Thursday, December 26, 2013
Wednesday, November 20, 2013
Why are the Eldery Uncomfortable with Technology?
Sure there are a lot of reasons that the older generation shies away from using technology. I'm sure you have an opinion about it. The reasons I have read are as follows:
1. Learning something new in old age is hard.
2. Motor skills that are needed for typing and "mousing" (I think I just made this up) are not as sharp.
3. With time constraints, people would rather do things they enjoy than learn something new.
I don't know how many elderly people you know who say this:
"Technology is rotting minds."
"It's a waste of time."
"Porn freaks!"
"Nothing you do online is safe."
"I don't want to be a victim."
--but I have heard this a few times... okay maybe not the porn freaks thing, but I am sure it has been said. So, what do we do to show the older generation the value of the internet, of being mobile, of being connected? How can we show the elderly that being connected doesn't make face to face contact less and less meaningful, but it actually enhances it? How can we show them that being online isn't just about being addicted to it, but rather, being addicted to others... to people. How can we show how networks enhance our daily lives in so many different ways? How can we PROVE to them that being hyperconnected is not evil?
The best way to do it, I guess... is to show it. So, I propose this. I will keep a log of my daily routines using technology (mainly cell, tablets, and computers), and hopefully one day this log can be made into a book that the elderly will read, and they can see for themselves how it enriches my life (maybe it will help before the older generation is replaced... that's a morbid thought). They can see for themselves how it can enrich their lives, and it isn't just a waste of time.
Additionally, learning new skills at any age, especially the upper years is good for the brain! It's science!
1. Learning something new in old age is hard.
2. Motor skills that are needed for typing and "mousing" (I think I just made this up) are not as sharp.
3. With time constraints, people would rather do things they enjoy than learn something new.
I don't know how many elderly people you know who say this:
"Technology is rotting minds."
"It's a waste of time."
"Porn freaks!"
"Nothing you do online is safe."
"I don't want to be a victim."
--but I have heard this a few times... okay maybe not the porn freaks thing, but I am sure it has been said. So, what do we do to show the older generation the value of the internet, of being mobile, of being connected? How can we show the elderly that being connected doesn't make face to face contact less and less meaningful, but it actually enhances it? How can we show them that being online isn't just about being addicted to it, but rather, being addicted to others... to people. How can we show how networks enhance our daily lives in so many different ways? How can we PROVE to them that being hyperconnected is not evil?
The best way to do it, I guess... is to show it. So, I propose this. I will keep a log of my daily routines using technology (mainly cell, tablets, and computers), and hopefully one day this log can be made into a book that the elderly will read, and they can see for themselves how it enriches my life (maybe it will help before the older generation is replaced... that's a morbid thought). They can see for themselves how it can enrich their lives, and it isn't just a waste of time.
Additionally, learning new skills at any age, especially the upper years is good for the brain! It's science!
Thursday, September 19, 2013
Metiquette Rules
September-19-2013
Amber R. Hiles
Amber R. Hiles
1. Interrupting a
conversation to accept a mobile call or text message
-One should only take a call during a conversation if the
call was expected. In this case, the cell user should notify their guest ahead
of time that a call is expected. A text should never interrupt a conversation.
In most cases, people will call in the event of an emergency, and a text
message can wait.
2. Checking email
on a mobile device while a meeting is taking place
- One should never interrupt a meeting with any device or
form of communication. Full attention to the meeting and the information from
the meeting is imperative and shows respect and professionalism.
3. Screaming your
dismay into the phone while you are waiting in line for the bus
-Raising your voice in public should be avoided unless
the person on the other line cannot hear you. Even then, telling them you will
phone back when there is less noise is the best option. Screaming in public is
a harsh display, and it is a poor display for adults to this in front of
children and it interrupts others.
4. Taking a phone
call or answering a text message during a meal at home or at a restaurant
- Phones should not be brought to the dinner table in any
case. Important calls should be scheduled at a time that will not interrupt
meal time. It is especially rude at family get-togethers and holiday events.
5. Cell phones
during class
-Never. The instructor and classroom should always have
your respect and attention. If you are a parent, checking your phone once to
make sure you haven’t missed a call from a daycare provider is acceptable, but
prolonged use is not acceptable. Abide by the rules of the instructor.
6. Cell phone use while
behind the wheel of a vehicle
-One should avoid any distractions when behind the wheel
in the interest of the safety of the driver, passengers, and other drivers. If
a phone call or text “must” be made, pulling over and parking in a designated
parking spot is the best choice. Avoid using the phone to text at stoplights: this
will only cause profuse honking by the people behind you when you miss the
green light.
7. Cell phone use while at work (including
social media)
- Daycare and family should be notified of your work
number so that they can reach you that way. Using a cell phone during work
hours is not acceptable. One should always throw themselves into their work and
avoid outside distractions. Employees are being paid for a task, not to connect
and socialize with friends and family. It is a waste of company time and shows
disrespect for the employer.
8. Cell phone use
while conducting business or shopping
- Do not
approach a desk, counter, or check-out lane while on the phone. As a sign of
respect, one should always give their full attention to the person they are conducting
business with.
9. Cell phone use
while in labor
- When in the hospital giving birth, it is best to give
your phone/devices to your husband, boyfriend, partner, mother until after
recuperation time. Distractions are not going to help that baby come out, and
the constant Facebook posts and photos are inappropriate for younger crowds.
10. Cell phone use
at a Doctor’s Office
- Doctors recommend that you do not have you device on
during visits. It is a distraction, and their time and your time is valuable.
Using your phone during waiting time is permissible, but I assure you, we all
know how long doctor’s waiting times can be; you don’t need to post this to
Facebook. Think first before sharing with the world all of the gory and nasty
details of your recent visit.
11. Texting while
walking on campus
-Do your fellow classmates and professors a favor and
avoid texting and walking. If you need to connect with someone, it is faster to
call between classes. If you need to text, stop first and make sure you are out
of the way of traffic. Texting while walking slows foot traffic and is a hazard
to yourself and others. There are many cases of bumping into other and objects
while walking and texting, so it should be avoiding if possible.
12. Using cell
phones during an informal visit
- Avoid using your cell phone in other people’s homes
unless it is absolutely necessary. Ringtones and message tones constantly going
off during a visit is rude and disrespectful. The person you have gone to see
should have your full attention, unless you both have a mutual friend that is
being included in the conversation via text, call, or Skype. If you are
visiting someone and your phone rings, silence it and return the call later. If
it is an emergency, excuse yourself from the room and step outside to take the
call. Having a personal conversation in another person’s home should always be
avoided. Never answer a text while visiting, or excuse yourself to return a
quick message.
13. Using a cell
phone in a public bathroom
- Though this can cause some confusion, using your cell
phone in a public bathroom is generally okay. Don’t expect privacy, and be careful
what you touch.
14. “Selfies” in
the bathroom
-Bathroom “selfies” are distasteful and should be
avoided. If you are wanting to display how obsessed you are with yourself and
share how good you happen to look that day, find another avenue. Choose an artistic
approach, and stop giving the bathroom so much social media time.
15. Camera phone
use
- Never use your camera phone at a funeral, accident
site, or emergency situation. Remember that the people that have died or have
injuries are people too, and viewing them only as something to share on your
social media sites is inhumane. Avoid using your camera or video recorder in
these situations especially when driving past a scene. This could cause another
accident. Taking photos of people in distress, unless asked to, should be
avoided. Additionally, explicit photos should never be posted to social media
sites, as there are children present in these places. Before choosing the
“share” option, always take a second to consider how many people you are
sharing this photo or video with, and be tasteful and professional.
16. Cell phone use
on a date
-Never use your cell phone for anything on a date unless
it is to send little love notes to your significant other. There are some
things you shouldn’t say out loud in public, and the cell phone offers an
opportunity to get a little personal with your date. Photos can also be fun to
send back and forth during a date, but always check to make sure you have the
correct number before sending a text or photo. If you have the wrong number, it
could have a disastrous and embarrassing consequence.
NO!!
17. Cell phone use
at the movie theater
-Movie theaters run a segment before the feature that
reminds movie-goers to turn off their cell phones before the movie begins.
Avoid doing anything that could interrupt the experience of those around you.
If your silent phone buzzes in your pocket or purse, checking it discreetly is
the key. If a call must be taken, walking quietly out of the screening is the
best option. Find a quiet area to accept the call and speak quietly.
18. Cell phone use
at a concert
- Using your cell phone at a concert robs your
experience, and does not allow the mind to disengage enough to truly relax.
Anything that is very important should be taken care of before the show begins,
and anything else can wait until the show is over. Do not start talking loudly
into your phone in large crowds. It is rude to the person on the other line,
and unpleasant to those around you.
