How much work have you done for an agent?

There's absolutely no guarantee that after making changes an agent will offer a contract. In addition, I never heard of any writer being promised a contract by an agent if s/he makes the changes suggested. After all, how is an agent (or anyone) to know that the writer will be able to make the changes suggested, much less make them successfully.

I think the logical approach is for a writer to analyze the changes suggested, taking the source into account. If the writer can say: "I get it. I can definitely see how these changes will improve my work," then in the short or long haul doing so may make sense.

In addition, if several agents suggest similar types of changes, I think it gives the writer even greater reason to consider making them. However, in the end, it's the writer's work, and s/he has to believe that whatever s/he does is for the best.

An agent at a very reputable agency read the first draft of my manuscript and told me about a few of the problems in it. I corrected many of them and he read it again, complimented me but declined representation. That was depressing, but the changes made the manuscript better. I sent it out again and another agent offered representation, but also had alterations in mind. She didn't ask me to make the changes first, but she did bring them up in the same phone call during which she offered representation.

scope said:

There's absolutely no guarantee that after making changes an agent will offer a contract. In addition, I never heard of any writer being promised a contract by an agent if the writer makes the changes suggested.

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My current agent did exactly that. She liked my voice, liked the writing, liked the story. But she felt there were some problems with the plot, and a few other things.

So what she said was, if these issues can be addressed, I'd definitely be interested in representing this book. Not a promise, but a strong indication.

Of course, she didn't just leave it at that. We spent an hour on the phone discussing it, then she sent me what amounts to an editorial letter detailing problems she saw. (She worked years as an editor in my genre before turning to agenting.) She didn't tell me how to fix the problems, just pointed out what she thought they were and why.

I figured no one is going to put in that kind of time and effort if they're not seriously considering it. Plus, most of the things she had a problem with were things I already had doubts about myself; I just hadn't ever had any professional feedback.

The ms I ended up with was clearly far superior to my initial effort, so even if she had declined to represent me, it would have been time well spent -- basically free advice and critique from a top editor. How could I go wrong?

And I think she had faith I could successfully address the problems with the ms because of what she saw in the rest of it.

So I would say if an agent (at least a respected one) suggests changes, it's a good idea to listen, whether you end up with representation or not.

Unless you completely disagree with the critique, which would be another thing entirely.

Echo rugcat.

My now-agent asked if I would be willing to make revisions to the manuscript, and when I said I was, she offered representation and I accepted. But I've been in the opposite position, too, where the agent asked for changes, we worked on revisions together for 9 months, then she passed. So it's all very individual. But I agree with rugcat that if it's a reputable agent offering good advice, taking it can only benefit you by making the book stronger.

My situation must have been somewhat abnormal. I received an email that in the first paragraph praised the book, in the second offered me representation, in the third and fourth laid out changes he thought the book needed, and in the last said if I felt I could work with those changes, the offer was there. We chatted on the phone about the changes (one in particular terrified me, but we came to a compromise we both liked and I think made all the difference). I signed with him before I ever made the requested changes.

Before I signed, though, I spoke with another agent who was also interested. She offered very different feedback, and said she thought we had several months worth of revisions ahead to get it where she thought the book needed to be so she could offer representation. Needless to say, while the conversation was valuable, I didn't agree with her feedback and took the other offer.

rugrat, donroc, Karen,

Yes, a reputable agent you respect suggesting changes you agree with --- make them, I know I would.

However, as I understand it, gettingby asked a more general question when he said: "And does making changes usually result in a contract." So, while I agree with all when the suggestions come as you mention, I don't believe we can use the concept as a rule of thumb (e.g., the suggested changes come from an agent one doesn't know all that much about or from an agent one feels "iffy" about). In cases such as the latter I think the writer has much more to analyze, especially when the suggested changes do not come with an offer to represent should the writer agree to make the changes. On the other hand, I realize how difficult it is to land a good agent, so in the end a writer may have to chance it -- but each case will always be extremely individual. s

A good point.

Each situation and each agent is different, and you'd have to assess them on an individual basis.

But your previous post stated: "In addition, I never heard of any writer being promised a contract by an agent if s/he makes the changes suggested."

My agent, however, essentially did just that. She basically said, I'd definitely want to represent this book if... So all I'm saying is it may or may not be typical, but it does happen, and I don't think it's all that unusual.

And of course it's never a sure thing -- you're still dependent ultimately on the agent's view of whether your changes meet her expectations.

Zero.

caw

I rewrote the first 3 chapters 3x for an agent, and then they declined to work with me. It happens.

I rewrote/revised three times for a London agency (a good one too). On first read she was gripped but had a few issues with tightening the language and a couple of character moments. She offered to take a second look if I rewrote - which I did. On the second read she thought it much improved but still needed some tweeking. She asked to meet if I was interested. Met her, really liked her, she liked me, offered to give it a whirl if I could tweak. I tweaked. Sadly, we couldn't sell the damn thing though (not from lack of effort on her part).

