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Hmm another thing for new writers like myself to consider. Contract expiration and what it means to our agents... thanks for sharing this! :)

The way I figure it, while I'm trying to get an agent with 'this' book, I'm writing 'the next' book. My hope is to get 'this' one published, but I want more than one. So, while your agent is busy pitching one book, you should definitely be working on another.

Question: Have you, or any agents you know, signed a client on the basis of potential? E.g., you request a full, decide it's not quite right for you, but you like the writing, and you like the author, and decide to take him or her on because you see great potential, and you want to nurture it?

Well said and interesting. You made my day with a new concept and a logical one. I'm amazed at conference e the number pf authors who are not excited about their next project or don't have one in the hopper.

Great post, especially the emphasis on writing the next thing. The good part about moving forward is that, as with many things, your writing improves with practice. So, if you write one thing and it doesn't sell, but your second project does, you can go back and look at the first book and revise. That way your first book isn't a failure, it's a project in reserve.

I've noticed that a great number of new writers do focus too much on their first project. This is a great reminder to folks that they have to always be thinking ahead.

When book one is on submission, book two should be the current WIP, and book three should be percolating on the back burner.

Thanks for posting this. I like the "for life" contract as that type of business partnership is what I want from an agent. The frenzy in recent years has created confusion about agent-editor-author relationships. I recently explained this to a friend so please correct me if this is wrong:

The author works FOR the editor on the book. The editor is married to the book for the life of that book, as it benefits the publishing company where the editor works and receives a paycheck.

The agent works WITH the author as an advocate to career of the author. The agent must love the author's books, and the author must write books the agent is motivated to sell.

I'm definitely going to second working on a second book in the meantime! Not only will you improve skills and be able to write better books in the future (and maybe even apply some of that knowledge to revisions of the first book), you'll have something ready to go if the first book doesn't work out for some reason. And even if the first book does sell eventually, you'll have a second book ready to offer, too!

The key issue here seems to be, this author thinks her book “has potential.” Well of course. Every author believed her book “has potential.” If she did not think that she never would have sought out an agent in the first place. Now, a year later, it appears nobody agrees. If she wants to do some serious re-writing she apparently got that message. So what is the gain in finding another agent?

To the question asker-- I was in your shoes once, and while I dithered, the excellent agent fired me. She made it clear in doing so that she thought my career was over, and I believed her.

Two months later I had another agent and the book contract that the first agent couldn't get me.

But yeah, you do need to take the plunge. Don't query other agents without terminating your relationship with this agent.

I'm going through something similar at this very moment. Am I scared to test the waters??? Absolutely, but my current agent tells me things like "This still needs work" but never explains further what exactly is wrong with it. She tells me things like "I'm going to have this back to you by Tuesday." Tuesday comes and goes, no words. Yet, she talks and helps all her other clients. The black sheep feeling has come and gone and I'm going to start querying next month for a project I just finished.

The message suggests an atmosphere of fear about talking to anyone. The comments echo that feeling. But all that comes about because the writer can't stand the wait. What I can't understand is this concern about breach of protocal. Why would it be unethical to talk, unofficially, to other agents? Then terminate the contract if and when another, seemingly more effective, agent relationship is established.

I've not been in this situation (I don't even have an agent yet), but I have read that it's always best to sever the old relationship officially before embarking on a new one. From the writer's perspective, there is the fear that, for as long as it took to get the "bad" agent, by becoming agent-less again, you're starting over at square one. I don't know this is necessarily the case. If you managed to get an agent, even if it didn't work out, this demonstrates your work is marketable, and your chances of getting another agent, at least in theory, should increase.

My question: would you mention the fact that you recently terminated a contract with an agent in your query? On the one hand that sounds negative, but on the other it tells the prospective agent that *someone* in the business thought your work worthy of their time. What's your take, Jessica?

I'm currently looking for a new agent and I state that in my queries. I agree with Jessica that you should terminate your relationship before you shop for a new agent.

An agent/client relationship seems to me like any other relationship. If there's a problem, talk about it and try to resolve it.

If the problems can't be solved to everyone's satisfaction, terminate the relationship. THEN start dating (querying) again.

It's the only ethical way to handle this.

What Ann said re: the atmosphere of 'fear'. I don;t understand this protocol, either. If you're in a job you're not happy with, you start shopping for a new one while you still have a job. I frankly don't see why the author/agent relationship should be all that much different.
This is business, surely?