19. Answering your phone when children are yelling and
demanding attention
- No one wants to hear screaming when they are expecting
to hear a normal greeting. Call the person back when you are in a quiet place
and will not be interrupted for a minimum of five minutes. You will want to
give the caller your full attention and plenty of time to convey their message
to you.
20. Answering your
phone in bed
- Dedicate time in bed to sleeping. Your body needs rest,
and any stimulation from phones, computers, or mobile devices will prevent you
from getting needed sleep. Additionally, answering a phone late at night could
wake others. If you are staying over with friends of family, mute your phone at
night so you don’t disturb your host or hostess.
Monday, August 5, 2013
in my mind...
The second book is in the works within my mind. For some reason, stories like to bounce around in my brain for a while, take up residence perhaps. It is a rich soil for a story that needs room to grow. It will be safe in the confines of my mind, but it will inevitably grow tired and irritated having to share the space with a thousand and one other things. Eventually, it will leak out, followed by a gush, to the eventuality that is a document on a hard drive.
That's where it is. That's where it has to stay. For now.
My fingers are itching to type... to start... to write their story.
That's where it is. That's where it has to stay. For now.
My fingers are itching to type... to start... to write their story.
Monday, April 15, 2013
The start of a Short Story...
Pennyroyal Tea
There isn’t any fix
that is going to satisfy me. The reason for this is simple; all of the fixes I can
think of are only temporary, save for death. I don’t want to end my journey, I
just want a different road. I have become a slave without knowing it was
happening. I am a slave to the stove, a slave to the fridge. I am a slave to my
bank account, the job, the scrubbing, and the puke-colored poop in my baby’s
diaper. I am a slave to the little speck of play dough on the floor, and I will
continue to be a slave to every inconsistency in my household until the day I
die.
Many
times I have thought of the small, brown glass bottle in my bathroom. Inside,
the fragrant thick liquid is a promise… a promise of ending sorrow, a way to
forget that I will always be a slave, that I will forever chase the dream, and
that the dream doesn’t exist. Friday, April 12, 2013
Top 50 Literary Agencies
Just to be clear, this is not my top 50, and this is not my ranking...
If you submit your book to a mediocre literary agency, you can’t expect anything more than mediocre results. So scroll below now to find out who the major players are. Then get your query letter ready so you can get one of them to represent you.
This article is part of a 7-part series to help you find The Best Literary Agent for You.
Best Literary Agencies - Introduction
Selecting the best literary agencies and ranking them isn’t easy, it’s time-consuming, and it’s bound to create controversy. So let me take a moment to explain how we did it.Our list (below) of the 50 Best Literary Agencies is based on:
- Total Number of Book Deals: Instead of using the total number of book deals that a literary agent has done all-time, we decided to base our ranking on the number of deals done in the last five years. That way newer agents have a chance to make the list of best literary agencies. Plus we wanted to make sure that well-established agencies that used to be movers and shakers, but are now in decline, did not make the list of best literary agencies.
- Number of Big Deals: We used the same criteria here (mentioned above), only counting six-figure deals or greater that literary agencies closed during the last five years.
- Google Search Results: One of the best ways to measure relevance is Google. For example, Trident Media Group (#1 on our list of Best Literary Agents) has 126,000 search results in Google. Spectrum Literary Agency (#49 on our list) has 4,640.
- Social Influence: Another factor that influenced our rankings was the number of followers and fans that literary agencies have on social media like Facebook, Twitter, etc.
- Reputation: Finally, we factored in the reputation of every literary agency on our list of Best Literary Agencies.
50 Best Literary Agencies
- Trident Media Group
- Writers House
- ICM
- Dystel & Goderich Literary Management
- Levine Greenberg Literary Agency
- Inkwell Management
- The Knight Agency
- Sterling Lord Literistic
- Andrea Brown Literary Agency
- MacGregor Literary
- William Morris Agency
- Janklow & Nesbit
- Curtis Brown
- Sanford J. Greenburger Associates
- Donald Maass Literary Agency
- Waxman Literary Agency
- William Morris Endeavor
- Hartline Literary Agency
- Harvey Klinger
- Folio Literary Management
- Curtis Brown UK
- Marsal Lyon Literary Agency
- David Black Literary Agency
- Kneerim & Williams
- Natasha Kern Literary Agency
- Transatlantic Literary Agency
- Foundry Literary + Media
- Steve Laube Agency
- Conville & Walsh
- The Wylie Agency
- Sandra Dijkstra Literary Agency
- Westwood Creative Artists
- WordServe Literary Group
- The Literary Group
- BookEnds
- The Gernert Company
- Brown Literary Agency
- Zachary Shuster Harmsworth Literary Agency
- Jean V. Naggar Literary Agency
- DeFiore and Company
- Alive Communications
- Lippincott Massie McQuilkin
- FinePrint Literary Management
- Joelle Delbourgo Associates
- Kuhn Projects
- Vigliano Associates
- McIntosh & Otis
- Dunow, Carlson & Lerner
- Spectrum Literary Agency
- Literary Services
Remember people: Always do your research. When you think you have done enough research on an agency and an agent, do about 4 more hours... then submit!
Books that Caught my EYE
Amity & Sorrow by Peggy Riley (Little, Brown) - Playwright Riley’s debut novel is a harsh but compassionate look at nature vs. nurture through the lens of a polygamous cult. Sisters Amity and Sorrow were born and raised by their mother, Amaranth, the first of the 50 wives of a self-proclaimed prophet, the leader—“preacher, father, husband”—of a doomsday sect. When a confrontation with the law results in a fire, Amaranth grabs her teenage daughters, steals a car, and drives for four days until, exhausted, she crashes near a gas station in rural Oklahoma. Read Riley's essay on the American cult.
Julio’s Day by Gilbert Hernandez (Fantagraphics) - Julio’s Day is the 100-year story in 100 pages of a 100-year-old man living in a small, mostly Mexican town in the American Southwest, from his first to last breaths, 1900 to 2000. A marvelous and tightly scripted epic whose last page is a heart-stopper.
The Selected Letters of Willa Cather edited by Andrew Jewell and Janis Stout (Knopf) - By all rights, this excellent volume of Willa Cather’s letters should not be: in her will, the celebrated American writer specified that none of her correspondence was to be published, ever. Fortunately for general readers and scholars alike, that demand has not been heeded. The letters in this collection have been gathered from the 3,000 that survive in nearly 75 archives across the country.
The Ingenious Gentleman and Poet Federico Garcia Lorca Ascends to Hell by Carlos Rojas, trans. from the Spanish by Edith Grossman (Yale Univ.) - Rojas reinvigorates the martyred Spanish poet from the inside. Lorca, murdered in 1936 by Francoist rebels, narrates his own postmortem odyssey in energetic prose, full of vivid imagery and provocative discussion. Within the pages of this exceptional book, you’ll find encounters with Ulysses and Achilles, “Al Capone’s charity soup,” and a ghost café.
Westerly by Will Schutt (Yale Univ.) - The latest winner of the venerable Yale Younger Poets Prize turns out to be terse, well-traveled, resolutely unfashionable, and, finally, wise. Westerly is a town in Rhode Island, “where nirvana is a long time/ coming... the way stupid hope won’t shut up”; it’s also a direction for American history, for personal migration (“you find yourself relieved/ your world is set in the Midwest// and facts belong to this poem”), for the roaming imagination, where “Not everyone who dreams dreams the beach.”
Tomorrow There Will Be Apricots by Jessica Soffer (Houghton Mifflin Harcourt) - Eighth-grader Lorca has been self-harming since she was six years old, lately to deal with pain she feels due to her distant mother, who’s more focused on her demanding job as a chef, and her absent father. When she is caught cutting at school, she is suspended and her mother threatens to send her to boarding school. Lorca becomes convinced she can win her mother’s affections and forgiveness by making a favorite dish, masgouf, which her mother ate at an Iraqi restaurant years before. Soffer picks the 10 best endings in books.
My Beloved Brontosaurus: On the Road with Old Bones, New Science, and Our Favorite Dinosaurs by Brian Switek (Scientific American/FSG) - In this revealing work of pop paleontology, Switek (Written in Stone) travels across America to visit dinosaur fossils, but don't let the subtitle and descriptions of stunning scenery and trips down gravel roads mislead you—this isn't really a travelogue: each stop serves as but a jumping-off point for an examination of our changing understanding of dinosaurs. Check out a Q&A with Switek.
The Carrion Birds by Urban Waite (Morrow) - Waite follows his acclaimed first novel, 2011’s The Terror of Living, with another searing western noir. Three people face terrifying moral choices as they each wish for what they can’t have: life as it was before their small border town of Coronado, N.Mex., was doomed by its dying oil economy and the arrival of a Mexican drug cartel.
