Ask the Agent: Andy Zack [Archive] - Page 5 - Absolute Write Water Cooler

Andrew Zack

10-19-2005, 08:22 PM

Honestly, I feel pitch sessions are a waste of time and I've said so to many a conference director. But the conference directors feel that the opportunity to pitch is what brings authors to the conference, so....

For me, it's about the writing. You can give the best pitch in the world, but if the writing on the paper doesn't work, that's a problem.

It's a pitch. Bring nothing but notes, if you need them. If the agent wants to read something, he or she will tell you to mail it.

I do want to warn you, though, that one editor once told me that she was telling everyone to write "XXXX Conference" on the envelope, then planned to tell her assistant to sit on those for three weeks and then reject them. She had no intention of reading more; she hadn't actually been intrigued by anything she'd been pitched. She just didn't want to reject them to their faces.

I, on the other hand, took a lot of grief from one conference director because I was telling authors my honest opinion, diplomatically. But I was saying "no" straight to their faces, and that was bruising some egos.

Good luck!

popmuze

10-19-2005, 08:46 PM

Just a few minutes ago I got an email response from an agent saying he'd be glad to see the full manuscript of my novel. He was replying for a different agent in the same house who'd passed my query on to him.
I was very happy about this until I did a little research through my sent mail. It seems I'd already sent this agent about ten pages of this novel and he responded that it wasn't for him.
I wrote back telling him about this coincidence. But should I have just kept quiet and sent him the whole book anyway, hoping he wouldn't remember it, or maybe would like it better the second time around.

M.A.Gardener

10-19-2005, 09:38 PM

Thanks, Andy. That's good to know!
m.a.

victoriastrauss

10-20-2005, 12:13 AM

Be aware that if the small press pays small or no advances, there's no incentive for an agent to work with you. Most smaller publishers will accept unagented submissions, anyway.

If you choose a small press, choose one that's capable of getting its books into the hands of readers (that means getting its books reviewed and into libraries and bookstores). With most of the Internet-based small presses, which essentially sell only online or through their own authors, you'll be lucky if you get sales in the low three digits. Publishing with a press like this will probably not be much help to your career.

Authors aren't "midlisted". Midlist (a term that comes from the way books are listed in publishers' catalogues) means different things to different people, but generally speaking it just means a writer with modest sales. There's no way to know in advance what your sales will be--or how they may increase with your next book, which will please your publisher even if your sales still aren't huge. There's an interesting discussion of midlist here (http://bookangst.blogspot.com/2005/01/tortoise-and-harein-which-we-attempt.html)--it shows how two books with similar sales figures can be regarded totally differently by a publisher.

- Victoria

Jamesaritchie

10-20-2005, 02:21 AM

If you don't already have an agent, then going small press without an agent is a fine option. And if a small press makes an offer, then is your chance to talk to an agent.

I don't find that poor sales at a small press affect a writer anywhere near the extent that poor sales at a large publisher do. Small presses writers are expected to have low sales numbers.

First, I'd try to find an agent who can sell your novel to a large press, and I'd only go small press if this doesn't work out.

And midlist sales at a large publisher would be very, very good sales for nearly any small press.

Not doing well with a large publisher does not mean the end, even with large publishers. Even when a writer gets his contract cut by a large publisher because of poor sales, his next book can put him right back on top. It's happened many times.

Go with teh largest publisher and best agent you can find. It sounds like you're expecting to fail. Expect to succeed instead.

Andrew Zack

10-20-2005, 09:11 PM

That's a tough one. Was it a mistake? I'd guess, no. The agent would likely have started to read it and realized it was familiar and ended up stopping.

Andrew Zack

10-20-2005, 09:16 PM

There’s nothing more troubling to an author than being orphaned. No, this isn’t about anyone’s parents dying. It’s about editors leaving houses. Your editor is your champion. He or she had the vision to buy your book, argued for it in the editorial meeting, worked with you on editing it, helped develop the cover, and overall made the book happen.

Now, imagine this: Not only does your editor leave, but his boss, the publisher, also. Everyone associated with the decision to buy your book has left the house. What now? Who will champion the book? Talk it up to the sales force? Argue for more of a publicity effort? The reality is that far too many editors spend their day managing authors’ expectations downward that I often fear they start to become true pessimists. And in an employment environment where editors can lose their jobs with great ease, few editors want to stand up to their bosses and argue passionately on behalf of a book. Publishing is full of idealists—we all love books and thought coming into this business was about finding the next great American novel—but one quickly learns that this business is as much about going along to get along as it is about finding good books.

That said, I’ve got a book out now that needs your support: The Dead of Winter: How Battlefield Investigators, WWII Veterans, and Forensic Scientists Solved the Mystery of the Bulge's Lost Soldiers, by Bill Warnock. This is a powerful book and one that has real relevance in today’s world, when our troops are fighting overseas and thousands of family members sit at home, wondering about their safety.

World War II ended decades ago, but thousands of soldiers who fought overseas never came home...and still lay on the field where they fell, their bodies never recovered. Now, forty-six years after the Battle of the Bulge, a group of Belgian and American volunteers joined forces to hunt for those lost servicemen and to recover their remains. The ensuing search reads like a CSI episode, while the stories of the soldiers themselves read like chapters from Band of Brothers.

This book needs your help. This is a powerful and emotional story, and one that deserved very much to be told. But this book is as big an orphan as any: the editor is gone and his boss is gone. If it doesn’t sell, the house can blame those who are no longer there. So let’s prove them wrong. Please click here (http://www.amazon.com/exec/obidos/ISBN=1596090855/tzc-20/) and buy a copy today.

Thanks.

Andy

Pencilone

10-20-2005, 09:35 PM

But should I have just kept quiet and sent him the whole book anyway, hoping he wouldn't remember it, or maybe would like it better the second time around.

I think I would have done just that. And why not?!

M.A.Gardener

10-20-2005, 09:48 PM

Not doing well with a large publisher does not mean the end, even with large publishers. Even when a writer gets his contract cut by a large publisher because of poor sales, his next book can put him right back on top. It's happened many times.
Go with teh largest publisher and best agent you can find. It sounds like you're expecting to fail. Expect to succeed instead.
You're right! It DOES sound like I'm expecting to fail - and I didn't even realize it. Guess I got too caught up in thinking about the percentages. Okay then, I'm goin' bigtime! :)
m.a.

Julie Worth

10-20-2005, 10:19 PM

I agree with Pencilone. You don’t know what happened the first time around. Just because you sent him ten pages doesn’t mean he read it. Maybe he only read your query, maybe only the first sentence of your query. But now that another agent has passed it to him, it’s automatically more legitimate, coming from someone he knows. It isn’t productive to guess at these things. Just send out what’s requested.

popmuze

10-21-2005, 12:51 AM

I was kicking myself all night over this, but it turned out okay. Actually, in my email to the agent, I suggested in a humorous way that he might not have given the pages I sent him his full attention the last time around.
He sent me an email this morning and told me to send the material in again, this time the whole manuscript.
At the same time, another agent that I sent the same query to, also wanted to see my material.
Must be the new query letter.

Pookiestoop

10-21-2005, 01:59 AM

Hello. I have a couple of questions regarding a book project that I am writing for a friend (the book is about my friend based on his life's experiences)

Question #1 - Is it worth it to try and sell a book about someone no one knows?

Question #2 - It's so difficult to find an agent, do I need one? Or, should we both seek a lawyer to help us through the contract process and worry about representation later? And should we get the same lawyer - we are afraid that if we get separate lawyers they will play us against each other.

:tongue Thanks

Daughter of Faulkner

10-21-2005, 04:05 AM

You know what I think?
That an editorial assistant or an intern or a reader may have read your first sample and not the agent. EVEN IF THE AGENT DID read your work now you have his undivided attention so do send your best work on ASAP.

I am so glad the other agent was kind and good enough to open a window for you. Send him a thank you card. I am more than happy that you get another chance and I truly wish this to be the break you have been waiting for.

Let us know, please!
Take care.

:Clap:

popmuze

10-21-2005, 06:56 PM

Interestingly enough, I got pretty much the same response back this morning. But the agent was good enough to recommend three other agents (one was actually my previous agent).So the search goes on.

I'd always rather get a quick no than a prolonged no answer. But since it probably takes about twenty seconds for an agent to know whether they're interested or not, I wonder why they all can't be this quick.

Or does it take longer when they want the project?

Andrew Zack

10-21-2005, 11:40 PM

1. Sure. That's true of hundreds of books.

2. Yes, you need one. Attorneys generally don't understand what points can be argued and what can't. And what points are WORTH arguing (in terms of $) and what aren't.

Jaws

10-22-2005, 01:21 AM

(1) Yes.

(2) Here I have to differ somewhat with Mr Zack. He's an agent; I'm a lawyer. Go figure that we'd disagree ;)
In any event, I'll accept his points with an appropriate modification:
"Attorneys who don't practice extensively in publishing law generally don't understand what points can be argued and what can't. And what economic points are WORTH arguing (in terms of $) and what aren't."
In most circumstances, an author's best interests will be served by having an agent do the negotiating, or at least be in charge of the negotiating. Where we really differ is in contract language, particularly contract language on noneconomic issues (like those pesky warranties and indemnities). My practice brings me mostly agreements that didn't work, so perhaps I'm a bit jaundiced; however, I've got in my files contracts from big-name agents that just really screwed the authors because the agents thought they understood more about the contract language than they really did. Several of those incidents are in the mid-six-figures and up in the ultimate damages to the author.

So fine, trust your agent. Your agent probably does know best where the money and basic rights transfers can be changed to your advantage. But if you're doing anything on the edge, be sure that your agent shows the edgy language to an attorney he or she trusts. If the agent refuses to do so, that's a big red flag to me. In this day and age, "on the edge" is becoming a broader and broader area; consider, for example, agents who allow contracts that limit rights to "book form" without explicitly defining whether that includes or excludes electronic rights. And yes, there is a contract less than two years old from a Mega-agent that does precisely that… and may lead to litigation.

Daughter of Faulkner

10-22-2005, 05:47 AM

Yes, if you believe you have something to say and / or a good story to tell.

I say both. Once you find an agent that you are a match with then seek out an attorney to look over each and every business deal you enter into.
:idea: I don't believe you can be too cautious. The main word is TRUST.
Even though most people hate lawyers or attorneys, they are simply doing what they are hired to do and do best--look out for YOUR best interests. That's all. And after all, isn't that what you really want in the end anyway?!

Remember, both are working for YOU not you working for them.

All good wishes to you!

Jamesaritchie

10-22-2005, 05:50 AM

Get an agent. The last thing you need is a lawyer. Unless you're rolling in dough and just want to spend it, a lawyer will do you no good at all, and the wrong lawyer can kill you.

Selling a book about someone no one ever heard of is the toughest sell in publishing. Unless they've done something extraordinary, or have lived some spectacular life, there's little reason for anyone to buy the book.

Jaws

10-22-2005, 09:55 PM

Get an agent. The last thing you need is a lawyer. Unless you're rolling in dough and just want to spend it, a lawyer will do you no good at all, and the wrong lawyer can kill you.
Wrong. Wrong. Wrong.

In many, and perhaps most, circumstances, a lawyer isn't necessary on a transaction-by-transaction basis if the agent has had his/her "standard" language reviewed by counsel relatively recently. However, if that's not true, or the agent is working with a publisher he/she hasn't worked with before, or if the work is on the edge (e.g., a roman a clef on foreign politics) in a way that raises significant issues not related directly to advance and royalties, an experienced attorney who practices publishing law is a good idea, at least to review the proposed contract.