For those who think you should be able to shop for a new agent while working with one. How are you going to handle the situation when your current agent starts shopping your book? Now you're shopping a book that's been shopped (when two weeks before it wasn't). That's going to completely change the way a new agent is going to look at you.

We've all come a long way since I sent my first query letter to your agency probably around 2002. I guess there is something to be said for perseverence: HACK will be published by HarperDavis this June. It's been a long road, with some unforgettable adventures. Here's one that I know you will get a huge kick out of: http://jsharrison22855.blogspot.com/2011/07/i-was-client-of-melanie-mills-part-i.html

Jeb

I think it's a perfectly reasonable thing to do for exactly the reason you've said. It doesn't have to be something personal, but switching agents would be beneficial for both writer and agent in that situation.

I have read of at least one instance where an agent got a ms from an new author that was not her genre, but deserved representation. In that case, she passed the author on to a colleague within the agency that she felt could better represent that genre. Unusual, but it apparently it happens.

As an aspiring writer, I think it's great that agencies will work this way to keep and nurture talent. I would hate to feel like I have to leave an agency because I've written something my agent doesn't rep.

One other bonus that I can see in this case is that the two agents will be right there, for easy conferencing. The author's past history, quirks, foibles, style... it's all there for Agent 2 to find out, quickly and easily. Makes for a faster start to the new relationship.

Interesting that you allow authors to query other agents at the same agency. Do you not pass along manuscripts that you feel would be a better fit for someone else?

This article was very helpful, and it falls in line with what I have assumed to be true. Plus, I'd like to think that my work could help a new agent grow!

Still, it is difficult to obtain those newer agents' names and emails. Publisher's Marketplace often trails and many agencies have a lag time as well.

Do you have suggestions on where to find their names, blogs and information on what they are looking for in a manuscript and a prospective author? Perhaps what writer's conferences they plan to attend?

As always, thank you for your advice. There is something comforting about an agent who begins her day with thoughts for 'newbies'.

I love this advice. Thank you so much.

Thank you so much for this, Jessica! Awesome advice!!

Good question, whoever asked.

For what it's worth, Jessica was brand new when I first queried her. Looking back, I honestly wonder if she would sign me now if I were to query her that same letter, which was absolutely horrible! I really was clueless, but she must have seen something that caught her attention--or, because she was still building her client list, she was more willing to take a chance on an unknown. Point being, I took a chance, but so did the agent, and we were lucky enough that it worked. She hasn't resorted to blocking my emails, at any rate. Yet. :-)

Hi Jessica:

I've been following your blog for sometime and I appreciate the time and effort it takes.

I was glad to hear that new writers should not be afraid to submit to new agents.

For Meg E. Dobson, check out www.QueryTracker.net. This is a great website that lists agents and their websites. It's quite interactive. You can write notes after researching agents. There is also another website you might be interested in. It's www.agentquery.com.

And Jessica, your agency BookEnds,LLC is listed on Query Tracker as are you.

Thank you again,
Tracy Campbell

Everyone started off as 'new blood' and the only reason anyone has experience is because someone decided to give them a chance when they began. So it's also important to have a little faith in the newbies and give them a chance.

This is very great blog and the whole post is awesome. but its still difficult to obtain new agents and their emails.

Good post!!

Nice post. Wouldn't it be nice if there was a GPS available for navigating the literary world?

Hello my friend! I want to say that this article is awesome, nice written and include almost all vital info. I would like to see more posts like this.

I've read that agents will often discuss what other projects the author is working on when s/he makes that initial Call. During that conversation, I'm sure the agent will recommend projects that s/he is particularly excited about, or suggest possible career directions. This is one way an author can get a feel for whether the agent is a good fit (and vice versa) before anything is signed.

Nice post. Thanks for it!

I get the "not right for my list" a lot. So thank you for letting me know what it meant in publisher speak.

Yours, Cyn

I kind of felt those responses were part of a more personalized form letter.

I've gotten a few myself.

~Dawn

I'm fascinated by Angie's comment, not least of all because there's a guard shack where I work. If you follow the GPS (which erroneously tells you to turn right and bypass the guards), they lock down the facility and give you a ticket. If you use common sense and look at the signs and turn left, you get in just fine. There's a metaphor in there somewhere, but I'll be damned if I can find it.