Life After Life by Kate Atkinson (Little, Brown) - Atkinson’s new novel opens twice: first in Germany in 1930 with an English woman taking a shot at Hitler, then in England in 1910 when a baby arrives, stillborn. And then it opens again: still in 1910, still in England, but this time the baby lives. That baby is Ursula Todd, and as she grows up, she dies and lives repeatedly. Atkinson talks about the making of a heroine with PW.
Candlemoth by R.J. Ellory (Overlook) - Ellory’s searing first novel recounts how Daniel Ford came to be on death row in 1982 for beheading his best friend, Nathan Verney, a decade earlier. The question of Ford’s guilt lends plenty of interest, but is almost incidental to the harrowing descriptions of life behind bars and the complex unfolding of a lifelong connection between friends. Check out our interview with Ellory.
The Flamethrowers by Rachel Kushner (Scribner) - This rich novel from Kushner takes place in late-’70s New York City and Italy. Reno is a young filmmaker “shopping for experiences,” who, as the novel opens, is attempting to set a land-speed record on her Moto Valera motorcycle in Nevada, only to crash instead. A flashback to New York finds her mixing with a group of artists, among whom she meets Sandro Valera, whose wealthy family manufactures the Moto Valera.
Woke Up Lonely by Fiona Maazel (Graywolf) - Maazel’s sprawling and ambitious new novel follows the rise and fall of the Helix, a cult of the lonely who believe that true human connection can only arrive with full disclosure. Think Facebook and Twitter but without the pesky computers. Speed dates, rallies, and confession sessions abound, full of strangers accosting one another to divulge their deepest secrets and most closely held fears, all in the hope of stemming the overwhelming tide of loneliness that is modern existence.
Napalm: An American Biography by Robert M. Neer (Harvard Univ.) - In this engrossing study, historian Neer recounts the prodigious youth and reviled old age of an iconic weapon. He follows the career of napalm—an incendiary jellied gasoline that sticks to everything and is almost inextinguishable—from its clever design by idealistic Harvard chemists during WWII, a time when any contrivance in the furtherance of victory seemed justified. (Experiments with napalm-armed bats fizzled after the critters escaped and burned down an army base.) The results, Neer shows, were both potent and horrific.
All That Is by James Salter (Knopf) – Salter’s first novel in over 30 years spanning some 40 years and following the accidental life, career, and loves of book editor Philip Bowman. After serving in the Pacific during WWII, Bowman stumbles into publishing at a time when small houses reigned. During extravagant literary parties and travels through Europe, Bowman shares his thoughts on authors both real and imagined. And yet his career is merely a vehicle for his loves and losses, connections made and missed. Check out our talk with Salter.
The Dark by Lemony Snicket, illus. by Jon Klassen (Little, Brown) – The two bestselling children’s authors are an inspired pairing in this suspenseful take on childhood fear. Laszlo, a solemn boy in blue pajamas, is scared of the dark, and it’s easy to see why. He lives in a house with “a creaky roof, smooth, cold windows, and several sets of stairs.”
My Bright Abyss: Meditation of a Modern Believer by Christian Wiman (FSG) - Wiman offers urgent thoughts on faith and doubt from the foxhole of mortality. Not that many years ago, the poet and editor of Poetry magazine was diagnosed with a rare cancer. This book of essays springboards from a much talked about 2007 essay that laid out his condition, his dark night of the soul, and his reawakening faith. Read our interview with Wiman.
All book pictures and descriptions found at publishersweekly.com
Thursday, April 11, 2013
The voices...
Sorry that so many of my posts today were from other people. There is an overflowing wellspring of information out there, and I was thrilled with just about everything I read. I want to be a success; I want to have a career as an author, a novelist, a writer. Amber Hiles... writer... the weird lady who has voices in her head and is always thinking about a story.
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Which brings me to my next point... if you want to be a good writer, you have to READ... and the second thing-- it's pretty straightforward: WRITE. Do both of those things often, and you will improve. Write about all the things inside of yourself that you don't want to think about. All of the terrible thoughts you have in your head, the images of your family dead on the side of the road, your fears, your fantasies. Write about second grade. Write about the time you discovered your first pubic hair. Whatever it is that is on your mind, tell the story. Get it out of the way so that really good stuff has room in your brain to blossom. Don't ignore the junk in your head. Get it out. Write it. Re-live it. Face it. Own up to it. Be that person you are afraid to be. Be the person you used to be. Be the person you always wanted to be. Imagine.
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Got it? Get started!
So, it would be a good idea to have a notebook of somekind. You can get college rule, wide ruled, journal style, anything you like, for close to nothin. Your nephew probably has one that he never used because he hates school and would rather trade pokemon cards. (Are those out of date yet?)
Give the dark places in your mind a place to go... the notebook. Write it, keep writing; allow the writing session to take you where ever your mind takes you. Just keep your fingers to the keys. Keep your pen to the paper. Keep your pencil furiously scribbling. Ignore syntax. Ignore the lines in the notebook. Ignore the voices in your head that tell you, "Don't write that. What will people think? They are all going to think you are some kind of whack job. You're wasting your time. You aren't ever going to be a writer. You can write novels all your life... no one is going to buy them..."
Are you ready to set that nasty, mean, hurtful jerk in your head on fire. Me too! What a bastard.
Have a good night, all. Listen to the voices....
Are you seeking Representation? Be prepared!
A big thank you to: http://www.agentquery.com/writer_or.aspx
When an agent wants to offer representation to me and my book, how will I know?
When an agent wants to offer you representation, they will contact you and say so.
Often an agent will email a writer and explicitly say, "Hey, I want to discuss representation. When would be a good time to call?" Other agents will simply call and let the writer know that they are making the offer at the beginning of the phone conversation.
However, some agents call writers and conduct a casual "interview" conversation before formalizing an offer. These agents want to discuss the manuscript and "feel" out the writer. And guess what? That's okay. Go with it.
Agents who call to discuss a writer's manuscript before offering representation simply want to learn more about the writer. They want to gauge your personality. They want to see if there's a connection. Remember, this is likely your first experience working with an agent, but it is not the agent's first experience working with a writer.
Many agents want to hear how the writer sounds on the phone before they officially extend an offer: does the writer have a professional demeanor? Can the writer eloquently and passionately talk about their writing? Is the writer a one-hit wonder, or do they have plans to write more books? Does the writer have realistic expectations about the agent-client relationship? What about realistic expectations regarding the potential for a sale and the estimated $advance$?
Some agents will hold back on making the offer until they assess the initial vibe of the first conversation. And at the end of this conversation, it is always the writer's right to come right out and say, "So, now that we've had a chance to discuss my work, are you interested in representing me?
However, most of the time, agents rarely beat around the bush when making an offer. When they want to sign a client, they know it. And they let the writer know it, too. For more on the agent's perspective of THE CALL, please read our symposium series, When Agents Call...
What happens if I receive an offer of representation from an agent, but I am still waiting to hear from other agents who also have my full manuscript? What do I do?
This happens more than you think, and writers are notoriously bad at handling this situation. The first thing that you need to know is that Ms. Offering Agent won't be offended if you don't accept her offer of representation right away after the initial phone call. Ms. Offering Agent will only be offended if you accept her offer of representation, and then one month later, change your mind because your real top-choice agent finally calls and makes you an offer.
For this reason, it is very important that you not accept the first offer you receive from an agent until you've had a chance to alert all the other agents who are still considering your full manuscript that you have an offer...
Yes, you should still take the time to speak with Ms. Offering Agent on the phone. Ask questions. Feel her out. Consider the chemistry. Get a sense of her personality. Is she someone you can trust? Does she sound easy to work with? Do you both have the same view of your project? Will she require a rewrite that you agree with?
However, at the end of this initial conversation, you should let Ms. Offering Agent know that you are excited about her offer, but you'd like to take some time to consider it. Also, let her know that other agents are still considering your full manuscript, and as a professional courtesy, you'd like to alert them that you have an offer and give them a chance to respond. Tell her you are very interested in working with her, and that you'd like two weeks to think over your decision. End the initial phone conversation with Ms. Offering Agent on good terms, and agree to touch base again with her in two weeks regarding your decision.
Sounds simple, right? But you wouldn't believe how many writers botch this part of the process up. Not accepting an agent's offer—right then and there—is not offensive to the agent. It's business, and she knows it. In fact, she'll likely respect your honesty and professionalism because all agents have been on the other side of this fence, finding out that a writer has accepted an offer of representation without first giving them the chance to make a counter-offer. Agents really hate that.
As a result, it is a professional courtesy to let the other agents know that you have an offer, and give them a chance to respond. Ms. Offering Agent will respect that, even encourage it, because good agents want to make a good agent-client match. They want their prospective clients to feel happy about their decision, and they want to work with clients who want to work with them. If a writer regrets their decision a month later, or feels bad about jumping at the first offer they've received, then nobody wins. Agents are smart enough to know this, and will respect writers who understand this as well.