Mr Ritchie, your animus toward anyone ever seeking preventive legal counsel—which, on this board, has been expressed as a universal "never" on several occasions—indicates to me that you have had some unsatisfactory experiences of your own. So be it; don't assume, though, that your own history indicates that any reference of any matter to a lawyer would be a bad experience for the writer. A lawyer isn't necessary for every publishing transaction; neither is a lawyer a bad idea in every publishing transaction. It depends on the circumstances.

popmuze

10-24-2005, 06:09 PM

Andy,
Let's assume, for the sake of argument, that I'm the author of a dozen books of non-fiction, published by some of the majors. I'm an expert in my field and also an executive in my field, with a current book on the market garnering favorable reviews. Is it conceivable that an agent would take me on as a client without a specific proposal, in the hopes that with his or her knowledge of the marketplace, and my track record, we could come up with something commercial?

Cathy C

10-24-2005, 07:22 PM

Do you mean for fiction? Then, I'd have to say no. Non-fiction is a whole different animal and an agent would need to see both a proposal AND the manuscript before they'd take you on. The ability to be articulate and write competent sentences are only part of the game in fiction. Seamless plots and believable characters must exist too. Non-fiction success won't tell an agent about those.

But if you're talking about another non-fiction book, then quite possibly someone would take you on with a proven track record. In the query, you should mention the press runs of the books and which have sold through. That will be more help to your salability than your education and credentials. JMHO. Andy and some others here might have different thoughts, and I'll be interested to see the various opinions.

popmuze

10-24-2005, 07:36 PM

Cathy,

Just to be clear, I'm talking about non-fiction. About whether it happens where a writer and an agent get together to come up with a commercial idea.

Apart from trying to decipher old royalty statments, how would I go about accurately reflecting sales and print runs? I've heard about Book Scan, but how does a regular person gain access to this service.

Cathy C

10-24-2005, 08:20 PM

You can't. Well, that's not quite accurate -- you CAN get a subscription to BookScan, but you probably can't afford it. Even a single list (each genre or subject is a different list) is thousands and thousands of dollars per year. I think ALL of the lists is something like a quarter million. Stick with reading the royalty statements.

But for an agent to ASSIST with coming up with a commercial idea? Hmmm... don't know. Generally, they aren't much involved in the creative process. Maybe a few of the agents here can answer that better.

popmuze

10-24-2005, 08:40 PM

What's a quarter of a million between friends?

I guess the ticket would be to have a friend in publishing who'd give you his password for a day.

Andrew Zack

10-24-2005, 09:22 PM

Popmuze:

I would be unlikely to take on an author of nonfiction for a new nonfiction work until I read the proposal. I would never take on an author nonfiction for fiction without reading the project.

Best,
Andy

victoriastrauss

10-24-2005, 09:45 PM

Since no one has addressed this point, I'll put my two cents in--before you get to issues of agents and publication, you should have a contract between the two of you that defines exactly what your relationship is (are you collaborators, or are you a ghostwriter?), what will happen in the event of publication (how will income be split? Will you co-own the rights? Etc.), and especially what will happen in the event of a falling-out.

I think Cathy C posted something informative on this issue not long ago, but I'm not remembering what forum it's in.

- Victoria

popmuze

10-24-2005, 10:08 PM

Sorry for the confusion. I'm just talking about non-fiction here.
But when you say unlikely, does it imply that under certain circumstances it might happen? If so, what would be those circumstances.
Also, in your experience of agents in general, do you think it ever happens.

Andrew Zack

10-24-2005, 10:57 PM

Depends on the writer, their area of expertise, what I'm hearing in the marketplace, how often they've sold a new book, etc.

cinammon stix

10-25-2005, 08:00 AM

Hi Andrew,

From a recent batch of queries, I have noticed that agents who say yes (to reading more) respond by email and agents who say no respond by snail mail.
An agent has recently asked for my full manuscript. Should he decide to take it, do you think he will be responding by email or by phone call?

Is him asking for the entire book even considered a big feat? Or do agents frequently ask querying writers to see the entire product?

Thanks for volunteering your services on this website. Big help.

Dawno

10-25-2005, 08:26 AM

There’s nothing more troubling to an author than being orphaned... Please click here (http://www.amazon.com/exec/obidos/ISBN=1596090855/tzc-20/) and buy a copy today.

Thanks.

Andy

My copy arrived today. As soon as I finish Anansi Boys I'll be reading it.

popmuze

10-25-2005, 06:03 PM

Andy,

Not being a war book buff, I was disappointed by your last posting. I thought it was going to be a book about what writers can do when they are orphaned. On that subject, I could write that book! On my previous book, I lost not only my editor, but the editor who replaced him, and then the editor who replaced her. Also the girl in publicity assigned to the book and the sub-rights person. On my current book, the marketing department went down just as my pub date approached. The company still hasn't filled the position. These days I like to joke with editors that they are probably risking their job by signing me up. But who is the joke on?

popmuze

10-25-2005, 06:08 PM

Andy,
In general, would an agent be interested in addition to selling an author's latest proposal, in attempting to get any of the author's backlist of out of print fiction and non-fiction titles reprinted? Is there much of a market for this? Or would epublishing be a better bet?

cinammon stix

10-26-2005, 12:41 AM

Sorry. One more thing: Is 150,000 words just out-of-the-question plump for a literary fiction novel? I'm certainly aware it's on the far rightside of the map, but has it fallen off the edge? Could it still feasibly gain representation?

banjo

10-28-2005, 05:06 AM

Hello Andy

I've enjoyed this thread and your insightful information. This really hepls me get into the head and the concerns of an agent. Like most here, I too, thank you.

Questions

1) You briefly stated earlier, that you didn't like copyrighted manuscripts. Could you please elaborate as to why.

2) If a new author has already copyrighted his work, would an agent like yourself still be interested, if reluctantly?

3) How, then, should a writer protect his product, especially when he exposes his work to beta readers.

4 ) How does an already copyrighted ms hamper the efforts of an agent in advancing the ms through the publishing process?

5) Is this dislike of copyrighted ms shared by agents in general, as far as you know?

Thank you in advance for your answers.

scfirenice

10-28-2005, 06:18 AM

Andy,
Quick question. If an agent is representing your non fiction project, when (if ever) is it appropriate to ask if they will consider your fiction project? (assuming the agent deals in your genre.)

britlitfantw

10-28-2005, 10:44 AM

Andy, just curious – will an agent shy away from a submission that is from a country other than their own? i.e. If I, a Canadian, wanted to submit to an agency in Pennsylvania, would this make things harder for the agent and the writer to collaborate on a project? Do agents generally try and stick with writers around their area?

This is a theoretical situation currently, but I’m curious for future reference. Thanks so much!

Andrew Zack

11-01-2005, 06:49 PM

Is him asking for the entire book even considered a big feat? Or do agents frequently ask querying writers to see the entire product?I think it depends on the agent. I ask for VERY few full manuscripts, so if it was me, that's a big deal. But other agents are prone to getting the whole thing in at once so they can just read a little or all of it, as they wish.

Andrew Zack

11-01-2005, 06:51 PM

Andrew Zack

11-01-2005, 06:53 PM

Banjo:

I don't recall saying that I don't like copyrighted manuscripts. It's just unnecessary. It's expensive and a hassle. The only hinderance is that when you sell it, you have to remember to provide the publisher with the original copyright filing so that they can update it. I don't think authors need to go to the trouble to copyright their manuscripts. I've seen VERY few cases of plagurism over the years and when I did see it, it was one best-selling author stealing from another, or one author stealing from HIMSELF (he tried to deliver the same Western to two different publishers who contracted him for series work).

Best,
Andy

Andrew Zack

11-01-2005, 06:54 PM

popmuze

11-01-2005, 10:01 PM

In a case where the agent for your non-fiction is reluctant to deal with your fiction, what's the next step?
Can you get another agent specifically for fiction?
Can you come up with names of editors and just ask the agent to submit the manuscript?
Can you force your agent to tell you specifically what he doesn't like about the manuscript?

(Maybe the agent just doesn't have that many fiction contacts).

Andrew Zack

11-01-2005, 10:36 PM

That's best discussed with your agent. If he or she is okay with your getting an agent for fiction, then go ahead. I will say, though, that I prefer not to split representation. I would say that you can't "force" your agent to do anything. He or she is not an employee.

macandal

11-02-2005, 02:25 AM

Andrew:

Today it is exactly 3 months since an agent has had my full ms which she requested. Here's the story: my old college professor talked to this agent who, it turns out, also graduated from the same school as I (and also studied Creative Writing). She knew the agent, of course, from her time as a student. My college professor friend was also her (the agent's) professor. So my professor talked to the agent and the agent asked my professor to tell me to send her the full ms. I did. She received it on August 1st of this year (I know because I can track the ms). Since I never had any contact with this agent (and they don't have a website) I really have no way of knowing how long will it be before I hear from her. I know that 3 months is about the time one should start hearing from agents on full mss requests. As you can probably gather, the anticipation is killing me (that and waiting for agents to answer my queries--how long should I wait for those?). What can I do? Do you recommend emailing/writing that agent and ask her on a status report?
Thanks.

smallthunder

11-02-2005, 08:53 AM

Just curious ... does an agent often pitch a manuscript to different (imprint) lines of the same publishing house? Why, or why not?

Obviously, I don't have a very clear idea of how the publishing world works --

I've always thought of a big publishing house as being like "The Mother Ship," with special lines/imprints floating around like small tugs in dock. I thought an agent would pitch to reps on "The Mother Ship," and that the folks there would decide whether to farm out the consideration (or not) to one of the smaller vessels.

My agent met with an executive editor of a big publishing house a while ago, who said nice things about my work but gave it a pass. My agent recently told me that XXX,which I looked up on the Internet to learn is one of the publishing house's lines, is still considering my work. Hence, my curiousity ...

smallthunder

11-02-2005, 11:36 AM

Hi --

Have you checked for information on this agent on the "Bewares and Background Checks" section here? It wouldn't hurt to know more about her, especially as you couldn't find a website and didn't approach her yourself ...

That's just an aside -- to answer your question -- yes, you should feel free at this point to contact this agent regarding the status of your manuscript. That is, assuming you don't dig up anything awful about her beforehand which sends you screaming from the room ...

Good luck!

macandal

11-02-2005, 07:46 PM

Have you checked for information on this agent on the "Bewares and Background Checks" section here? It wouldn't hurt to know more about her, especially as you couldn't find a website and didn't approach her yourself ...
I don't have a problem with her reputation. That's been verified.

victoriastrauss

11-03-2005, 12:03 AM

I think that 3 months is long enough to wait before contacting the agent to ask what's up. If you have an e-mail address, I'd suggest e-mailing her. Be sure to remind her of the referral from your professor, so she'll remember how she came to ask for your ms.

Hope you don't mind me saying this, but I don't think you should be too hopeful about this contact, since you can't really be sure whether she asked for your ms. out of interest or as a favor to a mutual friend.

- Victoria

macandal

11-03-2005, 01:52 AM

Hope you don't mind me saying this, but I don't think you should be too hopeful about this contact, since you can't really be sure whether she asked for your ms. out of interest or as a favor to a mutual friend.

- Victoria
Victoria I'm a pessimist by nature but I agree with you. The other day I got a very nice, personal rejection letter by an agent my professor had also recommended. I queried her saying so-and-so suggested I contacted you. She replied by requesting the first 50 pages of my ms saying, "It's always nice to hear from so-and-so..." In her rejection she said how I was a good writer blah, blah, blah but she couldn't take me on because she wasn't passionate enough about the project to represent me. If you ask me, although other people disagree, she was just being nice. But, as I said, I'm a pessimist by nature.

macandal

11-03-2005, 02:17 AM

Victoria:

If the Writer's Market guide says that a specific agency responds to queries in 1 day (that's what it says) yet it's been 2 months since I queried this agent and have not heard anything, can I write the agent asking for an update? Should I believe what the Writer's Market says? Thanks.

victoriastrauss

11-03-2005, 04:48 AM

If the Writer's Market guide says that a specific agency responds to queries in 1 day (that's what it says) yet it's been 2 months since I queried this agent and have not heard anything, can I write the agent asking for an update? Should I believe what the Writer's Market says?One day?? I wouldn't believe it. But I'm a pessimist too.

