you instant reward (other than the rewards inherent in writing itself), then writing isn’t for you. The process of taking a book from manuscript to published work takes a long time, so why shouldn’t it be the same for taking the book from idea to completed manuscript?