Once an agent has made me an offer of representation, how long can I keep them waiting for my decision?
It is important to know that you should not make Ms. Offering Agent wait forever. You should be able to make a decision in two weeks. Three weeks tops. If you have put Ms. Offering Agent on hold because you are waiting for your "first choice" agent to get back to you, and over and over, she doesn't, then Ms. First-Choice Agent might have a problem making a decision of her own.
Once you inform the other competing agents that you have an offer of representation, they will often ask for an extra week to read it and decided whether or not they want to make a competing offer. (You wouldn't believe how fast agents can read a full manuscript when they want to, even after sitting on it for months). If these same agents do not come back with a response within a week, then it's important to move on, and perhaps revise your expectations of who you thought your "first-choice" agent would be.
Otherwise, if you wait longer than a month to make a decision, Ms. Offering Agent is likely to feel dissed. There is a point, after all, when decisions need to be made, and not making them becomes a sign of unprofessionalism.
Okay, so I understand that I have to alert the other agents who are reviewing my manuscript that I have an offer? What's the best way to contact them?
The moment you have an offer of representation from an agent, you should alert all the agents who have requested your full manuscript (and even partials).
Contact these agents via email. In your email, use a very clear subject line: OFFER OF REPRESENTATION—Title of Project. Then draft a very brief email, letting these agents know that you have received an offer of representation. However, tell them that you have not accepted the initial offer. Instead, out of professional courtesy, you are checking in with them regarding the status of your manuscript.
Within hours, we guarantee the remaining agents will email you back with one of two possible answers.
First possible answer: Thank you so much for alerting me about your offer. I apologize that it has taken me so long to review your manuscript, but I am still very interested, and if possible, I'd like a few extra days to read it. Please let me know if this will work within your parameters.
Agent are competitive. When they find out a manuscript, which has been sitting on their desk for months, has suddenly received an offer of representation, then that manuscript moves to the top of their reading pile. Agents can read your manuscript in two days if they know there's a chance that a great manuscript might get scooped up by their competition.
Second possible answer: Thank you so much for letting me know about your offer of representation. I apologize that I have not had a chance to review your manuscript, and I wish you the best of luck with your new representation.
Translation: they aren't interested in throwing themselves into the agent rat race.
There is a third possibility: you won't hear back from some of the agents at all. In this case, we suggest calling after you've sent an email, especially if Ms. Silent Agent is one of your top-choices. If you can't get her on the phone, leave a detailed message, citing the fact that you've received an offer of representation, and you are alerting all the agents who are still considering your work before you accept the initial offer. After the phone call, if Ms. Silent Agent gets back to you within a day or two, great. If not, Ms. Silent Agent is silent for a reason. Move on.
An agent has called and left me a message to call him back. Does that mean he is going to offer me representation?
If an agent calls you on the phone and leaves a voice message, do not jump to any conclusions.
Yes, most of the time, if an agent reads your full manuscript and calls to discuss it, it's a good sign. But it may not always be the call.
Are you freaking kidding, you say? What the heck do you mean it's not THE CALL?
We have known a fair number of writers who have received THE PHONE MESSAGE, which is not the same as THE CALL, although it can be deceivingly similar to newbies.
The PHONE MESSAGE goes something like this: Mr. Agent finally has read your manuscript after sitting on it for months. He calls and leaves a voice message, saying that he wants to discuss it. However, what Mr. Agent doesn't say in his voice mail is why he'd like to discuss it. Mr. Agent makes no mention of wanting to discuss representation. He simply says he wants to discuss the manuscript.
The good news is that the agent finally called, right?
Uhm...sort of. As writers, our little literary hearts flutter any time an agent calls. We've been waiting for THE CALL for so long, and here it is!
The bad news? Mr. Agent is not calling to offer you representation. He's calling to discuss all the reasons why he cannot offer representation.
Yeah. Exactly. It kinda makes you want to find the nearest window.
We can’t explain why some agents feel compelled to do this, we just know that it happens. Maybe the agent wants to call the writer, to be "encouraging" (although in the moment, it usually feels like the exact opposite). Maybe the agent really likes the writer's voice, but the story isn't for him, but he wants to "encourage" the writer to query him again with her next project. Maybe there’s been a long history of email back and forth between the writer and the agent, and the agent feels obligated to let the writer know—voice-to-voice—why he can't take her on as a client. Or maybe some agents just feel really bad about rejecting writers, and they want to let us down easy. Kinda like inviting the neighborhood teenager to present his entire steak knife pitch, then waiting until the very end to explain why you can't buy any new steak knives because you already have three sets.
Bottomline: we don’t really care the reasons why agents call writers to reject them. We just know that writers often confuse THE CALL with THE PHONE MESSAGE, and we don't blame them.
THE CALL: when an agent calls to offer representation, what do I say? What questions do I ask? How can I make the best impression possible?
Assuming that the agent is calling to offer representation, THE CALL is perhaps the best chance you'll have to determine your compatibility with Ms. Offering Agent. (unless you live near NYC, in which case, agents will often ask to meet).
You should definitely ask questions—during the second-half of the conversation. But for first-half, we recommend letting the agent drive the conversation. So if you're nervous, let the agent do the talking. Truly. Agents like to talk. They like to engage. And they're usually the ones making the first move by calling you to discuss your book, so let the agent set the initial agenda of the conversation, especially if you're insecure about what to say.
Most agents will say, right away, that they are interested in offering representation. Other agents might wait and feel you out. Either way, the agents will likely have questions, just like you. Let the conversation proceed casually. However, don't get intimidated into silence. Be prepared to talk passionately and eloquently about your book. Ask questions, too. Here are some important questions that writers should ask of every offering agent:
This is your chance to really find out if you and Ms. Offering Agent see your project the same way BEFORE you commit to working together.
You don't have much time in this initial phone call, so try to avoid squandering precious minutes with basic questions like: What other books have you sold? Are you a member of AAR? Who are your other clients?
Technically, you should already know the answers; that's why you queried Ms. Offering Agent in the first place. Instead, spend your time "connecting" over the work and discussing the mechanics of how your future agent conducts business with her clients. For more on the agent's perspective of THE CALL, please read our symposium series, When Agents Call...
I have received an offer of representation from an agent, but he doesn't use a written agent-client contract. Is that a bad sign?
There are many agencies that do not use a written agent-client agreement. The agent-writer "hand-shake" deal is very much still alive and well in the publishing industry because all publishing contracts spell out the agent's commission and payment terms of the sale. For this reason, some agents feel there's no need to have a written agreement between the agent and client preceding the sale of the client's work to a publisher.
I have received an offer of representation from an agent, but he wants me to sign an agent-client agreement. Is that a bad sign?
Just as many agencies don't use an agent-client agreement, there are many that do. These agencies require all prospective clients to sign an agent-client contract before conducting any business on behalf of the writer.
Don't freak out if you are asked to sign an agent-client contract, okay? Really, it's standard business-world procedure, so get over the fact that you aren't a lawyer. Neither are we, nor do we play one on TV, but that doesn't mean we still don't know that every writer should use common sense when it comes to deciphering the basic terms of an agent-client contract.
Consider the most important aspects of the agreement, and make sure those are kosher:
Again, WE ARE NOT LAWYERS and WE SERIOUSLY KNOW NOTHING about contract law. So if you don't like something that you see in an agent-client contract, hire a contracts lawyer or attempt to negotiate the change in the contract yourself. But don't be afraid to ask. Agents deal with newbiew writers all the time, and the way that she handles your questions now is a very good indication of how she will handle your questions when she snags you a publishing contract.
An agent calls and tells me she enjoyed my book, but she thinks it still needs some work. We discussed all the revisions that she wants, but she didn't say that she was offering representation. Instead, she said that she would be happy to re-read the revised manuscript. Does this mean if I make the changes, she will make an offer?
Unfortunately, no. Not always. Writers need to be aware that some agents request revisions from a writer BEFORE making a formal offer of representation. Usually, an agent who suggests changes without making an offer believes your manuscript is 75% there. But the last 25% is the deal-breaker, and the agent wants to see if the writer can pull off the revisions before committing to the project. If an agent calls to discuss revisions—without offering representation—then you should hear what they have to say. But please be aware that the agent has not made any commitments to you as a client; they are simply letting you know that they would like to see you make specific changes. After you make those changes, then they would be willing to reconsider your work. Nothing more. Nothing less.
If an agent calls and communicates that they like your work, but would like to see certain changes made BEFORE they formally offer representation, then tread carefully.
We're not a fan of agents who encourage revisions without making a formal offer. It's a murky purgatory for any writer, and at the end of the day, there are no guarantees.