Redleg,

People want a magic formula rather than have to think for themselves.

Magic formulas would make things easier, but probably remove a lot of the satisfaction from the result.

I'd imagine that in any good author/client relationship, there's at least some discussion while the novel is being written, and any major issues the agent has would be brought up well before the author turns in the manuscript. (OR I hope it would be that way; I'd like my future agent to be somewhat involved in my process, even if it's just so I can say, "Does this sound like too much?" about some weird idea.) I've read many times on blogs like these that the agent/author relationship is almost like a marriage, so a good agent should approach it with a "for better or worse" attitude and not run right away if they hit a small rough patch and don't like one book in what they otherwise hope to be a long career.

Thinking as a reader, there definitely have been some authors I generally like who put out a book I didn't care for much. Did I abandon them? Not because of one book. I always waited for the next book to see if that one was just a fluke or if the appeal had really deteriorated. I think most reasonable agents know that the same could happen with their clients.

Wow, it is really fantastic. I have used it. It is looking so cute. Love your blog.Best wishes for you future blogging career. Thanks

Hello,

Very useful and informative content has been shared, I must say that your writing skills are very attractive. Moreover sharing information and acknowledging others is really very good job, keep it up.

This actually happened to me, and I was given the choice to stay with the agency or follow my agent as he started his new agency. I went with him. The agency owner was someone I had never spoken with, and who had not acquired me, so why would I stay? I never regretted it.

I've heard of cases where agents leave for various reasons. One of which is to expand. And if there's no chance of at least a partnership with a small agency for an agent, after years of working with them, it only stands to reason to move to a larger agency or start their own. In almost all cases I've heard the clients have followed them to the new agency.

Good advice. Donna, glad it worked out so well for you.

Jessica, as someone who search about agents for my adult fiction and now also for my YA fiction, it's comon for young agents to move around from agency to agency till they settle down. The conflict of who "owns" the client, the agent or the agency, is common in Wall Street when a broker moves to another firm. It can be dicey when the client is a very successful author who can generate lots of revenues for the leaving agent and/or his ex agency.

What if the agent simply leaves the business? I assume any existing contracts stay with the old agency, but is the client usually transferred to a new agent or forced to look for a new one (or does it just depend on the terms of the contract)?

"What if the agent simply leaves the business?"

That's why it's important to research the agent and make sure there's a good solid track record you can depend on. Research who they rep, too. And check out the titles they rep. Do they have a long list? Are there any big books on that list.

I know people change. I know circumstances change. But I've seen too many "folks" become literary agents out of the blue and then quit after a few years.

The author has to do the research and choose the agent as much as the agent has to choose the author.

So...I guess I've got to start killing people; no problem. I'm off to work and I just can't decide who to start with.

Thanks Christie, great post.

Great guest post! I mean, I'm a bit biased because I'm a Texan... lol but really, there's lots of humor and voice in this, as well as good, honest information. I really appreciate that.

Thanks for this post. I love hearing the positive aspects of having an agent in a world where self publishing seems to be the trend right now.

Wait. . .Kim is YOUR wife?

So much for that nice anniversary dinner I had planned. ;>

Great post. Thanks for sharing, Christie.

I appreciated the perspective on both writing, the agent-author relationship and (since I always have a nasty death in my novels) comments on writing what you feel. It does one good to hear about the real world of writing and getting published. Thanks for your insights.

LOL love this Christie! I enjoyed this so much because I do the same things with fictional towns. I am a native Texan, and I love small towns, and because I'm like you and hate research, I like to invent small Texas towns. I get the area right...maybe a real river or something. :)

And I think BookEnds is wonderful and famous for the agents wearing many hats. That's what I love about Jessica F. She is whatever her clients need her to be, very versatile, which I think is the best asset in an agent. I feel very blessed to have her in my corner!

Didn't know that about the dildos! But did you know that it's illegal to milk another person's cow? I don't personally know any cows, so I think I'm safe on that one. :)

Hi Christie, we actually met last year at an RWA meeting in Spring. My writing is more focused on YA than romance but it was a pleasure to meet you then and read your tips today.

I believe the agent/author relationship is like a marriage as well. I've been married 22 years so I understand committment...and the urge to kill someone at times.lol

Definitely picking up this book.