Honestly, I think that if you don't get a response to a query, you can assume the agent isn't interested. Obviously I'm not an agent, just an observer of agents--but IMO a query non-response is not worth following up.

- Victoria

Andrew Zack

11-03-2005, 07:10 PM

At many houses, each imprint is a separate division, with different editors, so you can try and sell, say, Del Rey and Bantam Spectra, the same science fiction novel. At others, e.g., Tom Doherty Associates, the imprints have the same editors, so you wouldn't likely try to sell to both Forge and Tor.

Andrew Zack

11-03-2005, 07:51 PM

People! Oy. THE WRITER'S MARKET, the Jeff Herman book, etc., all of them send a form to the agent for the agent to fill out, or they go and steal a description from someplace else. In my case, THE WRITER'S MARKET took information from my website, edited it and published it. Kind of funny, isn't it? They committed copyright infringement! If you think they have a crack team of investigative journalists checking out agents and publishers, you are sorely mistaken. The same goes for "warning" websites, which too often operate on an "I heard it, so it must be true" policy, I believe. Or, alternatively, an "I don't like what I heard, so I'll list the agent as 'not recommended.'" That latter makes it personal, rather than professional, I feel.

My personal opinion is that the Herman book is better because the agents DO write their own entries, in their own words. That gives you a far better sense of what makes them tick, I think.

As for your three-month wait, I realize that this seems long in the real world, but in the publishing world it isn't. In fact, when I negotiate a contract and ask that the contracted-for-and-delivered manuscript be read within 30 days from receipt, I am routinely asked to change that to 60 or 90 days. Whereas your manuscript is there on spec.

Yesterday I offered representation to an author who queried me...I don't know when. His submission of a sample chapter is dated July 19, 2004. I responded to it on June 10, 2005, requesting the full manuscript. He actually sent a partial manuscript, since he is still revising. I read the partial last weekend and offered representation yesterday, November 2, 2005. So, I'm not shocked that an agent has had your manuscript for three months. If this agent has it exclusively, then a follow-up is appropriate. But if not, you should definitely keep submitting elsewhere.

Best wishes,
Andy

popmuze

11-04-2005, 02:09 AM

When an agent is listed as "Does not accept unsoliticed queries," what exactly does this mean?

Is there any way to get a query solicited by this agent other than being personally recommended by one of his authors?

Assuming you had an email address, would it be offensive or intrusive to drop a short line with your background and credits and ask if he'd like to receive a query or a proposal?

Andrew Zack

11-04-2005, 09:37 AM

I believe you should never email an agent without an invitation to do so.

As for "unsolicited queries," I don't know what to say. It doesn't make sense to me.

brinkett

11-04-2005, 04:07 PM

I think it means they don't read cold queries. They'll only read queries from writers who've been referred to them.

Julie Worth

11-04-2005, 05:02 PM

They say that because they don’t want to say they’re not taking new clients. Because they are. Sure, they’re never too full to take a Hillary Clinton or a Charlie Manson! But anyone else, anyone who has to ask, get out of here!
It’s the euphemistically worded opposite of ‘actively seeking new clients.’

waylander

11-04-2005, 07:03 PM

I'm sure that if you called up and said 'I've just got a contract with Tor and I'd really love you to be my agent' that they would want to talk to you.

cousin

11-04-2005, 07:43 PM

I've recently redone my query letter for my novel and in the last few weeks I've emailed it unsolicited to four agents, none of whom had "no unsolicited queries" in their agent profiles at the various databases.
One hasn't responded, two asked for partials, and the other for the full manuscript.
But if they say "no unsolicited queries" does that apply to through regular mail as well? And is a general letter of credentials the same thing as a query?

Daughter of Faulkner

11-04-2005, 09:45 PM

Jeff,
This is good to read from an agent.

:Thumbs: Thank you for your honesty.

shan

11-07-2005, 06:48 AM

hello and welcome to my question.

i have finally finished what i hope will be my first published novel (women's fiction) and i need advice. I went to a writer's expo about three months ago and submitted my first two chapters to two different editors. one never bothered to contact me and i learned later that she was with a firm that published sci-fi - my mistake. the other one really liked my story - in fact, she said she LOVED it (she used all caps), but it didn't have a strong enough mystery element to fit into what they were looking for. it was disappointing, yet encouraging. i don't know where to find someone to help me proof the rest of my book. the first two chapters was proofed by a woman i know who is a schoolteacher - she did it during her summer break and is much too busy now to continue.

even once i finally get that done, i am not sure where to turn next. through this site and advice from those at the writer's expo, i composed a list of publishers that looked good to me in a bookstore and one by one, found out what their submission guidelines were. all of them required an agent. am i aiming too high? i am not sure when to really seek out an agent, or how to go about it. any advice you can part with would be greatly appreciated. thank you for your time!
shan

Andrew Zack

11-07-2005, 07:59 PM

If you join a writer's group, you can often find someone to proof your ms, in exchange for you proofing his or hers. Additionally, if you use Google, you can find sites like this one: http://www.the-efa.org/, which list editorial freelancers, but those you'll have to pay.

Once your manuscript is in good shape, start looking for an agent.

Best,
Andy

Andrew Zack

11-07-2005, 08:01 PM

I represent a couple of Canadians. The biggest problems are that mail is shockingly slow and that there's a whole slew of separate tax forms that have to be dealt with. Otherwise, if you have a good book, I don't know why any agent would not be interested.

Best,
Andy

rchastain

11-08-2005, 04:28 PM

Hi Andy and all,

Everything I've read about sending queries and/or manuscripts emphasizes the importance of a proper standard format. Sounds good to me but I just started an extended stay in Berlin and and am confounded to find that in Europe standard paper sizes are different than in the US. The pages are about an inch longer.

Would it be acceptable to use the local paper to write to US agents or do I need to get someone back home to ship me 8.5 x 11 printer paper. (I'm presuming I can persuade my Euro printer to adjust itself.)

Thanks.
RC

Andrew Zack

11-08-2005, 08:44 PM

Using A4 paper is fine.

emeraldcite

11-09-2005, 04:26 AM

Andy:

I've got a question:

I have a manuscript under review at William Morris, but the agent didn't ask for an exclusive (it's been something like three weeks, but I don't plan to hear back until December or after the new year). I've seen an agent at another agency pop up who is looking for material and I think my novel fits their list as well.

My question: since said agent at WMA didn't ask for an exclusive, am I free (read should I...) send a query to the agent at the other agency?

I certainly wouldn't want to tick off the agent at WMA, even though she didn't request the exclusive, but I don't want to miss an opportunity to query an agent whose list is open and fits me as well.

Thanks!

Matt

ps. I expect a rejection from WMA. It was a fluke really. I did some research and started with some of the bigger, more prestigious agencies with agents that have similar lists and started working my way down. Just caught a lucky bite.

johnnyr3

11-09-2005, 04:57 AM

Hi Andy,

I have an agent, Vera DeVaney, who is the subject of a thread on this site. I took a class from her for a couple of years, and signed a contract with her early this year as my agent for my book. She is an older woman who was highly functional, but has had a heart attack and lost her husband in the past few years.
She now just seems to have "dropped out". No one can reach her by phone or email. She emailed me in June to say she had a nibble from a publisher and would follow up in August. I haven't heard from her and the publisher doesn't recall getting anything on my book.
What would you suggest I do?

John Rice

britlitfantw

11-09-2005, 11:30 AM

Hi Andy,

Thanks so much for your help, I hadn't considered the point about tax forms. :)

brinkett

11-09-2005, 03:59 PM

Thanks so much for your help, I hadn't considered the point about tax forms. :)
You're Canadian and you didn't think about taxes!!! ;)

waylander

11-09-2005, 04:35 PM

Andy I have a question you've probably answered before, but I couldn't find it.

I've been chasing agents for a while now and have a number of queries running. An agent requested my full manuscript (without exclusivity) about a month back and I sent it off. Another agent has just made the same request, again without asking for an exclusive. Should I drop an e-mail to agent 1 telling them of this request?

Thank you for your time.

popmuze

11-09-2005, 05:55 PM

Andy,
Although it may take you no more than a couple of paragraphs (or a glance at the synopsis) to know a novel isn't right for you, how much do you usually read to confirm this?
I've gotten a few comments from agents who've seen either 50 pages or a full ms. about plot, character, voice, etc. But I never know how many pages they've actually read.

skylarburris

11-10-2005, 04:08 PM

When a publisher buys "all rights" to a book, what exactly does this entail? It means the publisher has the rights to the book in print, electronically, foriegn, and movie, and I can never get them back to go with another publisher at anytime in the future? Are there circumstances when an author should consider selling all rights as opposed to simply "book rights"?

Cathy C

11-10-2005, 06:38 PM

I think it's important for you to consider what you just said. In an "all rights" contract, the publisher may or may NOT pay royalties on those other rights. The way you phrase it makes me think you're expecting to see money from each of these other rights at some point. Are you thinking that it doesn't really matter who handles the transactions for the other subsidiary rights? Bad news, in that case. Some publishers do, but many others don't -- you might not see a single DIME except for the royalties on the primary publishing method (paperback, trade or hardback.) You'll have to look very closely at the contract to determine what money you'll actually see for the rights you're handing over in an all rights deal.

Personally, the only place where I can see that all rights is acceptable to an author is when the author is writing in someone else's world. For example, a novelization of the Dungeons & Dragons RPG world would probably require transferring all rights. You're writing words coming out of characters belonging to a third party, in a world someone else created.

Other than this scenario, I can't see where an author would EVER benefit from selling all rights.

Andrew Zack

11-10-2005, 08:19 PM

The only time that an author should be licensing all rights is when he or she is signing a writer-for-hire contract. In such a situation, the novel is usually derivative, like a D&D novel or a movie tie-in. The primary ownership of rights lies elsewhere, like with Hasbro for D&D or LucasFilm for Star Wars novels.

Most contracts contain subsidiary rights "splits," that state what percentage of sub-licensing fees goes to the publisher and what to the author. However, the author's percentage will always go against the advance first. In an ideal situation, the author would license as few rights as possible. I generally try to limit it to US, Canada and the non-Exclusive Open Market.

Also, please note that I use the word "license" throughout. Most publishing contracts use "grant" when talking about rights they are getting and "license" when talking about rights they are sub-licensing to other parties. There is an distinction, but not being an attorney, I wonder if we have one reading these boards who would be willing to explain the clear distinction?

Thanks.

Best wishes,
Andy

macandal

11-10-2005, 10:22 PM

Thanks Andrew. As for my other question. I queried this agent, I said two months ago but it is almost nearing the three-month mark, and I haven't heard anything yet. I've had good luck with my queries: I've gotten responses, this one is the sole exception. Like Victoria said, it is probably not worth following up. So, is it appropriate to ask for a follow-up? If so, how should I proceed? Thanks.

Andrew Zack

11-11-2005, 12:52 AM

On a query? Likely not worth a follow-up. Just send another query letter.

DenimSoul

11-11-2005, 06:00 PM

Hi. I'm wondering if maybe it would be a better idea for me to submit several of my children's picture book stories to prospective agents at once?

Would this overwhelm them? I want to send the message that I'm definitely not a one book hobby writer but I am a dedicated, hard working writer establishing a career and I have an endless supply of books in me.

Thanks for your input.

Andrew Zack

11-11-2005, 07:07 PM

I don't do children's books, which are far shorter, of course, so I can't say. When it comes to adult, I want your best one and that's it.