You may choose to make these revisions. You may choose not to. You may choose to make them while simultaneously querying other agents. You are not on the hook to this agent, and they are not on the hook to you because you are not a client—yet. If you agree with the agent's suggestions, then go ahead and consider investing time in making the revisions. But don't stop querying other agents. Yes, Ms. Critique Agent is generously giving you feedback and encouragement. But she hasn't elevated you to client-status, so why grant her the benefit of exclusivity by not querying other agents while you work on her revisions?
What should I expect from the agent-client relationship?
The agent-client relationship is a business partnership. But it's also a long-term professional commitment. And often, a very personable one. Agents and writer should "click." They are going to be playing offensive and defensive as they run the ball down the football field towards the publishing goal line, so it helps if you "like" your agent as a person as well as a literary partner. You're teammates on the same team, after all. (God, we really hate football jock-talk, but hey, it's true).
Some agents provide lots of editorial feedback. Some agents provide encouragement and hand-holding. Some agents go after the big deals and don't let go until their jaws meet. Some agents makes sale after sale after sale for clients that they've never even met.
Every agent-client relationship is different and every one is personal. At the very least, your agent should be communicative about every aspect of your literary career. After your book has been submitted to editors, you should hear from your agent about once a month regarding its status (and if you don't, you should feel comfortable checking in via email and getting a response in a timely manner.) Your agent should give you some idea of how many editors she has submitted to, and preferably the names of these editors and the publishing imprints for which they work. When editors decline to buy your book, if your agent doesn't automatically forward you copies of the decline letters, simply ask for them. Your agent should not have a problem with providing this information.
After six months (and definitely after a year) without a sale, be sure to request a full submission list from your agent. This list should cite all the editors who have reviewed your manuscript, and it will give you confidence that your agent is submitting your work to the right editors and imprints. If it's been a year, and your book still hasn't sold, despite your agent getting it reviewed by many editors, then that's okay. Your agent isn't a bad agent, and you aren't a bad writer. Your book just didn't sell. It happens to every agent, and many, many, many more writers than you'd think. That's why you should always be busy working on your next book as well as maintaining a positive ongoing relationship with your agent.
Also, you should talk on the phone with your agent at least once every six months. Even if you have a great "email" relationship with your agent, you should still schedule phone conversations in order to stay "connected." Writers often fall into patterns of isolationism. It's our tendency, after all, to be alone for long periods of time while we write and invent things in our mind. But don't let this tendency affect your professional relationship with your agent. You must not isolate your agent, or feel terrified to initiate communication. It is a business relationship, and you have no relationship without communication. Touching base once a month is a good standard. But checking in every week (unless your agent is in the middle of a contract negotiation on your behalf) makes you a pest.
That said, we know that there are many writers who fear their agent has lost that loving feeling. If your agent has submitted your first book to more than ten editors (but still no sale), has given you submission updates along the way, continues to respond to your emails, and expresses interest in your new book, then simmer down and stop fretting about your agent-client relationship.
For example, if your agent has done all of the above, and now she has promised to read your revisions or newest submission, and that was weeks ago, and already you're starting to worry that maybe she doesn't love you anymore, then send us an email and let us know. We'd be happy to slap some sense into you, (kinda like that scene in the movie, Airplane.) Get over yourself. Give your agent some space. And check in once a month. Your agent will make you a priority soon enough, and until then, don't blow up the relationship in your mind because of paranoia.
Anything short of the above, (zero email response after you check in every month, not submitting your work to editors (or very, very few editors), avoiding your phone calls, not expressing interest in your new writing), and yeah, it's probably time to find a new literary agent.
When an agent wants to offer representation to me and my book, how will I know?
When an agent wants to offer you representation, they will contact you and say so.
Often an agent will email a writer and explicitly say, "Hey, I want to discuss representation. When would be a good time to call?" Other agents will simply call and let the writer know that they are making the offer at the beginning of the phone conversation.
However, some agents call writers and conduct a casual "interview" conversation before formalizing an offer. These agents want to discuss the manuscript and "feel" out the writer. And guess what? That's okay. Go with it.
Agents who call to discuss a writer's manuscript before offering representation simply want to learn more about the writer. They want to gauge your personality. They want to see if there's a connection. Remember, this is likely your first experience working with an agent, but it is not the agent's first experience working with a writer.
Many agents want to hear how the writer sounds on the phone before they officially extend an offer: does the writer have a professional demeanor? Can the writer eloquently and passionately talk about their writing? Is the writer a one-hit wonder, or do they have plans to write more books? Does the writer have realistic expectations about the agent-client relationship? What about realistic expectations regarding the potential for a sale and the estimated $advance$?
Some agents will hold back on making the offer until they assess the initial vibe of the first conversation. And at the end of this conversation, it is always the writer's right to come right out and say, "So, now that we've had a chance to discuss my work, are you interested in representing me?
However, most of the time, agents rarely beat around the bush when making an offer. When they want to sign a client, they know it. And they let the writer know it, too. For more on the agent's perspective of THE CALL, please read our symposium series, When Agents Call...
What happens if I receive an offer of representation from an agent, but I am still waiting to hear from other agents who also have my full manuscript? What do I do?
This happens more than you think, and writers are notoriously bad at handling this situation. The first thing that you need to know is that Ms. Offering Agent won't be offended if you don't accept her offer of representation right away after the initial phone call. Ms. Offering Agent will only be offended if you accept her offer of representation, and then one month later, change your mind because your real top-choice agent finally calls and makes you an offer.
For this reason, it is very important that you not accept the first offer you receive from an agent until you've had a chance to alert all the other agents who are still considering your full manuscript that you have an offer...
Yes, you should still take the time to speak with Ms. Offering Agent on the phone. Ask questions. Feel her out. Consider the chemistry. Get a sense of her personality. Is she someone you can trust? Does she sound easy to work with? Do you both have the same view of your project? Will she require a rewrite that you agree with?
However, at the end of this initial conversation, you should let Ms. Offering Agent know that you are excited about her offer, but you'd like to take some time to consider it. Also, let her know that other agents are still considering your full manuscript, and as a professional courtesy, you'd like to alert them that you have an offer and give them a chance to respond. Tell her you are very interested in working with her, and that you'd like two weeks to think over your decision. End the initial phone conversation with Ms. Offering Agent on good terms, and agree to touch base again with her in two weeks regarding your decision.
Sounds simple, right? But you wouldn't believe how many writers botch this part of the process up. Not accepting an agent's offer—right then and there—is not offensive to the agent. It's business, and she knows it. In fact, she'll likely respect your honesty and professionalism because all agents have been on the other side of this fence, finding out that a writer has accepted an offer of representation without first giving them the chance to make a counter-offer. Agents really hate that.
As a result, it is a professional courtesy to let the other agents know that you have an offer, and give them a chance to respond. Ms. Offering Agent will respect that, even encourage it, because good agents want to make a good agent-client match. They want their prospective clients to feel happy about their decision, and they want to work with clients who want to work with them. If a writer regrets their decision a month later, or feels bad about jumping at the first offer they've received, then nobody wins. Agents are smart enough to know this, and will respect writers who understand this as well.
Once an agent has made me an offer of representation, how long can I keep them waiting for my decision?
It is important to know that you should not make Ms. Offering Agent wait forever. You should be able to make a decision in two weeks. Three weeks tops. If you have put Ms. Offering Agent on hold because you are waiting for your "first choice" agent to get back to you, and over and over, she doesn't, then Ms. First-Choice Agent might have a problem making a decision of her own.
Once you inform the other competing agents that you have an offer of representation, they will often ask for an extra week to read it and decided whether or not they want to make a competing offer. (You wouldn't believe how fast agents can read a full manuscript when they want to, even after sitting on it for months). If these same agents do not come back with a response within a week, then it's important to move on, and perhaps revise your expectations of who you thought your "first-choice" agent would be.
Otherwise, if you wait longer than a month to make a decision, Ms. Offering Agent is likely to feel dissed. There is a point, after all, when decisions need to be made, and not making them becomes a sign of unprofessionalism.
Okay, so I understand that I have to alert the other agents who are reviewing my manuscript that I have an offer? What's the best way to contact them?
The moment you have an offer of representation from an agent, you should alert all the agents who have requested your full manuscript (and even partials).
Contact these agents via email. In your email, use a very clear subject line: OFFER OF REPRESENTATION—Title of Project. Then draft a very brief email, letting these agents know that you have received an offer of representation. However, tell them that you have not accepted the initial offer. Instead, out of professional courtesy, you are checking in with them regarding the status of your manuscript.
Within hours, we guarantee the remaining agents will email you back with one of two possible answers.
First possible answer: Thank you so much for alerting me about your offer. I apologize that it has taken me so long to review your manuscript, but I am still very interested, and if possible, I'd like a few extra days to read it. Please let me know if this will work within your parameters.