Also, how would law enforcement know how many dildos you owned? Is there like a record kept? Not that I'm worried...

Hi Wry,

If you don't have anyone to do in, just ask, I'm sure I can offer up a few names. LOL.

Thanks for coming by.

CC

Hi Kristan,

From one Texan to the other, thanks.

CC

Stacy,

You are right, the publishing industry is changing right now. Personlly, I like knowing I have as many people as possible in my corner.

Thanks for stopping in.

CC

It is great that you decided to return to fiction writing with such determination. It obviously paid off. A great lesson for every writer.

Rosemany,

We have an open marriage. LOL.

Thanks for posting.

CC

Girlseeksplace,

Thanks.

CC

Doug,

Good luck in writing those killings, and good luck with your writing.

Thanks for stopping by.

CC

Sharla,

Thanks for stopping in and warning me about the "milking cow" law. I'm sure I would have broken that law tomorrow. LOL. And yes, it's just so much easier to make up "stuff" than to go on witch hunt making sure all your facts are correct.

Hi Marsha,

Thanks so much for stopping in. And it's good to see you again. And yup, you're right, 22 years of marriage and the urge to kill goes hand in hand. LOL.

CC

Georgie,

Writing is a habit I can't seem to kick.

Thanks for stopping in.

CC

As always, Christie Craig, more great advice!

Christie's books are awesome and DON'T MESS WITH TEXAS is an LOL novel full of fun.

Thank you, Bookends for having her guest post and thank you Christie for the great advice. Always good to hear what you have to say.

Christie, I started following your fiasco with TX DOT, found your book at my B&N, and fell in love with your writing. I will be finding all your books from now on.

I've visited Texas and my comment was, "It's like its own country."

Hi Bethany!

Thanks for coming by.

It's so good to see you here.

CC

Hi Jill,

Thanks for stopping in. If you're in Houston pop over the booksigning at Katy Budget books 1:30 - 3:30.

CC

Christie, m'dear, one thing about you (well, one thing among way too many!) is you've got an amazing voice. I see it in your post, hear it in your books and it's just the same when you've got a glass of wine and are sitting across the table from me!

Looks like I have to add another book to the TBR stack. Hang in there, kiddo.

Great advice, Christie! Thank you for sharing it with us. :)

Now this was one great post. I love your voice, Christie--and although I write middle grade, you bet I'll be searching out your books.

(BTW, my 8-year-old told me the other day that perhaps the reason I haven't been published yet is that I don't kill off any of my characters. After reading this, where's my chainsaw?!)

Christie,
I also heard about your book first through the situation with TxDOT. Though I'm in Australia, I know people in the romance industry are talking about it (its been mentioned and posted on a number of loops I go on) and waned to say I'm sure you have the support of many, many, MANY romance authors (and other authors, fans, people with half a brain who can see how stupid it all is, etc) out there. I'll be buying this book to show my support and hope things work out well for you. I can't even imagine how stressful something like this must be.
And thanks for these writing tips, can never have too many of those!
All the best.

Kate,

We need to get together again, and soon, and have share another glass of wine.

Thanks girl!

CC

Hi Carrie,

Thanks for dropping in.

Happy writing!

CC

Michael,

Sharpen those blades, it gets messy if you don't. LOL.

Good luck with all your writing adventures.

CC

Jess,

Thanks for stopping in. I need to get to Australia. I've meet so many super nice people from there.

CC

Hi again Christie,
You'd be more than welcome if you wanted to visit Australia and come to one of the RWAus conferences. 2012 will be in Queensland on the Gold Coast -- sun, beach, hot Aussie surfer guys... (hint hint) we'd all have a blast!
Jess
PS: coincidentally, i have a youtube video on my blog this week featuring aforementioned hot surfer guys if you need to do some "research" :)

A writer who attempted to query a lit agent? That's your first sign right there that this writer doesn't know what they're doing! So 1999. I didn't realize people still read these agent blogs anymore. How quaint!

Seriously people, if the big-time isn't coming to you, you ain't ready for it! You're wasting your time here.

Good post! Thanks a lot.

what an utterly BRILLIANT post. thank you.

Cool post!

After reading your post I feel as if I am standing in line in gym class and the teacher has asked the most popular kids to pick teams. As the line shortens and the teams grow I pray, Oh God, please let one of them pick me, don’t let me be last. I may not be the best player but if given a chance I will make the captain and the team proud.
Pick me.