Best,
Andy

waylander

11-11-2005, 07:28 PM

skylarburris

11-12-2005, 04:30 PM

Thank you for the response.

Andrew Zack

11-13-2005, 04:40 AM

If you haven't agreed to give an exclusive, you have no obligation to do so. It is always polite and professional, though, to let the agent know if you choose representation elsewhere, as soon as you do.

A.

Andrew Zack

11-13-2005, 04:42 AM

John:

Send her a Certified Letter, Return Receipt Requested, as her for a status report. Express your concern for her health and that you've been unable to reach her. I expect you'll get a call of some kind. If not, but you get the receipt back, see who signed for it and try and track that person down.

A.

Andrew Zack

11-13-2005, 04:43 AM

How much I read depends on the book. I request a lot of sample chapters and very few full manuscripts. On the chapters, it could be a page or the whole thing. On the manuscripts, it's often the whole thing, but I also use readers on a lot of the full mss.

A.

emeraldcite

11-13-2005, 06:08 AM

Andy:

Thanks for the quick reply!

britlitfantw

11-13-2005, 10:07 PM

I'm 15, and I didn't know the point about taxes. ;)

dragonjax

11-14-2005, 01:44 PM

Denim, I've heard that the best way to go is pitching one project at one time. Good luck!

popmuze

11-14-2005, 06:13 PM

popmuze

11-14-2005, 06:20 PM

My latest book, just out, is a reference book published by a reputable hard cover house, the deal for which I got without an agent. They have told me they have no intentions of pursuing trade paperback rights for this book and that I could look for a deal myself.

Do you think an agent would be interested in taking on the book in the attempt to get me a trade paperback deal? (Would current reviews of the book have a bearing on this?)

Andrew Zack

11-14-2005, 07:44 PM

On reading a page? Unlikely, but I have certainly picked up partials and seen heavy use of the passive voice and passed, commenting on that. But you have to keep in mind that I generally do not respond with details on why I'm passing on a partial. There are far too many to do that.

I do, generally, respond to an ms with my thoughts or, if I've used a reader, send along details from the reader's report or ask the reader to write the letter.

Best,
Andy

Andrew Zack

11-14-2005, 07:48 PM

1. Are you sure you have those rights? If your contract says they have the rights but they say they aren't going to pursue the sale of them, get them to revert those rights and all financial interest in them.

2. Sure, if the hardcover is reviewing and performing well, I think an agent might be interested in trying to find you a paperback deal.

Best,
Andy

WriteStuff

11-14-2005, 10:00 PM

The curiosity is killing me, so I have to ask.

What have you got (as an agency) against women's fiction?

Yep, you guessed it. I'm a writer with a wf manuscript to peddle. I really am curious though, and not trying to be as nasty as the question may seem. :) I just appeared strange that reading your list, you took everything but Women's Fiction, and Romance.

Tami

flotsamarama

11-14-2005, 10:50 PM

Here's the situation: I sent my young adult manuscript to a respected publishing house more than 14 months ago (August 2004). I last heard from them in May when they told me the manuscript was "still under consideration." In September, I asked for an update and included a self-addressed, stamped response card for their convenience (no word).

Since February 2005, I've been querying agents. (I notified the publisher in January that I would begin doing so.) One has had my manuscript for eight months -- five of those months on an exclusive basis. Two other agents have sample chapters and synopses. Another has an outline she requested. Six others haven't responded to my initial query. Nine have sent rejections to my query. One requested my manuscript and responded quickly that he'd like to see it again if I make changes that I consider to be substantial.

My questions are these:

Should I make substantial changes to the manuscript on the off chance the latter agent might consider representing it? (BTW, this agent is new and so has no track record as an agent, but had an impressive background as an editor before becoming an agent.)
At what point should I stop sending out queries? Should I continue to send queries out until I have an offer, even when it appears more than one firm/house is currently considering it?
I recognize that I'm probably agonizing over this more than I should... But posting these concerns here helps give me a better perspective. Thanks!

ELM

11-15-2005, 12:21 AM

Hello,
I'm new to the board but let me start by saying this site is fantastic.

Here's my (hypothetical) question: What do you do if two or more agents have asked to see your ms and the one you least prefer offers to represent you first? Do you contact the other agents and let them know someone else has offered to represent you? What are they likely to say if you do that? Is it appropriate to call them or is it better to email?

One more question: No agent v. mediocre agent-- which is worse?

Sorry if this was already answered but I looked and didn't see it anywhere. Any help would be much appreciated.

DeePower

11-15-2005, 03:30 AM

I am getting ready to write the proposal for our next book. The working title is Literary Agents: Everything you need to know.

If you could ask an agent just one question, (and it can't be 'why did you turn down my book?' <grin>) What would you ask?

You can post the question here or send me an email

dee at brianhillanddeepower dot com

Dee

brinkett

11-15-2005, 03:58 AM

I'm 15, and I didn't know the point about taxes. ;)
Ah, taxes...something for you to look forward to, then... ;)

popmuze

11-15-2005, 07:01 PM

It could be (I don't have the contract in front of me) that they have the rights, but I split the proceeds something like 30-70. Although I am not opposed to going back to the company to see if I can renegotiate, especially since my acquiring editor is no longer there, would I be right in assuming if an agent got me a deal, it would just mean less out of my end (something like 15-15-70)?

But at least I'd have something in the marketplace that might sell.

Andrew Zack

11-15-2005, 07:28 PM

If they revert the rights, they will have no further interest in them, so you would get, generally speaking, 85% of domestic rights and probably 75% of foreign.

More importantly, though, you cannot contract with an agent if you don't control the rights. The publisher would have to contract with the agent.

popmuze

11-15-2005, 10:44 PM

This is very useful information. Thanks a lot.

Andrew Zack

11-21-2005, 08:40 PM

Hi Tami:

The simple answer is that I have no experience with women's fiction and romance novels. I've never been a reader of them and freely admit to not knowing what elements really make a difference between a good one and a just-okay one. Hence, I leave those genres to those who love and enjoy those kinds of books, generally speaking.

That said, I rep a few authors who are very talented writers, whose books could be or have been sold as romance or women's fiction of some kind, but in those cases, I saw the books as something else when I started, such as historical fiction, fantasy, or mystery. A strong romance in a book is a plus—Hollywood loves it, actually—but if the expectation is that your book will be shelved in the "romance" section, better to find an agent who specializes in that sort of thing.

Best,
Andy

Andrew Zack

11-21-2005, 08:42 PM

Dee:

I hate to disappoint you, but I doubt there's JUST one question, but to help you out, how about this one: When you read my book, and as you think about how to pitch it to editors, what do you think the selling points are that would be used by the editor on his or her tip sheet or in the catalogue and other sales materials?

Best,
Andy

Andrew Zack

11-21-2005, 08:45 PM

If the agent is "mediocre" in your opinion, you never should have contacted him or her. If that agent is now offering to represent you, I think you should respect their enthusiasm for your book and that they got back to you before anyone else. You could certainly let the other agents know that you've been offered representation elsewhere, but there's a saying that's often—very often—used by agents that applies: A bird in the hand....

Best,
Andy

WriteStuff

11-21-2005, 09:03 PM

Hi Zack:

Thank for taking the time to answer questions. I have recently begun to query for a manuscript. I sent out a few, and have gotten one request for a partial so far. Sent that. :)

Okay, here's the question. Being that, like queries, the acceptance, or desire to see more of a piece from a partial runs roughly the rate of query acceptances, if the God's smile on me, and another agent requests a partial before this current agent responds, is it fair to send one out? Or would it be more ethical to wait?

(After seeing that sentence, you are probably thanking all of heaven that it wasn't YOU I queried.)

emeraldcite

11-22-2005, 01:06 AM

I asked a similar question just recently, but may be gone due to the shutdown.

The answer Andy gave me went something like this:

Unless they request an exclusive read of your material, you are under no obligation to stop querying or sending out requested materials.

emeraldcite

11-22-2005, 01:09 AM

ah, yes, there it is:

If you haven't agreed to give an exclusive, you have no obligation to do so. It is always polite and professional, though, to let the agent know if you choose representation elsewhere, as soon as you do.

A.
__________________
Andrew Zack
President
The Zack Company, Inc.
Visit www.literaryagent.info (http://www.literaryagent.info/) to read my blog

http://www.absolutewrite.com/forums/showthread.php?t=525&page=33&pp=25

WriteStuff

11-22-2005, 04:26 AM

Thank you very much. I am still pretty new to this board, and haven't mastered all of the functions. I see now there is a search bar above the threads in each forum. I was looking in the wrong place for a search function. Thanks emeraldcite.

emeraldcite

11-22-2005, 07:41 AM

No prob. So much info passes on this board, it's hard to find it, if not impossible. I'm sure my question has been answered a dozen times before, and I'm sure I read the answer too, but I just couldn't find it.

I try to learn and pay it forward.

Glad to be of service. Good luck!

jstalin

11-22-2005, 07:47 PM

I'd keep sending them, 99% will reject anyway

Andrew Zack

11-22-2005, 09:25 PM

WriteStuff

11-23-2005, 08:18 PM

Thanks for the answer, Andy.

My bad for assuming (very incorrectly) that an agent simply could look into the pages of a manuscript, and see it was marketable, and then want to be the one to sell it. I really mean 'my bad'. I have seen in your post above, and recently trying to learn from what I've read otherwise, that the important factor I was missing it the 'love it' factor. I had overlooked that agents do need to be as passionate about what they sell, as we are about what we write.

Thanks again for taking the time to answer, and to do this forum in general. It is a great service.

Tami

MockingBird

11-24-2005, 01:23 AM

Hello Mr. Zack,

I have a question. I have an agent, who has represented me for almost 3 years now.

The first year was spent rewriting my ms, and I moved in that time, so not the full year was spent on editing. I feel the changes I made under my agent's guidance greatly improved the book, but when it came to marketing I didn't agree with how my agent wanted to market the book. He saw the book as one genre and I as another. But he is the pro (well known, with a good track record) and I went with his judgment (that is what we have agents for, yes?)

It's now almost two years later and still no sale. He has made many submissions, we had some bites as far as requested complete ms, many in fact--but just no offer to publish. Only a few queries in the last few months--last 6 really. I've written 4 other books in the last 2 years, one a sequel, and the other 3 a series.

When is it time to move on? My agent and I seem to have become friends as well--at least on the surface, and I feel I owe him for the editing he helped me with, at least in my obligation to him--but if he can't make the sale then neither one of us gets paid. I keep thinking it may be because of the genre it is being marketed as.

MockingBird

Andrew Zack

11-24-2005, 06:57 AM

I'm curious, what genre do you think the book is and what genre does your agent? And why?

Andrew

11-24-2005, 02:21 PM

Thank you for coming--a great body of answers for us to pour through and learn. You are precise, well written and easily understood. I hope your success continues to grow!

SpookyWriter

11-25-2005, 07:34 PM

Hi Andy,

I spent time this morning (not writing) going over previous threads and noticed several writers had mentioned their agent had requested one-many revisions to their manuscripts.

I've read on other message boards similar stories. I also read messages from established writers that agents want near perfect manuscripts before they will even consider representing the writer.

I posted a prologue from my novel for critique and had various reactions. The majority of individuals suggested changes that would improve the prologue. I may not even use the prologue or I may make it shorter and more concise as suggested. I am still debating this issue.

Question(s):

Just what constitutes rewriting as I mentioned above? Are these writers talking about moving scenes around? Or are we talking about rewriting a scene, paragraph, or chapter to make it clearer?

I am confused and do appreciate your thoughts on this issue.

Thanks,

Jon

MockingBird

11-26-2005, 12:54 AM

I'm curious, what genre do you think the book is and what genre does your agent? And why?

I saw/see it as fantasy. There are mystical/magical elements to the story, a main part of the plot. Without them the story would fall apart.