Agent are competitive. When they find out a manuscript, which has been sitting on their desk for months, has suddenly received an offer of representation, then that manuscript moves to the top of their reading pile. Agents can read your manuscript in two days if they know there's a chance that a great manuscript might get scooped up by their competition.
Second possible answer: Thank you so much for letting me know about your offer of representation. I apologize that I have not had a chance to review your manuscript, and I wish you the best of luck with your new representation.
Translation: they aren't interested in throwing themselves into the agent rat race.
There is a third possibility: you won't hear back from some of the agents at all. In this case, we suggest calling after you've sent an email, especially if Ms. Silent Agent is one of your top-choices. If you can't get her on the phone, leave a detailed message, citing the fact that you've received an offer of representation, and you are alerting all the agents who are still considering your work before you accept the initial offer. After the phone call, if Ms. Silent Agent gets back to you within a day or two, great. If not, Ms. Silent Agent is silent for a reason. Move on.
An agent has called and left me a message to call him back. Does that mean he is going to offer me representation?
If an agent calls you on the phone and leaves a voice message, do not jump to any conclusions.
Yes, most of the time, if an agent reads your full manuscript and calls to discuss it, it's a good sign. But it may not always be the call.
Are you freaking kidding, you say? What the heck do you mean it's not THE CALL?
We have known a fair number of writers who have received THE PHONE MESSAGE, which is not the same as THE CALL, although it can be deceivingly similar to newbies.
The PHONE MESSAGE goes something like this: Mr. Agent finally has read your manuscript after sitting on it for months. He calls and leaves a voice message, saying that he wants to discuss it. However, what Mr. Agent doesn't say in his voice mail is why he'd like to discuss it. Mr. Agent makes no mention of wanting to discuss representation. He simply says he wants to discuss the manuscript.
The good news is that the agent finally called, right?
Uhm...sort of. As writers, our little literary hearts flutter any time an agent calls. We've been waiting for THE CALL for so long, and here it is!
The bad news? Mr. Agent is not calling to offer you representation. He's calling to discuss all the reasons why he cannot offer representation.
Yeah. Exactly. It kinda makes you want to find the nearest window.
We can’t explain why some agents feel compelled to do this, we just know that it happens. Maybe the agent wants to call the writer, to be "encouraging" (although in the moment, it usually feels like the exact opposite). Maybe the agent really likes the writer's voice, but the story isn't for him, but he wants to "encourage" the writer to query him again with her next project. Maybe there’s been a long history of email back and forth between the writer and the agent, and the agent feels obligated to let the writer know—voice-to-voice—why he can't take her on as a client. Or maybe some agents just feel really bad about rejecting writers, and they want to let us down easy. Kinda like inviting the neighborhood teenager to present his entire steak knife pitch, then waiting until the very end to explain why you can't buy any new steak knives because you already have three sets.
Bottomline: we don’t really care the reasons why agents call writers to reject them. We just know that writers often confuse THE CALL with THE PHONE MESSAGE, and we don't blame them.
THE CALL: when an agent calls to offer representation, what do I say? What questions do I ask? How can I make the best impression possible?
Assuming that the agent is calling to offer representation, THE CALL is perhaps the best chance you'll have to determine your compatibility with Ms. Offering Agent. (unless you live near NYC, in which case, agents will often ask to meet).
You should definitely ask questions—during the second-half of the conversation. But for first-half, we recommend letting the agent drive the conversation. So if you're nervous, let the agent do the talking. Truly. Agents like to talk. They like to engage. And they're usually the ones making the first move by calling you to discuss your book, so let the agent set the initial agenda of the conversation, especially if you're insecure about what to say.
Most agents will say, right away, that they are interested in offering representation. Other agents might wait and feel you out. Either way, the agents will likely have questions, just like you. Let the conversation proceed casually. However, don't get intimidated into silence. Be prepared to talk passionately and eloquently about your book. Ask questions, too. Here are some important questions that writers should ask of every offering agent:
- What does the agent like best about your project?
- Does the agent feel that the project is ready for submission to publishers,
or will she require revisions before submission?
- If she thinks it needs revisions, are they small tweaks, or does she want a
major plot or character development change?
- Which publishing houses does the agent believe would be a good fit for your
book?
AQ Commentary: (hopefully the Big NYC Publishers, not just small presses)
- How many editors does she plan to pitch in the first round of submissions?
AQ Commentary: ("six or more" is average for most commercial and genre fiction. Less than "three" should give you pause. One at a time is a bad answer.)
- How often will she update you regarding the status of your
submissions
AQ Commentary: (once a month is standard, although we know some published authors who touchbase once a week and even once a day). But less than once a month, and your agent might be more hands-off than they should be).
- Is this agent interested in representing only this project, or all your
future books?
- Does the agent use an agent-client written agreement?
- Does the agency handle the sale of subsidiary rights, like foreign, film, audio, and translation? (or do they have a relationship with a sub-agent who handles the sale of these rights on their behalf)
This is your chance to really find out if you and Ms. Offering Agent see your project the same way BEFORE you commit to working together.
You don't have much time in this initial phone call, so try to avoid squandering precious minutes with basic questions like: What other books have you sold? Are you a member of AAR? Who are your other clients?
Technically, you should already know the answers; that's why you queried Ms. Offering Agent in the first place. Instead, spend your time "connecting" over the work and discussing the mechanics of how your future agent conducts business with her clients. For more on the agent's perspective of THE CALL, please read our symposium series, When Agents Call...
I have received an offer of representation from an agent, but he doesn't use a written agent-client contract. Is that a bad sign?
There are many agencies that do not use a written agent-client agreement. The agent-writer "hand-shake" deal is very much still alive and well in the publishing industry because all publishing contracts spell out the agent's commission and payment terms of the sale. For this reason, some agents feel there's no need to have a written agreement between the agent and client preceding the sale of the client's work to a publisher.
I have received an offer of representation from an agent, but he wants me to sign an agent-client agreement. Is that a bad sign?
Just as many agencies don't use an agent-client agreement, there are many that do. These agencies require all prospective clients to sign an agent-client contract before conducting any business on behalf of the writer.
Don't freak out if you are asked to sign an agent-client contract, okay? Really, it's standard business-world procedure, so get over the fact that you aren't a lawyer. Neither are we, nor do we play one on TV, but that doesn't mean we still don't know that every writer should use common sense when it comes to deciphering the basic terms of an agent-client contract.
Consider the most important aspects of the agreement, and make sure those are kosher:
- The term of the agreement, or how long the agreement is in effect:
- One-year?
- Six months?
- Best answer: Either party may terminate the agreement for any reason thirty days after written notice.
- One-year?
- Termination clause: how can you get out of the agreement if you want to?
- Law Suits?
- Arbitration?
- Best answer: Either party may terminate the agreement for any reason thirty days after written notice.
- Law Suits?
- What happens if either party to the contract dies:
- Your mom becomes the client?
- Your ghost is legally bound forever to the agent?
- Best answer: The agreement is automatically terminated.
- Your mom becomes the client?
- What happens if your agent leaves the agency to start her own agency:
- You are tied forever to the first agency, not the agent?
- You are dropped as a client and no one else may represent your book?
- Best Answer: you are free to terminate your contract with the first
agency and re-sign with your agent under her new agency's
umbrella.
BECAUSE WE ARE NOT LAWYERS, WE ARE WRITERS we
can only imagine a few more basic questions to ask yourself before
signing an agent-client agreement. - You are tied forever to the first agency, not the agent?
- Is the percentage of the agent's commission 15% for domestic rights and 20%
for foreign rights?
- Does the agent-client agreement cover all your writing, or just the single
title of the book listed on the agreement?
- Does the contract require you to pay for "reimbursement of expenses," even
in the event that there is no sale?
- Does the contract require you to pay Agent #1 a commission on the sale of the book, even after you jump ship and switch to Agent #2 and she makes the sale on your behalf?
Again, WE ARE NOT LAWYERS and WE SERIOUSLY KNOW NOTHING about contract law. So if you don't like something that you see in an agent-client contract, hire a contracts lawyer or attempt to negotiate the change in the contract yourself. But don't be afraid to ask. Agents deal with newbiew writers all the time, and the way that she handles your questions now is a very good indication of how she will handle your questions when she snags you a publishing contract.
An agent calls and tells me she enjoyed my book, but she thinks it still needs some work. We discussed all the revisions that she wants, but she didn't say that she was offering representation. Instead, she said that she would be happy to re-read the revised manuscript. Does this mean if I make the changes, she will make an offer?