Bingo! As a writer, you have to be comfortable w/the level of attention/response time you're receiving from your agent. Is she doing what she said she'd do by when she said she'd do it? (For example, reviewing your ms, getting edits back to you, etc.) Discussing these issues is key, but if they're not resolved you need to move on. Leaving your agent can be the scariest thing of all, since there are no guarantees you'll find another. However, having an agent who isn't doing what they said they'd do doesn't serve you at all.

So, although, "How many clients do you have?" is a natural question to ask, it doesn't really tell you anything. Like Jessica said, talking to their clients and discovering what they're like to work with is far more important than a number. You may also want to speak w/newer clients as well as older ones, since client/author relationships can be wonderful at first, but fade with time.

I think the question pertains more to the agent's experience, and the likelihood that the agent has the requisite skills and contacts to secure a publisher for the author's work. The perception being that an agent with many years' experience and a client list that is either large, or contains well-known authors, is more likely able to find someone to get the author's novel published.

You are right, IMO, to indicate that the question may be simplistic, since there are other factors that make a good agent, and a large client roster isn't necessarily the best indicator of that.

One of the best things I did was to talk to the clients of each agent who had made an offer. This is where writers' conferences benefit (again) because I had passing acquaintances with several writers I could speak with, or those writers could point me to the agents' clients.

I'd expected each agents' clients to give me top-of-line input, but was pleased to find that most were willing to really talk in depth and honestly about what worked for them and why they were with a certain agent. It was really interesting because some of their "pros" were definite "cons" for me, and I did get a solid look at how I could work with a particular agent.

I'd even expected each agent's clients to be biased toward their own agent, but that wasn't the case, either. Some would listen to what I had to say about agent A and say, "Wow. She sounds like a great choice for you. You may want to go that direction."

I think some authors hesitate to contact an agents' clients after an offer because they feel like it won't make a difference or the clients will be unwilling to share, but in most cases I've heard, it's just the opposite.

If an agent has too few clients, I'd be concerned that she's not into her job. If an agent has too many clients, I'd be concerned that she can't give her full attention to everyone. It's all about finding a balance.

I agree. While all the meanings behind the question are prevalent a straight forward approach is best. I tell those I work with from the beginning there's no games here. I'm blunt and haven't the time for beating bushes. My editor is the same way. Makes a volatile but great working relationship. LOL

thanks a lot for the post!!! liked it!

I agree with almost everything you say. The answer is certainly different for everyone, but it's the author's question. If I asked that question and the agent told me she could not answer--or worse told me she would not answer--I would not agree to representation from that agent. She assumes that any answer will be the wrong answer, which is a horrible presumption of the writer's character and then denies the writer requested information. What other information might the agent feel the writer is incapable of handling at a later date?

so the question we should be asking is "How do you put your pants on in the morning". If they say "I don't", you can determine whether or not you're comfortable with the answer or not :-)

I deleted my first comment which was stupid. Funny how something I write just before I dash out the door seems funny and then a few hours later just plain dumb.

Personally, I don’t care how many clients my agent has. If the agent is the one I feel is right for me, (I do), than the only client I care about IS me. Self-centered? Naïve? Clueless? Perhaps, but if I worried about all the other clients he has I’d go nuts.

I Really enjoyed your blog. I just bookmarked it. I am a regular visitor of your website I will share It with my friends .Thanks.

Excellent post, Jessica! You are very right. It really doesn't matter. Everyone deals with people differently and like you said you haven't heard from some of your clients in a while.
Never thought of it this way. Thank you so much!

On top of considering the agent's working style and capabilities, it's more important to consider the nature of the clients than the number, I think. If an agent has 20 clients who publish a book or two a year, which is common in some genres, I might be a little more concerned about whether they could fit my work in. If some of their clients were the type to take several years per book, though, I'd have less to worry about because the work would be more spread out. It's best to just consider how YOU would work with the agent.

Another reason that it's a fair question, but not necessarily a question that gives you a complete answer, is that one factor in the agent's ability to serve you is the agent himself (or herself). These "superagents" might be the kind of person who needs four hours of sleep a night. Those extra three hours can buy a lot of work. Or, the superagent could be single, and childless. Back when those two adjectives described me, I used to play guitar for an hour every night, and then still get in an hour of writing. Now, well...