My agent saw/sees it as romance. There is a strong romance element to the story, also a main plot element. I will say that without the romance the story would fall apart as well.

After two years I am very frustrated over no sale of the book yet. My beta readers love it. The rejections I have gotten on the submissions made by my agent have all been, for the most part, very complimentary of my style and my writing. But, many have the common element of it not fitting in their line (romance) for one reason or another.

MockingBird

flotsamarama

11-26-2005, 03:45 AM

The changes may be substantial, but will they make the book better? If you think they will, then go ahead and make them. At the least, this will be a good learning experience in editing with direction.

Thanks for your comment, Andrew. If I knew for sure that the suggested changes would make the book better, I would make them in a heartbeat. The agent recommended cutting 10,000 words (from 60,000), while, at the same time, providing more information about the (slightly futuristic) society and main characters. I could do one or the other, but would have trouble making it more detailed AND shorter.

Z-DAE

11-27-2005, 03:41 AM

Hey folks!
I’m very new to this form thing but have many question. I just finish writing my story and am now writing my first manuscript to a company and was just wondering how I should start about doing so. I’ve asked some people how could I get my story to be one of the chosen and not one of the I like but don’t love it stories. Most have said the same thing “Don’t write story in 100 word. Make it from 1000 to 3000 words, and in your eagerness to talk about your story not to forget to tell it”. So if anyone else has any other ideas I will most defiantly take it into consideration.

Pookiestoop

11-27-2005, 11:38 PM

My question has to do with a proposal I am writing for a manuscript about a friend of mine, a bio told in first person.

My question is how do I classify the book with other books that I have to compare to for the proposal? The book about my friend is kind of hard to classify: an adopted black American boy who grew up in South Central Los Angeles, but without the usual gang story. (Antione Fisher but without the abuse) Then it's a coming of age story about a classically trained pianist who dreamt of breaking into Hollywood, but only getting as far as crashing Hollywood parties. (A sort of Six Degrees of Separation)

Should I look for books with a series of themes and pitch it in my proposal? Or, do I have to classify the book in one fell swoop and then hope to find books that are the same?

Hope this question makes sense to you. Thank you. :)

SpookyWriter

11-28-2005, 03:43 AM

Jamesaritchie

11-28-2005, 09:11 PM

Hi Andy,

Precursor: I originally submitted this question in "Ask the agent" thread but wasn't sure if that was going to get read anytime soon. So, here it is again.

---
I spent time this morning (not writing) going over previous threads and noticed several writers had mentioned their agent had requested one-many revisions to their manuscripts.

I've read on other message boards similar stories. I also read messages from established writers that agents want near perfect manuscripts before they will even consider representing the writer.

I posted a prologue from my novel for critique and had various reactions. The majority of individuals suggested changes that would improve the prologue. I may not even use the prologue or I may make it shorter and more concise as suggested. I am still debating this issue.

Question(s):

Just what constitutes rewriting as I mentioned above? Are these writers talking about moving scenes around? Or are we talking about rewriting a scene, paragraph, or chapter to make it clearer?

I am confused and do appreciate your thoughts on this issue.

Thanks,

They don't want near perfect manuscripts. They do want manuscripts that are as good as they can be. Everyone does. Why wouldn't they? If something can be made better before an editor sees it, it should be made better. If an agent or an editor sees a change that would improve a manuscript, they ask for the change. Sometimes the changes are very minor, sometimes they involve a complete rewrite from start to finish. No two cases and no two requests are identical.

And once an editor sees a manuscript, he, too, may ask for changes before offering a contract, and may ask for more changes down the line during the editing process. This is common. The aim is to have the best possible novel to place in front of the buying public. Writer, agent, and editor should work together to see that this happens.

But there simply is no standard for what changes an agent or editor may request. It depends entirely on the condition of the manuscript. Sometimes no changes at all are requested, sometimes very minor changes are requested, and somethimes a complete overhaul is requested.

Jamesaritchie

11-28-2005, 09:12 PM

Just one. You can mention that you have others, but submit one at a time until requested to do otherwise.

SpookyWriter

11-28-2005, 09:54 PM

James,

Whew...I was paranoid that an agent would expect a flawless manuscript. I know my novel is in good shape, but that little bug in my ear started buzzing around and self-doubt is not helping me. I have partials out to three agents and I am sending another round of queries out later this week. I just wanted to make sure the long delay responding was from their backlog and not my writing (which very well could be the case).

Thanks so much for the feedback!

Jon

Andrew Zack

11-29-2005, 01:36 AM

SpookyWriter

11-29-2005, 02:08 AM

Andrew,

I agree and continue to polish my manuscript even after I sent out partials. I am never satisfied until a professional has reviewed my work and believes it is good enough for representation. Then the real fun begins...

Thanks for helping to clarify my concerns.

Jon

xxx_chaos_xxx

11-29-2005, 06:23 PM

Question: Is it easier for a minority to get published in sci-fi/fantasy novels than the majority crowd?

Andrew Zack

11-29-2005, 08:30 PM

MockingBird:

There is a strong paranormal romance market. By going after that, your agent was trying to expand your options. However, I hope your agent also went after traditional fantasy publishers.

Best,
Andy

Andrew Zack

11-29-2005, 08:31 PM

Chaos:

Interesting question. There are a couple of science fiction/fantasy editors who are looking for minority authors, but I would also argue that ALL editors are looking for more minority writers.

Best,
Andy

Andrew Zack

11-29-2005, 08:32 PM

Jon:

I can't really say what's rewriting for other people. Some folks get into it deep, some don't.

Sorry.

Best,
Andy

DaveKuzminski

11-29-2005, 09:27 PM

That's interesting about minorities. I've never mentioned mine because I thought that it really wouldn't matter that I'm a Cherokee. It's on my birth certificate. Yes, with a Polish name, too.

wrighter

11-30-2005, 09:12 AM

ELM

11-30-2005, 06:11 PM

Okay-- thank you -- that was helpful

Andrew Zack

11-30-2005, 07:18 PM

Andy, thanks for providing the info. I have a few questions.
1. The limited space of a query letter can contain only a brief description of the book, so out of a hundred letters comparable in quality, what differentiates the one person who gets a follow up from the ninety-nine others who receive form letter rejections?I think it's as simple as they wrote a better, more intriguing letter.
2. Do agents actually read all of the query letters they receive, or is the volume so overwhelming that only a certain number are picked out, and the rest are automatically sent a form letter?I read them all, but not all of all of them. I may decided half way through the letter that the book isn't for me.
3. Do agents ever wonder if in the 98% of submissions they reject, they've tossed away the next Godfather or Harry Potter?Sure. They wonder, but odds are significantly against it.
4. True or false? With very few exceptions, reputable agents will only deal with celebrities or established authors.False.
5. If someone is under contract to a fee-charging agent who turns out to be a scammer, will a certified letter stating intention to terminate be sufficient to get out of said contract?Well, I'm no lawyer, so I can't quote contracts law. What are the terms of the contract? What does it say about termination? Can you prove the agent was a scammer? I suspect all of these things is relevant.

Best,
Andy

Andrew Zack

11-30-2005, 07:26 PM

Dear authors:

For the month of December, the Zack Company,Inc. will be closed to submissions while I catch up on current reading. The office will be closed December 21st through January 2nd. I will not be requesting any new projects during this month.

Thank you.

Best wishes,
Andy Zack

Jamesaritchie

11-30-2005, 07:27 PM

I would argue that both agents and editors want manuscripts that are in the best possible shape. One argument is that my time is better spent finding an ms that needs little work and shopping that, versus finding one and doing a pile of work to it. The same goes for editors.

Yes, but asking the writer to do a pile of work on a novel that shows great promise is not the same thing as doing it yourself. Passing by novels that have great promise, but still need work, is not the best route to riches for agents or editors.

Andrew Zack

11-30-2005, 07:51 PM

I disagree. First, defining "great promise" is a very subjective goal. I doubt any editor or agent is passing by works they think have "great promise." But there are many books that some might call diamonds in the rough, and they are probably passed on. Now, when I worked for the late Don Fine, a legend in the business, he took authors no one else would buy and turned them into best-sellers. The hours that went into editing authors such as Dale Brown, Richard Herman, Philip Friedman and John Lescroat were long and many, I'm sure. But there are few editors who would take on books requiring long editorial jobs now. When Don bought first-time authors, it was for $5,000 or so, usually (I don't know what any of the authors I named got as first advances and am speaking generally). But there's a reason Don ultimately sold out to Penguin and it wasn't just his health. The return on investment on diamonds in the rough just isn't guaranteed, so it makes more sense to spend your time looking for books that are already pretty polished.

That said, plenty of my clients have been on the receiving end of many an editorial letter from me or from those I'm mentoring in the business.

Best,
Andy

SpookyWriter

11-30-2005, 08:22 PM

Now is where I get frustrated. I guess what I'm asking is essentially:

"After I polish my novel what can I expect from an agent who reads it and finds little flaws or areas that might need a touch up?"

I admit that my editing skills are not great, so that's why I hired a professional to go over my manuscript and point out areas where it could be improved and correct any grammar mistakes I might make. I made the changes and had another editor go over the first five chapters (excluding prologue) just to make sure they were clean.

So, now I have a semi-polished novel, at my expense, floating around with a few agents who haven't decided yet. The other part of my frustration is that two independent editors said it was saleable. My problem is that until I get some feedback from the agents who requested partials, I am in limbo. I can't go forward with this novel and will lose valuable time (months) if there are areas that need improvements. I can fix anything if given directions.

Does this make any sense?

Thanks,

Jon

Andrew Zack

12-01-2005, 12:00 AM

It sounds like the standard situation, Jon. My advice is to work on some short stories and see what you can sell. That will help you in the long run.

SpookyWriter

12-01-2005, 12:40 AM

Andy, you're good, I haven't heard politick speak (insert big smile here) in a long time. Sorry, I don't need money, just someone to tell me I suck so I know what to fix. I can't seem to get a rejection and now I'm back to waiting and waiting. I really do have thick skin, honest. Oh well,

I have short stories out on the market, so it's just a waiting game at the moment.

Thanks and enjoy the upcoming holidays,

P.S. I do appreciate, honestly, your time to answer my questions.

Jon

popmuze

12-06-2005, 11:12 PM

Andy,

Thanks to your suggestion, I was able to get the publisher to revert the paperback rights to my book to me.
Now here's the question. Currently I have my novel out with three very fine agents (50 pages, 100 pages, and the full ms), with no one having it more than 6 weeks.
As a great believer in giving agents gifts (most of the agents I've had, I've come to with a deal in hand), should I send out a special email to any or all of them asking if they'd be interested in handling the paperback rights for this book (regardless of whether or not they're interested--or have even read--the novel)?
On the other hand, having had nearly a dozen agents in my career, and
since it's December anyway, should I just wait to see if any of them offer representation on the novel first?
But, what if none of them like the novel enough to represent it? Would that stop any of them from taking on the paperback project as a one-off?
As you can see, I'm in a quandary.

Andrew Zack

12-06-2005, 11:27 PM

I'd wait and see if they want the novel. If not, chances are they won't want to handle the other reprint rights, though that's not locked in stone.

Best,
Andy

popmuze

12-07-2005, 12:00 AM

That's what I mean. Maybe I should tell them to forget about the novel and just see if they want the paperback deal.

Then, a few months down the road, when we're both rich, I can bring up the novel again.

I was even thinking, should all three turn down the novel, not to mention it when I next query an agent, and just talk about the paperback situation.

Andrew Zack

12-07-2005, 07:16 PM

Popmuze:

In order to better advise you on this, perhaps you could send me a PM with the title of the reference book?

Thanks.