Unfortunately, no. Not always. Writers need to be aware that some agents request revisions from a writer BEFORE making a formal offer of representation. Usually, an agent who suggests changes without making an offer believes your manuscript is 75% there. But the last 25% is the deal-breaker, and the agent wants to see if the writer can pull off the revisions before committing to the project. If an agent calls to discuss revisions—without offering representation—then you should hear what they have to say. But please be aware that the agent has not made any commitments to you as a client; they are simply letting you know that they would like to see you make specific changes. After you make those changes, then they would be willing to reconsider your work. Nothing more. Nothing less.
If an agent calls and communicates that they like your work, but would like to see certain changes made BEFORE they formally offer representation, then tread carefully.
We're not a fan of agents who encourage revisions without making a formal offer. It's a murky purgatory for any writer, and at the end of the day, there are no guarantees.
You may choose to make these revisions. You may choose not to. You may choose to make them while simultaneously querying other agents. You are not on the hook to this agent, and they are not on the hook to you because you are not a client—yet. If you agree with the agent's suggestions, then go ahead and consider investing time in making the revisions. But don't stop querying other agents. Yes, Ms. Critique Agent is generously giving you feedback and encouragement. But she hasn't elevated you to client-status, so why grant her the benefit of exclusivity by not querying other agents while you work on her revisions?
What should I expect from the agent-client relationship?
The agent-client relationship is a business partnership. But it's also a long-term professional commitment. And often, a very personable one. Agents and writer should "click." They are going to be playing offensive and defensive as they run the ball down the football field towards the publishing goal line, so it helps if you "like" your agent as a person as well as a literary partner. You're teammates on the same team, after all. (God, we really hate football jock-talk, but hey, it's true).
Some agents provide lots of editorial feedback. Some agents provide encouragement and hand-holding. Some agents go after the big deals and don't let go until their jaws meet. Some agents makes sale after sale after sale for clients that they've never even met.
Every agent-client relationship is different and every one is personal. At the very least, your agent should be communicative about every aspect of your literary career. After your book has been submitted to editors, you should hear from your agent about once a month regarding its status (and if you don't, you should feel comfortable checking in via email and getting a response in a timely manner.) Your agent should give you some idea of how many editors she has submitted to, and preferably the names of these editors and the publishing imprints for which they work. When editors decline to buy your book, if your agent doesn't automatically forward you copies of the decline letters, simply ask for them. Your agent should not have a problem with providing this information.
After six months (and definitely after a year) without a sale, be sure to request a full submission list from your agent. This list should cite all the editors who have reviewed your manuscript, and it will give you confidence that your agent is submitting your work to the right editors and imprints. If it's been a year, and your book still hasn't sold, despite your agent getting it reviewed by many editors, then that's okay. Your agent isn't a bad agent, and you aren't a bad writer. Your book just didn't sell. It happens to every agent, and many, many, many more writers than you'd think. That's why you should always be busy working on your next book as well as maintaining a positive ongoing relationship with your agent.
Also, you should talk on the phone with your agent at least once every six months. Even if you have a great "email" relationship with your agent, you should still schedule phone conversations in order to stay "connected." Writers often fall into patterns of isolationism. It's our tendency, after all, to be alone for long periods of time while we write and invent things in our mind. But don't let this tendency affect your professional relationship with your agent. You must not isolate your agent, or feel terrified to initiate communication. It is a business relationship, and you have no relationship without communication. Touching base once a month is a good standard. But checking in every week (unless your agent is in the middle of a contract negotiation on your behalf) makes you a pest.
That said, we know that there are many writers who fear their agent has lost that loving feeling. If your agent has submitted your first book to more than ten editors (but still no sale), has given you submission updates along the way, continues to respond to your emails, and expresses interest in your new book, then simmer down and stop fretting about your agent-client relationship.
For example, if your agent has done all of the above, and now she has promised to read your revisions or newest submission, and that was weeks ago, and already you're starting to worry that maybe she doesn't love you anymore, then send us an email and let us know. We'd be happy to slap some sense into you, (kinda like that scene in the movie, Airplane.) Get over yourself. Give your agent some space. And check in once a month. Your agent will make you a priority soon enough, and until then, don't blow up the relationship in your mind because of paranoia.
Anything short of the above, (zero email response after you check in every month, not submitting your work to editors (or very, very few editors), avoiding your phone calls, not expressing interest in your new writing), and yeah, it's probably time to find a new literary agent.
FREE E-BOOK from Noah Lukeman
Free e-book
Noah Lukeman, President of Lukeman Literary Management and author of The
First Five Pages, answers aspiring authors' questions about writing and getting
published.
www.landaliteraryagent.com
I have also included in this PDF for free my two books HOW TO LAND (AND KEEP) A LITERARY AGENT and HOW TO WRITE A GREAT QUERY LETTER. This file has over 400 pages of invaluable information. Please read it before posting questions here.
Below is the table of contents of questions asked. All are answered in this file.
Enjoy!
I have also included in this PDF for free my two books HOW TO LAND (AND KEEP) A LITERARY AGENT and HOW TO WRITE A GREAT QUERY LETTER. This file has over 400 pages of invaluable information. Please read it before posting questions here.
Below is the table of contents of questions asked. All are answered in this file.
Enjoy!
Blogs that Interview Agents: Must Follow!
Blogs Interviewing Agents
Chuck Sambuchino’s Guide to Literary Agents Blog featuring new agent alerts, “How I Got Published” stories, conference/event spotlights, and author interviews.Hunger Mountain: The VCFA journal of the arts Listed by interview type, the archives contain interviews with authors and agents.
Algonkian Writer Classes: Online Workshops and National Conferences for Agents: Great list of interviews with well-known agents.
Stacey O’Neale: Writer, Publicist, Superhero. Most of these interviews are very recent and therefore most likely to contain accurate information.
Agent Advice: “a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.”
Literary Rambles: “spotlighting children’s book authors, agents, and publishing.” The agent spotlights are invaluable for personalizing your query letter.
Mother. Write. (Repeat.) Long list of agent interviews. Be sure to check out the main page of this blog for “how I got my agent” stories, contests, and more.
YA Highway: Writers hosting contests, introducing agents, and collecting publishing news. Fantastic resource.
thank you to: http://katebrauning.com/tag/literary-agent/
Active Agents Blogs: Follow Them!!
Thoughts from a Literary Agent: blog from Marisa Corvisiero.
The New Literary Agents- blog of Kae Tienstra and her business partner, Jon.
Chip’s Blog: Blog of MacGregor Literary.
Ask a Literary Agent: Blog from Noah Lukeman, president of Lukeman Literary and author of multiple books on writing queries and fiction.
Carly Watters: Blog of literary agent Carly Watters. Great post from July 12 on making your query stand out in the slush pile.
Bookalicious- blog of agent and top YA book blogger Pam van Hylckama Vlieg.
Mandy Hubbard: author and agent with D4EO Literary.
LaVie en Prose: blog of Meredith Barnes, ex-literary agent now working in digital marketing for Soho Press.
Rapid-Progressive: The blog of Victoria Marini, agent with Gelfman Schneider Literary Agency.
New Leaf Literary: The blog of a brand-new agency headed by Joanna Stampfel-Volpe
This Literary Life: The stylish and thought-provoking blog of Bree Ogden, agent with D4EO Literary Agency.
Magical Words: Featuring posts on helpful topics by several literary agents and published authors.Confessions: Posts by agent Suzie Townsend.
Janet Reid, Literary Agent: Posts by agent Janet Reid of FinePrint Literary Management. This blog in particular contains a wealth of information and blunt advice for writers. Janet has also been known to host contests.
Query Shark: Janet Reid, master shark of the query waters, also maintains this blog where she dices queries to bits. Enter yours, if you dare! Reading the archives is one of the most entertaining and alarming things you’ll do as a writer.
Pub Rants: Maintained by agent Kristin Nelson of Nelson Literary Agency. Personal, informative posts about all things literary.
Rachelle Gardner: Posts by Rachelle with Books and Such Literary Agency. Many of these posts contain enormously helpful information on the daily life of a successful author- taxes, social media, and the changing publishing landscape are all covered.
Coffee. Tea. And Literary: Blog of the Nancy Coffey Literary & Media Representation. Contests are occasionally run here as well.
Kathleen Ortiz: Agent with Nancy Coffey Literary & Media Representation.
Glass Cases: Blog of the fabulous agent Sarah LaPolla with Curtis Brown, Ltd., featuring short stories, flash fiction, and memoir and novel excerpts from readers.
dhs liter show + tell: The wide-ranging blog of DHS Literary/Inkwell Management.
DGLM: Blog maintained by Dystel and Goderich Literary Management. Frequent posts revealing the world of publishing and writing in valuable detail.
Full Circle Literary: Blog of Full Circle Literary, with archives going back to 2006.
Et in arcaedia, ego. Blog of Jennifer Jackson, powerhouse agent and Vice President of Donald Maass Literary Agency. Frequent “query wars” reports and contests. Archives back to 2003.