Jessica knows that I'm perfectly willing to discuss my relationship with her and how I feel she works for me. Like Angie said, what are "pros" for some writers might easily be "cons" for others, but I also know that Jessica works differently with many of her clients.

Something that's important to me is communication, and that's where I definitely give my agent an A+. No matter how many clients she has, she still has the ability to make me feel as if I count, so obviously she doesn't have too many!

Since this agent is so great (and I mean that positively), a question I might ask to get the difficult conversation going is the following.

Do you put this much effort into every book?

Maybe she does. Maybe that's why she is so successful.

Then again, maybe she's just lost that loving feeling.

very interesting post! even thought provoking i think! thanks a lot for sharing!

Wow. If I were in that position, without this post, I might be thinking that this had turned into a complete disaster. Now it seems quite salvageable.

I didn't know that a manuscript can go several rounds of revisions with an agent. I assumed it would with a publisher. Its impressive to me that the agent would take the time to do that.

She is definitely putting forth the effort.

And it's very hard to be patient. Very hard. For both writer and agent, I assume.

I don't understand why the writer is addressing questions to BookEnds when she (he) should be asking these questions of her agent. You can't avoid the difficult conversations. You can't contribute to closing off communication channels. It's good to get outside perspective and advice ... but writers: we have to take charge of our own situations.

Hearing things like this makes me a little sick to my stomach. I'm going through the query process and I feel strongly that this book should get published. No offers yet, but I keep waiting. And then there's the fear that I might choose the wrong agent.

What if I only get one offer? How good does that agent have to be for me to say yes? What if, as in this case, the agent looks amazing on paper, but in the end isn't what I hoped it would be.

I'm also afraid of getting into a situation like this and then feel trapped. This agent has put a lot of hours into this manuscript. It doesn't seem right to walk away from her. I think that's why a long, frank conversation is needed right now. If the agent isn't crazy about the book any more, then maybe she needs to let it go.

Here's wishing you all the best for you and your book. Good luck!

I want to tell the writer about an experience I had.

I had an agent with a terrific online reputation, with whom my manuscript went through multiple revisions. Finally she submitted it, and it was rejected everywhere.

I wrote a new manuscript and got a new agent. We went through only one revision, and then she submitted the manuscript. It went to auction.

The big lesson I learned? Do not be awed by your agent's reputation!

Now, I have a question for the writer to think about. This agent who's asking you to do all these revisions-- does she have any editing experience?

Great post and great comments. I'm glad you shared this.

Not only is this a valuable look inside the process of getting your book ready for publishers once you have landed an agent, but the questions that you pose for this author to ask herself show a serious amount of experience with working relationships.

Honestly, the answer to the question was; you really need to have a heart to heart with your agent.

But you took to the time to explain why, and probably bring up issues that either the author hadn't thought of, or that she has thought of and would have thought twice about vocalizing.

I love this blog.

Maybe I'm wrong, but I tend to think this is one of those cases where it's best to listen to revise and to keep an open mind.

I'd also be working on the next novel in between these revises. I see so many writers place their fate in one single book, hoping this will be the ticket to their publishing dreams. And it would be great if all authors could publish one novel and become rich and famous with that one novel. But it usually takes more than one book to just make a decent amount of money.

Sometimes I wish there were a blog that just concentrated on the realities of being a writer. There seem to be so many misconceptions out there.

I'm going to second Anonymous at 3:03, both on the revision suggestions and on the advice to start working on something else. A former member of my critique group landed an agent who went through three rewrites with him before sending his novel out to publishers. According to him, she was on the fence about doing another round, but his childcare budget was tapped out and both of them were eager for a sale.

Forty-five rejections later, the manuscript is dead. Even if he were to do that next rewrite, everyone in the genre has already passed on it, and no one said they wanted to see it again. I suspect your agent is aware of the risk of sending out something that may not yet be ready and closing off options later on.

Did I say he's a former member of my critique group? Thoroughly discouraged, he gave up writing and doubled his client load at work to fill up the hole in his family budget due to this three-year writing "thing."

The big question you should ask yourself--and of course discuss with your agent--is if all these rounds of revision are making your novel better. Are you learning from the experience? Can you apply what you're learning to your next project as well as to this one? Because if you want to survive in this business, there has to be a next project.