Best,
Andy

JonquilAries

12-08-2005, 04:32 AM

Hello, Mr. Zack. I for one am glad that you've taken the opportunity to come here and answer our questions. For me personally it makes me feel less clueless when it comes to the ins and outs of getting your foot in the door. I'll be sure to keep this thread in mind when I have a question. :)

CrazyWriter

12-10-2005, 05:25 AM

Sorry, I don't need money, just someone to tell me I suck so I know what to fix. I can't seem to get a rejection and now I'm back to waiting and waiting. I really do have thick skin, honest.

Hi Jon,

First, I'm sure you don't suck! Second, there's no such thing as thick skin when it comes to writers—at least not in my experience. Even the college freshmen I teach who care nothing about English get bent out of shape when I critique a paper they threw together. Thick skin or no, rejections hurt. Feel lucky you've not yet experienced the pain!

You'll find many agents' web pages suggest you give your manuscript to a minimum of 10 people within your "private" circle. Not all of them should be family members, either, because if they're anything like my mom you could right "See Dick run; See Jane dance" type stuff and they’ll think it's fabulous. Find an English professor who has some time to kill--yeah, right--or give it to your local librarian to read. Find people experienced with reading a bunch of different genres and styles and get suggestions from them while you wait. I found that to be exceptionally helpful. Even after an agent picked up my first novel, I continued to hand out the ms to people so I could improve, because even if an agent wants it, a publishing house may not.

Let's face it: there's always something to improve upon. An objective and accessible eye will help you find exactly what that thing is.

Good luck!
Heather

SpookyWriter

12-12-2005, 12:22 AM

Hi Heather,

Maybe you're right? Here's an excerpt from my first novel which is languishing away with a few agents. Thanks for the encouraging words!

P.S. Not looking for critique, just a sample of my writing.

Jon
---

Evan blinked and the harlequin crooked a smile. Evan stared blankly and the man-thing moved. He took a step back, wary.

A long bony hand with sharpened fingernails pointed to him. The man laughed and jumped from the poster to land on a crack in the sidewalk. Slowly, his actions deliberate and methodical, he smoothed his ruffled clothing and straightened his bow tie. His face broadened into a wide smile as he looked up and squared his shoulders. He focused on Evan and threw his head back and laughed again.

The pitched laughter echoed loudly in the cool thin air.

Evan took another step back and closed his eyes.

When he opened them, the small man was running toward him. The crooked smile had been replaced by crooked lips, curled in fury, exposing sharpened yellow-stained teeth. The small pudgy manlike thing growled loudly, thrashed his arms, and ran faster. The street became a conveyor-belt for the little man as he ran. The closed space separating them became an illusion as the manlike thing leaped over the curb and jumped.

Evan covered his face.

A whiff of air passed through him. He choked back the stench of human waste. He cupped both hands to his mouth and quickly looked over his shoulder. The dark entrance to the alley waited for him.

Hapygrl135

12-13-2005, 02:47 AM

I need some advice on how to handle a situation concerning an agent. Last yr I signed with a very unscrupulous literary agent which produced nothing positive. I am not certain if this manager/agent actually contacted any of the supposed pubs, have my doubts. One month after I signed with this manager/agent last yr, I received a letter from another literary agent offering representation. Can I go back to the agent who offered representation last yr, and how should I handle the situation.

Thanks,
KL

ThatGuy

12-13-2005, 11:00 AM

Go back and look at your contract. Hopefully there's a stipulation that you can terminate your contract with this agent. If so, go ahead and do it and hope that offer from the other agency is still on the table.

Andrew Zack

12-13-2005, 09:26 PM

A lot depends on how you responded to the other agent. Did you thank him or her for his or her interest, but you'd already signed elsewhere? Or did you do something snarky and say "Sorry, too late, I've signed elsewhere." If you were polite and professional, there's nothing wrong with going back. However, I'd advise you to have a new work to show. Agents rarely want to shop something that's already been shopped.

Best,
Andy

Andrew Zack

12-13-2005, 10:04 PM

For what it's worth, James Patterson, the big thriller writer, reportedly runs focus groups on his books. His career was in advertising and so he applied what he knew from advertising to his writing. Someone once mentioned he had forty readers fill out a detailed questionaire about one of his early books. It may be a rumor; it may be truth. I don't know. But it's a great idea if you can get forty people to do it (maybe he paid them?).

popmuze

12-15-2005, 05:27 PM

Andy,

Just wanted you to know I managed to see a (very good) review of the book on a major reference web site. It is definitely something I can enclose with my query.

WriteStuff

12-16-2005, 06:23 PM

Andy:

Sorry to repost this. I had asked this on the other POD thread in this area, but I think it is getting overlooked because you already answered the original question in the thread.

In that thread you said: POD, in my opinion, hurts far, far more authors in their search for agents or mainstream publishers than it helps. Short of it becoming a real success in the POD edition, there just isn't much of a chance that a publisher will bite.

I asked in response:

I buy that... but:

Does it hurt (past tense)?

Does it hurt a writer's agent search to have had a previous book published POD in the past? Will it hurt a new manuscript's consideration prospects?

Or should I just change my name now?

Tami

Dave Sloane

12-20-2005, 02:50 AM

Andrew Zack

12-20-2005, 04:31 AM

Personally, I just don't think POD is worth it, but if you go that route, then go the whole route and don't go looking for an agent. SELL your POD edition.

lindafox

12-20-2005, 08:19 PM

Look for an agent, POD, self-publish, or publlisher? Deals with tolerance for kids with special issues.

TwentyFour

12-23-2005, 06:45 AM

I have a question...I am writing a southern novel, it involves teens into moonshining, drag racing, and set in 1959, where would I find an agent who deals in "Southern Contemp. Fiction"? I am not even sure if is Con. Fic. because I have based the novel in my hometown and reconstructed the town as it was in 1959, from the drive in's and their localities to the theater(which is now being reconstructed as it was that year). Who would be interested in this novel?

waylander

12-23-2005, 01:29 PM

There's an agent named Lantz Powell who specialises in 'Southern' writers

http://www.writers.net/agents/26788

Might be worth a try

TwentyFour

12-23-2005, 06:59 PM

thank you

TwentyFour

12-23-2005, 07:12 PM

http://www.absolutewrite.com/forums/showthread.php?t=602 i found this on Lantz Powell

WriteStuff

12-23-2005, 08:03 PM

In my recent query search for an agent I've found a new confoundation. I recently sent out four queries as a test run for a new query letter on a new manuscript.

Three of the four came back as rejections... okay, no surprise. LOL, but two of them had the remarks: intriguing concept, but not for us, and sounds fascinating, but not for us.

If it's intriguing, and fascinating (both of these agents profess to be looking for this particular genre on their websites), why don't they want to see a piece of the work?

Is it just another form of brush off?

I've received query rejections from both of the above agents and they didn't have that line in it. They simply said not for us, and that was that. So should I feel at least encouraged that the conept does have some 'fascinating' merit? Or just chalk it up to another form no.

Edited to add that it's not that the fourth agent has requested any material, it's just that he hasn't gotten back to me yet.

TwentyFour

12-23-2005, 09:00 PM

Sometimes it can mean they are overstocked on ms and need to get the ones they already signed on out before taking on a new client. I would think that means they found the idea very good and would maybe like it in the future, just not at the present time.

TwentyFour

12-23-2005, 09:03 PM

i received the following letter...
Dear Author:

Thank you very much for your query. However, at this time we don’t feel that our agency could represent this work successfully.

Remember that this is a very subjective business, and we wish you the best of luck on your quest for publication. Please feel free to send us any additional projects you may have in the future.

I guess they are not representing my genre and I should check out who is at the present time!

Andrew Zack

12-23-2005, 09:26 PM

WriteStuff

12-23-2005, 09:35 PM

I have received many a query that sounded fascinating, but the rest of the query left me in doubt that the author could pull it off. It's kind of like I can sit here and tell you that a maglev monorail would be cheaper and more efficient than building the Second Avenue subway and if you let me do it, I could prove it. Great idea, you might say, but there's no reason in the world to believe I'm qualified to do it, so.... Put in a situation where I don't think the author can pull it off, I pass.

Very interesting. Hum. You see, I changed my query letter method to completely emphasis the story, and put very little in about myself, fearing possibly that my 'past' might be haunting me. Dang it.

Thanks for the answer, Andy, and all.

Andrew Zack

12-24-2005, 08:41 PM

Perhaps my analogy was off. Basically, the rest of the writing in the query and the general way it was written left me thinking he couldn't pull it off.

waylander

12-27-2005, 01:15 AM

OK. I wasn't aware of that.

I guess its your call on whether you want to query Mr Powell or not.
If you have a good story then I don't see why a NY-based agent would not be interested.

Liam Jackson

12-27-2005, 12:18 PM

Mr. Zak:

I decided to go p.o.d. after failing to get an agent.

Question: Is it really so impudent for an author to send out his
actual book, in lieu of an excerpt? Is it too bold to violate submissions
guidelines this way? The agent can always return it or dispose of it--or
he may actually be so struck by such brashness that he may read
all or part of it.

By the way, this worked the first time I tried it--I got a very
heartening response from a reputable agency, even though I
didn't get the deal.

Cordially,

Dave Sloane

Dave, your question is valid, and should be addressed. I can only speak from my limited experiences and discussions with NYC editors and agents. So, please understand I'm not attacking you or your question.

Sending out POD books, manuscripts delivered by stripers or singing mail-o-grams, unbound mss deleivered by courier to some unsuspecting agent at a World Con, have all been tried. Many, many times. Those antics aren't "brash." They're stale as yesterday's muffins, and just as corny. You might, MIGHT reach an appreciative audience with such tactics, but if you do, it'll be the rare exception to the rule.

(From another thread, but pertinent to the issue, here.)
A quick follow-on to the "read the guidelines" discussion. My agent employs several others. Each of them have their own list of clients, and each client has a list of concurrent projects, many of which are already making money for both parties.

The last thing one of those agents need is another "Guidelines-immune fopdoodle demanding to be discovered." (I borrowed "fopdoodle" from my agent.)

It's kind of funny when you talk to a group of aspiring writers and they tell all these stories of how they managed to circumvent the dread submission process. It's also interesting to note that among all these folk whom I've encountered, none have actually landed a contract. Not to say it hasn't happened, or won't at some future time. It IS to say such tactics actually narrow the windows of opportunity , rather than expand them.

How many times have we read comments from editors, publishers, and agents that begin, "You won't believe how difficult it is to find a writer who will take the time to adhere to the sub guidelines." Something tells me if the process wasn't that important, so many in the biz wouldn't be bemoaning the issue.

Why start out with a strike against you when by simply following the guidelines, you've enhanced your chances

flashy95

12-31-2005, 12:43 AM

Hi there,
I am new to this board, so I appreciate any help that you can give me. I have written a manuscript, and I am confused as to what category it falls into.
It's a series of emails filled with humorous observations based on my experiences as a teacher and formerly as an engineer. The emails are written to a friend who still works at the engineering firm that laid me off, so they reference things that my students have done or said as well as memories of former engineering colleagues. Most of the events and characters are real, but the names have been changed, some "characters" have been combined, and the events did not necessarily happen in the order I have placed them in to fit the story.
So I'm not sure if this would be creative non-fiction, narrative non-fiction, or even if the label non-fiction still applies!
Again, thanks in advance for anyone's help.

John

bluejester12

01-02-2006, 05:50 AM

I'm primarily a sci-fi fantasy author, but I've gotten an idea for one children's book. I've written it, revised, and am researching. I dont plan on entering this particular genre; this is most likely a one-time work.

Considering I'm going outside my genre for one work---should I even bother looking for an agent? Would a good one consider my manuscript knowing it may be a one time thing?

Andrew Zack

01-02-2006, 10:27 PM

IMHO, "creative nonfiction" is fiction. What you've written is more of a collection of nonfiction pieces, though altering the timeline could be a problem. That said, I've sold a book that did very well even though it was nonfiction and the timeline was somewhat altered to make the book more readable.