The Knight Agency: Blog of The Knight Agency- fantastic recent post on preparing your manuscript for submission.
Lucienne Diver’s Drivel: News, advice, and entertainment from author, agent, and superhero Lucienne Diver.
Agent Savant: “publishing morsels from Laurie McLean.”
Agent in the Middle: posts by RT-award-winning literary agent Lori Perkins.
KT Literary: blog from “shoe-obsessed superagent Daphne Unfeasible.” Immensely informative peeks into her query pile included.
Call My Agent!: Blog from Australian “Agent Sydney.” Emailed questions will be answered in a blog post.
Writing and Rambling- A Literary Agent’s Industry Musings: posts by Nephele Tempest.
Fresh Books, Inc.: infrequent but substantial posts from Fresh Books literary agent and founder Matt Wagner.
All that’s new(s) from A to Z: posts from The Zack Company, Inc.
Ask the Agent: Posts from Andy Ross.
Kidlit: Blog from YA and children’s lit agent Mary Kole.
The Forest for the Trees: Maintained by Betsy Lerner- author, ex-editor and agent with Dunow, Carlson and Lerner Literary Agency.
Between the Lines: Business Blog of Books and Such Literary Agency
Jennifer Represents: the blog of Jennifer Laughran, children’s and YA fiction agent with Andrea Brown Literary Agency.
Bent on Books: news and musings from The Bent Agency- Jenny Bent, Molly Ker Hawn, Susan Hawk, and Nicole Steen.
Susan Says: Blog from Susan Hawk of The Bent Agency. Excellent recent post detailing what Susan is actively seeking.
Jill Corcoran Books: posts from Jill Corcoran, children’s book agent with Herman Agency.Agent Incite: Posts from agent Mike Kabongo
Red Sofa Literary: Red Sofa’s agency blog. Eclectic industry news.
Babbles from Scott Eagan: posts from Scott Eagan from Greyhaus Literary Agency. Frank and unique presentations of industry news and advice.
Slush Pile Hell: “one grumpy literary agent, a sea of query fails, and other publishing nonsense.” Sometimes it helps to see what not to do in your query.
The Steve Laube Agency: Browse it and learn from it- you’ll love it. Fantastic “News You Can Use” feature.
Upstart Crow Literary: new book announcements, advice on getting published, and more.
Navigating the Slush Pile: “Agent and book lover discovers the world of publishing one fast paced, eye opening step at a time, armed with only a handful of books and an English Lit Degree.” Posts by Vickie Motter, agent with Andrea Hurst Literary Management.
A Must Read for New Writers: Publishing Terms and Abbreviations
I had no idea what NA was before this piece--so glad I found it.
I have been searching all over for something like this!!! Thank you http://katebrauning.com/tag/literary-agent/
Below is a list of common terms and abbreviations you might see as you read my posts or other publishing blogs.
Agent: Literary agents are professionals who represent an author’s career. The most well-known tasks an agent performs are selling the writer’s MS to a publishing house and negotiating the contract. Agents do much more than this, however.
CP: critique partner. Writers who critique each other’s work. These can be great relationships to establish because of the encouragement, resources, and support writers receive from each other.
Crit: critique. An evaluation that aims for showing both the strong and weak elements of a MS. Critiques from other writers, especially authors and agents, can be a great way for writers to improve their writing.
Editor: Editors acquire books for their house to publish and help polish the work before publication. Like agents, they do much more than this as well.
Form rejection: A copy-pasted rejection from an agent to a writer who queried. Most of the time this is what writers will receive. Most agents receive 100+ queries a week (I’ve seen some agents report 800+), so personal responses are often impossible.
MG: middle grade. Writing written for middle grade readers and adhering to certain age group conventions.
MS: manuscript. An unpublished work of fiction or nonfiction.
MSS: plural of MS.
NA: new adult. Characters and plotlines revolve around situations common to the 19-early twenties age group. This category of fiction is just getting started and most agents and editors don’t recognize it yet because booksellers don’t have a system in place to sell NA works. A good-sized community is advocating for NA to become established, however.
Personalized rejection: A rejection from an agent to a writer who queried, but some element of the letter is personal. A line or two complimenting the work but explaining why it’s not right for the agent may be included. This is an encouraging compliment from the agent, and is actually a good thing to receive.
Pitch: A brief description of a manuscript highlighting the main elements in a way that makes others want to read more. Contests sometimes ask for a 1, 2, or 3-sentence pitch. Writers should have one ready for contests and conferences.
Query letter: A letter, often a professional email, that writers send to agents asking them to consider them for representation. The letter includes specific details about the MS the author has written and relevant credentials the writer may have. Some agents want 5 or 10 pages and/or a synopsis included as well. Conventions for queries are very particular.
R&R(or R/R) Revise and resubmit. The request from an agent or editor to have the writer make certain changes to the manuscript and then resubmit the work for consideration. These are common, and don’t necessarily mean the writing was poor. The agent’s current list of titles, market trends, and the writing itself may be reasons for R&Rs.
Request: An agent (or sometimes editor) requests to see a certain number of pages of a writer’s manuscript. These can be “partials”-generally 30, 50, or 100 pages- or else “fulls”- the entire manuscript. Usually agents request a partial first and then request a full if they are considering representing the writer. A request is a BIG deal, particularly if it’s a full.
Synopsis: A 1-2 page summary that reveals the main elements of the MS.
Twitter pitch: A pitch designed for Twitter contests. 140 characters or less.
WIP: work in progress. The manuscript an author is currently writing.
YA: young adult. Writing intended for a teenage audience, but with tremendous crossover appeal to adults. Publishers Weekly reported this month that 55% of all YA books are purchased by adult buyers, and 78% of the time, those books are for themselves.
I have been searching all over for something like this!!! Thank you http://katebrauning.com/tag/literary-agent/
Publishing Terms and Abbreviations
Below is a list of common terms and abbreviations you might see as you read my posts or other publishing blogs.
Agent: Literary agents are professionals who represent an author’s career. The most well-known tasks an agent performs are selling the writer’s MS to a publishing house and negotiating the contract. Agents do much more than this, however.
CP: critique partner. Writers who critique each other’s work. These can be great relationships to establish because of the encouragement, resources, and support writers receive from each other.
Crit: critique. An evaluation that aims for showing both the strong and weak elements of a MS. Critiques from other writers, especially authors and agents, can be a great way for writers to improve their writing.
Editor: Editors acquire books for their house to publish and help polish the work before publication. Like agents, they do much more than this as well.
Form rejection: A copy-pasted rejection from an agent to a writer who queried. Most of the time this is what writers will receive. Most agents receive 100+ queries a week (I’ve seen some agents report 800+), so personal responses are often impossible.
MG: middle grade. Writing written for middle grade readers and adhering to certain age group conventions.
MS: manuscript. An unpublished work of fiction or nonfiction.
MSS: plural of MS.
NA: new adult. Characters and plotlines revolve around situations common to the 19-early twenties age group. This category of fiction is just getting started and most agents and editors don’t recognize it yet because booksellers don’t have a system in place to sell NA works. A good-sized community is advocating for NA to become established, however.
Personalized rejection: A rejection from an agent to a writer who queried, but some element of the letter is personal. A line or two complimenting the work but explaining why it’s not right for the agent may be included. This is an encouraging compliment from the agent, and is actually a good thing to receive.
Pitch: A brief description of a manuscript highlighting the main elements in a way that makes others want to read more. Contests sometimes ask for a 1, 2, or 3-sentence pitch. Writers should have one ready for contests and conferences.
Query letter: A letter, often a professional email, that writers send to agents asking them to consider them for representation. The letter includes specific details about the MS the author has written and relevant credentials the writer may have. Some agents want 5 or 10 pages and/or a synopsis included as well. Conventions for queries are very particular.
R&R(or R/R) Revise and resubmit. The request from an agent or editor to have the writer make certain changes to the manuscript and then resubmit the work for consideration. These are common, and don’t necessarily mean the writing was poor. The agent’s current list of titles, market trends, and the writing itself may be reasons for R&Rs.
Request: An agent (or sometimes editor) requests to see a certain number of pages of a writer’s manuscript. These can be “partials”-generally 30, 50, or 100 pages- or else “fulls”- the entire manuscript. Usually agents request a partial first and then request a full if they are considering representing the writer. A request is a BIG deal, particularly if it’s a full.
Synopsis: A 1-2 page summary that reveals the main elements of the MS.
Twitter pitch: A pitch designed for Twitter contests. 140 characters or less.
WIP: work in progress. The manuscript an author is currently writing.
YA: young adult. Writing intended for a teenage audience, but with tremendous crossover appeal to adults. Publishers Weekly reported this month that 55% of all YA books are purchased by adult buyers, and 78% of the time, those books are for themselves.
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