What struck me throughout the process was an inkling that she was sussing me out as much as anything else, that she liked my writing from the start but wanted to see if I could go the distance - that I could take the criticism, make meaningful changes, and improve the quality of the work.

Unless you're totally opposed to the ideas, I'd recommend going along if an agent makes suggestions at the submission stage. It was one of the best exercises I ever did. It helps if you respect the agent in question and boy, did this one know her stuff. Look at it as free lessons from the inside track. It massively improved my work.

Unfortunately as others have already said, putting in the work requested by a potential agent does not mean necessarily that they will sign you. What you have to decide is is the work worth it for your book. A lot of authors, even if they don't sign with the agent, really find their work improves with the suggestions. In the end, even though it really sucks not to get to sign with the agent, it's still worth the revisions. That's the only way you can look at it.

An agent showed interest. She liked most of the book but felt there were some problems with the beginning. She also sent me a list of things she'd like to see changed. We disagreed on a few, but we had a few good exchanges. She never promised me anything but I appreciated her time. I sent her a rewrite later, but she didn't offer representation. Oh well. I guess it just wasn't right for her after all, but she did say I was a good writer, so that's a good thing.

It is a good sign! And you are definitely getting closer! It shows that an agent sees true potential in your book. It just isn't a guarantee that's all. And it would be unfair of us to say otherwise (but if it makes you feel any better, after doing the edits my agent requested, she then signed me on, so it does happen !).

gettingby said:

Thanks, guys. Only now I am a little worried. I was thinking this was a good sign and that I was close. Not really sure what to think, but I am going to try and do what the agent wants anyway.

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It is a good thing, or else the agent wouldn't take his or her time. But nothing is a guarantee and even if you do exactly what the agent asks for, you may not get the representation. But hopefully it will make your work much stronger and have a better chance to get repped in the future. Don't look at it as an "all or nothing" thing, but part of the process. Have fun with it. Chances are you'll get the rep! What do you have to lose?

My agent asked for two minor continuity changes that took about half an hour- that's it. I told her up front I was prepared to do additional work on the MS if she felt it was warranted and she said the MS was fine as is. Her's hoping for just as smooth an editorial process!

rosiecotton said:

What struck me throughout the process was an inkling that she was sussing me out as much as anything else, that she liked my writing from the start but wanted to see if I could go the distance - that I could take the criticism, make meaningful changes, and improve the quality of the work.

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Absolutely. My agent told me so many writers are not willing to make changes, and I'm sure he was testing my attitude before confirming that he would represent me as a person as well as my work. Much as he wanted to rep the book, he needed to know I would be prepared to work with a publisher's editor.

It is a good sign when an agent uses valuable time to go through a whole ms and offer editorial advice. My advice, gettingby, is to make at least some of the changes where YOU feel they work. I made amendments where I could see they improved the book, but was respected for sticking to my guns on one issue when I knew I was right. As a result, both the agent and myself felt we could work together as a team - and that really matters to both parties.

Good luck.

gettingby said:

How much work have agents asked you to do before talking about representation? I know several people have been asked by agents to do rewrites. I am wondering if an agent usually mentions they would like to represent you if you can do A, B and C, or if they wait to see how you handle the changes before getting into working together. And does making changes usually result in a contract?

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Jessica Faust of BookEnds addresses some aspects of this here:

http://bookendslitagency.blogspot.com/2008/07/working-with-agent-i-think.html

It will give you some insight into the agent's POV.

I've never asked an agent "...how far away we are from a contract now that I have sent everything in that was asked for." And frankly, IMHO I don't think you should be thinking about that right now. Obviously, based on what you've told us, the agent is very interested in your work. She wants certain rewrites and you've sent them (I imagine only a few days ago). Wait on her. Give her a couple of weeks to read your rewrite. Hopefully, after doing so she'll decide if she wants to discuss representation. To bug her before she even has a chance to read the rewrite, especially to ask how far away you are from contract, is I believe way too presumptuous at this point. If after reading your rewrite she responds positively but just lets things remain in nowhere land, then you may want to talk turkey.

The agent who rejected my first manuscript offered representation on my next one, without any significant suggestions for change.

I wouldn't ask about the contract either. But that's just me. Some agents like a lot of changes. The house I worked with to clean up my manuscript (over and over and over again) eventually gave me a one-line rejection and told me that while the first 3 chapters were nice (since we had fixed them repeatedly), the rest of the book was 'a total mess'.

I didn't rewrite the rest of the book, sent it to another agent, and they sold it for me. So it's not like the end of the world. I've heard some agents want to see how open you are to revisions.

Bottom line is, they wouldn't ask you if they didn't think they could sell it. There's not enough time in the day to work with everyone, so consider yourself lucky and if you like the edits, go for it. Like Toothpaste said, at the end of the day your manuscript will be stronger even if you don't get the representation.