Andy

popmuze

01-03-2006, 07:21 PM

Popmuze:

In order to better advise you on this, perhaps you could send me a PM with the title of the reference book?

Thanks.

Best,
Andy

Just wondering if you were preparing a response to this.

SRHowen

01-03-2006, 08:41 PM

Once, I used those bright colored biz sized envelopes for my SASE (you know the neon colored ones) This wasn't to attract the attention of agents or editors, it was so I would see the SASE in the mail quicker. LOL

I soon learned that most times you get your SASE back means a rejection, as in--I stopped opening them so quickly. Then one agent (whose list was full) told me, look, you have a great book and I may regret not taking this one, but one thing that's holding you back is these flashing sign posts of envelopes. And that was on a SASE--and not done intentionally.

Shawn

Andrew Zack

01-04-2006, 11:22 PM

I think it would be wrong to assume it is a one-time thing. Certainly I would not tell the agent that unless asked.

Andrew Zack

01-04-2006, 11:24 PM

Sorry, I read it a while ago, but didn't see anything there that I could offer further.

Unimportant

01-05-2006, 12:09 AM

Hi Mr Zack

I'd be grateful if you could clarify a few points for me. If the options clause in a contract for Book A gives the publisher first right of refusal on "all future novels for as long as Book A remains in print", does that clause apply to novels completed after the Book A contract is signed but before Book A goes to press? Also, do options clauses apply to novels for which a first (but far from final) draft was written before the contract was signed?

Many thanks, as always, for your generous and expert advice.

Andrew Zack

01-05-2006, 12:21 AM

Unimportant:

I would never sign such a contract. A book can stay in print indefinitely. There are many resources online for the wording of a standard options clause. You should review those.

Best,
Andy

Unimportant

01-05-2006, 12:40 AM

Thank you, Mr Zack, for your very prompt response. I am aware that this is not a clause any reputable agent would advocate accepting. Perhaps I could word my question differently:

A friend of mine has previously signed a contract which requires their publisher be given first right of refusal on "all future works _of a particular type and subgenre and length and format_ for as long as Book A remains in print" -- the friend was aware that this is neither standard nor advisable, but signed the contract anyways, and ensured a clear, numeric definition of 'out of print' was included. Neither I nor my friend, however, have enough legal knowledge to be perfectly clear as to whether the options clause would applyto previous books in rough draft form (of that particular type, subgenre, length, and format) or to works (of that particular type, subgenre, length, and format) that may be written after the contract signing but before Book A goes to press. I would therefore be grateful if you or anyone else here could clarify the finer points of such a clause.

JerseyGirl1962

01-05-2006, 12:43 AM

That's interesting about minorities. I've never mentioned mine because I thought that it really wouldn't matter that I'm a Cherokee. It's on my birth certificate. Yes, with a Polish name, too.

Hmm...I'm Polish (my maiden name ends in "ski") and I have cousins who are half Polish, half Chinese. Their mother was born in the Philippines to Chinese parents.

As for minorities writing fantasy/SF...personally, I think if you write a good, sellable story, who cares what your background is or isn't? :D

~Nancy

bluejester12

01-05-2006, 07:08 AM

I think it would be wrong to assume it is a one-time thing.

Is that because there's a possibility I'll change my mind or is there another reason?

Maladroit

01-05-2006, 04:58 PM

Hi Andy,
Thanks for taking the time to help us with our questions. It is very much appreciated.

I have a question or two and if this topic has already been covered, please give me the link to the thread. I searched and found nothing. (I lose my car keys daily, so searching is not my strength.) ;)

I am thinking of jumping agencies. My agent has not done a very good job and though I love her dearly as a person and friend, I feel it is time to move on.

A Brief explanation that you can skip over if you wish:

My agent tends to submit my mss or proposals to one publisher at a time and then we wait. In the meantime, she does nothing else. If she gets a rejection (no surprise) she immediately sours on the book project and shelves it. She does not "shop" the project any further.

She has also done this with 3 screenplays. (She's a WGA-E sig.)

Part of the problem is her "day job." She was originally working part time, but then it took-off for her and now she is really making some major income from it. Her agency has been put on the back burner.

In '03 I had a great book idea and wrote the proposal. In early '04 she got 2 rejections and soured on the book. I found a publisher that would better fit the book and she sent the proposal to them. In a few months we had a book deal.
Once the deal was inked, she failed to do a few simple things that she offered to help me with. (She's great on the phone so I asked her to get photo permissions for me. She was delighted to help me, but... she didn't come through with any - which delayed me 6 weeks past deadline.)

In the past few months, she has not returned any phone calls. My book was released and I don't think she's even aware of it! I am concerned if she will even open the envelope from my publisher when the check is cut this year! :(
I have been with her for 5 years now and my patience is now tapped-out. I have had several apologies from her (which I accepted). For example, every summer she "checks out" from July 4th until Labor Day!

So, my questions are: Is it easy, or easier, to jump agencies if you are already represented?
In other words, does a "foot in the door" count?

How do I do this without making the new agency think that I might be a problem writer?
I have nothing but praise for her and am only moving due to lack of motivation/communication on her part. I don't want to list reasons for leaving and embarrass her, or hurt her in any way.

Can I use her as a referral? Or do you think it is better to keep her agency anonymous? Can I cite her agency's name without invoking an inquiry to her office?

I'm trying to do this with kid gloves. But I am willing to go back and try again with her if I can get her to change her strategy. I just want my work represented!

Thanks for any insight you can render.
Sorry about the length of this post.

Andrew Zack

01-05-2006, 07:30 PM

If you get an agent, the book sells, and then does well, odds are that you'll want to do another one.

Andrew Zack

01-05-2006, 07:37 PM

It's probably easier if you are already published, but my policy is that you must already have separated from your prior agent before I'll consider your work. Other agents may work differently.

No agent will think you are a "problem" writer because you want to make a switch, I think. Very, very few agents would call your old agent about you, unless they happen to know her, which may be one reason to keep her name confidential. That said, I generally like to know who the old agent was.

Best,
Andy

austin58

01-05-2006, 08:18 PM

I know what you are going through. I also have an agent who is very nice, but not productive and I know I must find a new one. I posted the same question yesterday as to whether to let the current agent go before looking for a new one and received the same answer, to part ways before looking. (By the way, I appreciate you taking the time to answer.) However, another post on another site said to keep the current agent while looking as it adds credibility to your search. So yes, I am very frustrated and losing time, not to mention possible deals, in the meantime.

ThatGuy

01-06-2006, 05:12 AM

Andy,

I signed a contract from an agent in early November and faxed it to his office. I have yet to receive a copy via snail mail from him with his signature. I've asked him a few times through email if he's sent it yet, he says that he'll get to it soon. How concerned should I be? He is a very reputable agent and we've emailed back and forth many times and have had two 1 1/2 hour phone conversations. I just have no proof on my end that he represents me besides my signed copy of his contract. What's the usual protocal with this subject? Thanks.

Paul

Andrew Zack

01-06-2006, 09:45 AM

I find that very unusual and can't imagine why he wouldn't sign it and return it.

OneTeam OneDream

01-07-2006, 03:39 AM

Mr. Zack,

What is the longest you've went without doing ANYTHING on a clients project? Would you say 3 months is completely unacceptable?

Thanks,

Chris

blackbird

01-07-2006, 08:08 AM

I think I can answer your first question, but not the second.

And this is probably an obvious answer, but the "trick" is to make this unknown person's story as compelling as possible, just as a fiction writer would do with his/her characters. It is also helpful if the person has dealt with some sort of universal problem or struggle that a lot of people can relate to (and this can be as simple as overcoming adversity to surviving sexual abuse to battling a major illness-the list of possibilities is endless!) Great memoirs have been written from this very concept; in fact, it is the essence of what makes a great memoir.

I don't "know" a lot of the people that I encounter in non-fiction books, but if the writer has done his/her job, I ceratinly feel that I know the person by the time I'm done reading. That universal element is really the key; that's the thing you have to make certain is apparent and clear in the blurb. A reader's first response, whether conscious or not, is going to be, What's in this book for me that I should invest the time to read it? Generally, people are looking for stories that engage them...period. And there's certainly no reason why your friend's story cannot be just as engaging as any other memoir or non-fiction piece that's on the market. In the end, it's all in the writing.

Jamesaritchie

01-07-2006, 04:30 PM

You don't need a lawyer. It's a waste of time and money. Get an agent.

triceretops

01-07-2006, 05:08 PM

Yeah, what Andy said. I just got an agent, but he waited until I re-wrote the book and handed it in before he sent the contract. Do you have any polishing up to do beforehand? Otherwise, just be patient--he might be swamped, but that's usually one of their first priorities.

Tri

ChunkyC

01-07-2006, 08:09 PM

You don't need a lawyer. It's a waste of time and money. Get an agent.
I can't say I completely agree with your opinion there, James. I do think you're right in that a quality agent is what a writer needs first, but there are bound to be times when the money spent consulting a lawyer, one with publishing industry expertise, might well save you from a clause or lack of one that would cost you far more than what he/she charged you to go over a contract.

cleetus

01-09-2006, 09:20 PM

Hi Andrew,

I am in the process of searching for an agent, but it seems overwhelming. I see that on some site, the agencies have specific genres they specialize in but I am still not sure what to do here.

My book is a parenting book, aimed at men, with both humor and serioius topics about fatherhood. I understand this is a specific market and am sure there are agents for this specific type of book.

Any thoughts on where to go from here? I am not quite finished with the book but have a good 100 pages and thought I should start shopping it around.

Thank you.

Andrew Zack

01-10-2006, 06:04 PM

A book like this should be sold on a proposal, not a full manuscript. For information on what makes a good proposal, you can visit my website or there are some good books out there. As for finding the right agent, I generally recommend Jeff Herman's book on agents.

Best,
Andy

Andrew Zack

01-10-2006, 06:21 PM

What is the longest you've went without doing ANYTHING on a clients project? Would you say 3 months is completely unacceptable? Not at all. It depends on what's been done before. If I have a manuscript out with twenty editors and no one is biting, there's not a lot I can do but wait and see if one of those twenty does eventually bite. Of course, I do send follow-ups, so I'm not sure that's not doing something.

I also have had to let things sit because I already have submissions out with the editors to whom I would send it. I prefer not to send multiple submissions to one editor at a time. I do it, sometimes, but not often. Hence, if I have three thrillers on submission and a fourth ready to go, the fourth might have to wait.

Best,
Andy

sirensix

01-10-2006, 09:13 PM

Hi. I've been writing obsessively since I learned to use a manual typewriter at age 4, and in the beginning my writing fell into two slightly different categories. However, over the years, those two categories have diverged drastically. I've read and studied in both genres, and practiced both (though usually separately -I flop back and forth, do one when I'm tired of the other, etc.).

So now I find myself a 30 year old writer of edgy, tongue-in-cheek mainstream/literary fiction, as well as epic, fairly serious sword-and-sorcery fantasy. My career goal is to write in both these genres, but under two different names, as readers of my fantasy novels would be extremely confused if they picked up one of my "other" works.

Here is my question: as there are so few agents who handle both types AND are accepting new unpublished clients (I've found maybe a dozen after two months' research), should I actually be looking for two agents? Or is it better to find someone who can represent everything I write?

I'm an extremely fast and driven writer. I see myself writing a fantasy novel every 18 months or so on average, and putting out a mainstream/literary novel every 2-4 years (depending on length and complexity). Not sure if this affects my best course of action.

waylander

01-11-2006, 12:26 AM

Dear Mr Zack

I wonder if I might have your thoughts on this.
I am a UK-based writer and my novel is currently with a major London publisher as a requested resubmission. Does this have any implications for my search for a US agent for the same novel? Should I even mention it in my query letter?

Andrew Zack

01-11-2006, 12:35 AM

I don't think it would hurt to mention it, but doubt it would especially help.

A.

Andrew Zack

01-11-2006, 07:43 PM

Plenty of writers do different things and, yes, some use two names. But I doubt you need two agents. I, for example, could possibly handle both, but I'm currently closed to new submissions. Though I doubt I'm the only agent who could handle both. I'd keep searching carefully, perhaps through the Jeff Herman book, for the right agent or three for you to query.

Cathy C

01-11-2006, 08:03 PM

I'm an extremely fast and driven writer. I see myself writing a fantasy novel every 18 months or so on average, and putting out a mainstream/literary novel every 2-4 years (depending on length and complexity).

If this is the case, I'd suggest that you get a few completed works on the shelf before you hire an agent. Eighteen months is not considered "extremely fast" production. Many fantasy publishers are going to want a second book within 9-12 months of the first, for publication about a year after the first (which helps in getting your name "established" in the marketplace.) Thereafter, if you sell well, they'll want 1-2 manuscripts per year. I don't know about the mainstream market as much, but suspect this is true there as well.

Also, I have to say that there are very few agents who will let you HAVE two agents. Normally, an agent represents the author, not just a particular genre of book. It's an exclusive arrangement. Since my co-author and I have the same issue, our agent has agreed to allow us to approach publishers outside of the genres she works with and, if we find an interested one, will step in and negotiate the contract, regardless of the genre.

What you also might consider is to find a larger agency where you have one primary agent, but which has multiple agents that can sell your other works. This was another suggestion of our agent but so far, we've been busy enough with the one genre that we haven't gotten around to the others. Just a thought.

Good luck!

Andrew Zack

01-11-2006, 08:05 PM

sirensix

01-11-2006, 11:22 PM

Just wanted to add...

The 18 months thing is based on my past output, what I've been doing out of nothing more than a sense of compulsion to write (rather than any external deadlines). Once I have an agent and can therefore officially designate myself as a full-time writer I wouldn't be surprised if that at least doubled.

For those lucky souls who have forgotten: when you're at my phase of a writing career, attending to stuff other than writing isn't seen as "slacking off," it's seen as "facing reality." Once I have an agent to answer to and concrete proof that writing is my "job," I imagine I'll be quite prolific.

Man, it will be nice to be able to say to people, "I'm turning off the phone ringer now - I have to work."

mckee

01-12-2006, 03:23 AM

OK, here's the situation. I have neither an agent nor a lawyer. I have a couple of published articles, nothing more. I am currently rewriting several pieces for their original author, including scripts and stories. The stories were in print 10 years ago, in what can be best described as a "vanity press" situation financed by the original author. He claims that several thousand copies were sold online, which seems to hold up to scrutiny. The scripts are being requested by a smaller media group, so the chance that they will be sold (as opposed to being made into movies, you know how that goes) is very good.

We are halfway through finishing the first book, 300 pages. As part of his written agreement to me, I have been receiving $100/week since December, plus 25% of all sales. As put in his letter to me, "Whatever money comes in to me (from the sales), you get 1/4 of it without question or debate."

My questions:

1. When the official contract comes in, should a lawyer or an agent look it over?

2. On the surface, does this seem to be a fair division of profits? Realize that I am not doing the lion's share of the work here, but I'm working within already-existing stories.

3. Would it be best to ask that stories and scripts be covered under different contracts, since they're 2 different entities?

4. What contract elements are typically missed by rookies like myself?

I know that's a lot of stuff to answer, but I appreciate any help or advice you can offer. Please feel free to email me if you deem that appropriate.

pdx97206 (at) speakeasy.net

Andrew Zack

01-12-2006, 06:38 PM

I'd say, yes, an agent or lawyer should review it.

As for contract items, there are numerous books out there on publishing contracts, including Richard Curtis's book on how to be your own agent and Jonathan Kirsh's book on negotiating the book contract.

Best,
Andy

Unimportant

01-13-2006, 04:16 AM

Thank you kindly, sir!

Stacey Sweeney

01-14-2006, 10:11 AM

I posted this on the main thread of Ask the Agent, then realized that maybe I should have posted it here. Anyhow:

When you write a romance novel (or really, any kind of novel) that has an unoriginal plot, what makes it stand out from others with similar storylines? Unique character descriptions? Unusual locations? A new twist to an old plot? I actually look for a specific plot and get irritated (as a reader) when the writer strays from the storyline I look for, so I'm the worst person to answer this question, yet...as a writer, I want to know how to make my story stand out from others with similar plots.
(Sorry if that's poorly worded, I'm also not the world's best at writing coherent questions.)

Thanks,
Stacey

Oh, in case it matters, my novel is about a girl who grew up in an abusive home. During the course of the novel her step-dad beats her, then begins moving into sexual abuse. Eventually he rapes her.
In the beginning of the novel, she falls in love with a 'bad boy' who acts interested in her. He finds out she's a virgin (this is before the step-dad rapes her) and decides that she's too innocent for him. (He was burned by his ex and isn't ready for a relationship.)
After the step-dad rapes the main character, she gets into a stage of heavy drinking. She runs into her old crush and he ends up falling for her and helps her realize she's worth more than the way she's treating herself. They end up together and she end up working at a rape crisis center.
I'm not pitching you, the book isn't even done, but I wanted to let you know my not-so-original plot, in case it mattered in your answer of whether or not it needs to be more original.

Thanks again,
Stacey

triceretops

01-15-2006, 12:00 AM

Dear Andy,

I just aquired my dream agent a few weeks ago, and he and I polished the heck out my first book to him. He's already sent queries and synopsis out to the big Seven houses. I'm amazed at how swiftly he works and I'm very grateful for it.

My question is, when an agent queries on behalf of his client, he generally sends in the original author's query or a modified one, with a small bio. But I was curious, do agents make any comments in the introductory letter to publishing houses regarding the skill or uniqueness of their client? I mean, do they offer a few lines that could be considered a favorable pitch, aside from the regular query or synopsis (in their own words)?

Triceratops

OneTeam OneDream

01-15-2006, 04:14 AM

Not at all. It depends on what's been done before. If I have a manuscript out with twenty editors and no one is biting, there's not a lot I can do but wait and see if one of those twenty does eventually bite. Of course, I do send follow-ups, so I'm not sure that's not doing something.

I also have had to let things sit because I already have submissions out with the editors to whom I would send it. I prefer not to send multiple submissions to one editor at a time. I do it, sometimes, but not often. Hence, if I have three thrillers on submission and a fourth ready to go, the fourth might have to wait.

Best,
Andy

Maybe I should re-phrase my question. If you took on a new client and then didn't do anything at all for 3 months, would that be unacceptable, or the same?

Andrew Zack

01-16-2006, 06:28 PM

Stacey:

I think you have to ask yourself, what is the market for this book? Personally, I wouldn't read it, but maybe Quinlan fans would.

As for making it stand out, it's about characters, writing, and plot design, mostly. Put it all together, shake and bake, and hopefully something tasty and interesting results.

A.

Andrew Zack

01-16-2006, 06:29 PM

Triceretops:

I don't think I know any agents who work that way. Sure, I pitch editors via email, but I write that email; I don't use the client's original query letter.

As for how special the author is, sure, I might comment on the strength of the writing, but mostly I emphasize plot and market.

Best,
Andy

Andrew Zack

01-16-2006, 07:12 PM

Dear Readers:

For the last year, I've been extremely pleased to have answered dozens of questions on this site. I've found it useful and enjoyable as both an agent and a reader. But now I feel the time has come to say goodbye and leave this forum.

As many of you know, I have a blog at www.zackcompany.blogspot.com (http://www.zackcompany.blogspot.com). I also have a FAQ form on my website at www.zackcompany.com (http://www.zackcompany.com) (or www.literaryagent.info (http://www.literaryagent.info)). I'm happy to receive questions from authors either in the comments fields on my blog or via the FAQ form on my site, but will no longer be frequenting this forum. Questions received on the blog site or via the FAQ form will be answered in the blog.

Many thanks for your kind words, helpful questions, complaints and jibes this past year. ;)

All best wishes,
Andy

Maladroit

01-16-2006, 07:33 PM

Andrew,
Although I am relatively new to these boards, I have already used your forum and want to thank you for all the time you spent on behalf of us writers.

There are not many people who would take the time.

God bless and see you at the blog!

Thanks again!
Keith

triceretops

01-16-2006, 09:32 PM

I'll second that, Andy. It must have been a hellacious task to keep up with us and run your company at the same time. Hopefully this thread will remain an archive, because I'm sure you've answered every question in the book and it's all here.

So long, good sir.

Tri

dantem42

01-17-2006, 07:50 AM

Dear Readers:

For the last year, I've been extremely pleased to have answered dozens of questions on this site. I've found it useful and enjoyable as both an agent and a reader. But now I feel the time has come to say goodbye and leave this forum.

Andy, I think the whole board owes you a debt of thanks. Agents and aspiring writers have a complicated, sometimes fractious relationship, and you've done a lot to give us an unvarnished view of the agent's side, something we don't often get to see.

Daughter of Faulkner

01-17-2006, 09:17 PM

Andy,
Good job!
All good wishes I send your way for a happy, blessed life at home and at the office. Hope to see you and one of your authors on Larry King Live in the near future.

Take care.

zeprosnepsid

01-19-2006, 04:58 AM

Thanks so much Andy! You have been absolutely invaluable. I know I dearly appreciated all your help!

Graham

01-26-2006, 03:38 PM

G'day Mr Zack,

Firstly, let me congratulate you on having endured 12 months worth of questions. Now that you are into your second 12 months (third?), is there an end in sight?

I have read a lot of the 35 pages of Q & A and must admit I have learnt a lot from it. But I have a specifc question that relates to overseas work. In your answer back on month one of this project, you said that there was nothing specific that decided for you which query letter to follow up, just that experience taught you on what probability to follow.

Gaining an Agent in Australia is a catch 22, in that they won't touch you unless you are published, so fewer and fewer writers are using Agents. My ms contains some 30% US content and I have been advised that I should find myself a US Agent. Easier said than done. The miles of fish infested water between us does seem to negate the possibility of a face-to-face meeting even if contact was made. So my question is,

"Is there a process or procedure whereby overseas writers can access a service or site in order to commence negotiations with suitable Agents?"

Here in Australia we have a book edited annually entitled "The Australian Writer's Marketplace". For Australian content, it is my bible, however, the segment on Agents appears to be a waste of type space. I hasten to add that rejections thus far have not been on the ms, rather they seem based on the fact that my publication history is only articles, Internet geopolitical assessments, defence, and short stories. I am not a published author of a novel and as such, have no credentials as a novel writer. Fair enough. But I would have thought that given I have some publishing, someone would suggest that there was a possibility of transition.

Your thoughts?

Regards

waylander

01-27-2006, 11:30 PM

Mr Zack regretably no longer posts here so you're left with the rest of us writers.

I would direct your attention to Agentquery.com
I'm a UK-based writer trying to catch myself a US agent and Agentquery has been very useful.
There really is no geographic obstacle to getting a US agent, I've had 6 US agents look at my full manuscript. It really is all about the quality of your manuscript.
Best of luck mate.

JennaGlatzer

01-28-2006, 04:23 AM

I join in with the applause and thanks to Andy for spending so much time here helping our writers. We really appreciate it!

I'm going to close this thread now because I know that people skim, and I'd rather not have people continuing to ask him questions and us having to keep explaining that Andy's not here.

I've asked a couple of other agents I admire greatly to come on over and answer questions when they can. I'll announce more on that as soon as possible... so you can keep posting questions in new threads if you like; it may just be a short while before another agent comes by to answer. ;)