Yes, absolutely, do have that conversation with the agent, no matter how awkward. And have it right now, before she submits the manuscript anywhere. Once it's gone out, even to only a few editors, your chances of getting another agent plummet. If it's not going to work out between you, you need to know that as soon as possible. Clearly your book's pretty good if the agent has spent this much effort on it. Good luck!

I went through four major revisions with my agent. When we started getting editor interest, we went through many more. I am never the person to say it is good enough; I want the other person to say that.

You don't have to make them though. And I doubt your agent is just jerking you around, for whatever that is worth.

I went through several rounds of revisions with my agent (probably close to seven) and it was frustrating, but I was glad my agent was willing to put in the work. Hang in there. It's more important that you get a great product than meet your submission deadline. And it sounds like you're close :)

This chick preaty awesome!)

"The truth is, it sounds to me like maybe you just don't love her like you used to either."

It doesn't sound like she should.

Maybe you need to ask yourself if you want to be a writer or a career re-writer.

You have wasted months rewriting something that no one has paid a dime for. So the last nine months of work has been on something that this agent has yet to submit. Seven revisions is insane. Either get this thing in a state you comfortable with and submit it, or move on to another agent.

The whole 'my agent wants it to be the best it can be' thinking is one thing. 9 months is long enough to bring a human being to term. This is just a book. I know it's your baby and everything, but it's just a book. Submit ti and move on to the next. The rewrite cycle is not hurting anyone but you. Your agent has other clients. If you spend three years rewriting for this person (who may have ZERO editorial experience at the professional level for all you know) the agent still makes money off all her other clients.

I'm sorry, but this is a time suck, period. What if you do 3 more edits for 5 months and the agent passes on submitting it? You will have wasted a year on a book that she never tried to sell.

Get on with it. It will never be perfect. No book is. IT is not going to make you a million dollars - you have a better chance of being hit by falling space debris. Submit it and write another book. Then submit that one. Rinse, repeat.

If this book really is not publishable material. it will get rejected. By that time you will have finished the second book and be that much better a writer. Send that book out and write number 3. If that one gets rejected, send out #3. If that one sells, you have learned through practice.

Writing new words is practice - it is learning. Rewriting the same book over and over is not practice. All it does is 'polish' your voice out of a book and drag the process down.

Do some research on creative vs critical thinking if you get the chance and you;ll see what I mean. They use different brain functions. You can't 'edit' creatively (or at least most people can't) when you go into rewrite and edit mode, you are not 'writing'. So for the past 9 months you really have not even been a writer. And that sucks.

Unless you would rather be an author than a writer. Then, I guess you are on the right track...

I 100% agree. I can't tell you how many times I've gotten in trouble via email when I wouldn't have over the phone. And typing up emails takes longer than talking on the phone anyway.

Thanks for the great post, Jessica. Email does make things easy, but I couldn't agree more with everything you've said. A time and a place for everything. Even an old-fashioned, through the mail, cardstock card. It's easy to forget the importance of different forms of communication when email is just so easy. Too easy, sometimes.
I hope if I ever get an agent, she's that insightful.

Exactly! Especially in this business. People who deal with words every day find subtle differences or inflection of emotion in every single word and interpret them differently.

Or analyze them to death and pick at it until there's no flesh left on the carcass. By the time we're done with it, it's not even in the same ballpark as the initial idea.

Sadly, I believe that texting will soon overtake email as convenience overshadows the importance of communication. I hear my students tell that they would rather send a dozen text messages, and a dozen more explaining one that was misinterpreted, than make a call or send an email. Yes, there's no need to point out the inefficiency, or that two dozen texts is the same as an email.

I was pondering an email related question on my way into work this morning. It's generally agreed that when an author receives an offer of representation, it's courteous and professional to inform other agents who are currently reviewing the same work that an offer is on the table. But how do you communicate this to an agent that only deals with paper submissions? (There are still a few out there.) Is this one of those situations where calling is acceptable or should you write a letter and hope they read it before you make a decision?

I was just trying to explain this to a friend over the weekend. E-mail can be taken the wrong way and people can be inadvertenly insulted or annoyed.

I love how one copy editor I work with always uses little smile faces when offering suggestions. Those silly little smile faces made a huge difference, especially when it comes to criticism.

Emails and texts can also fall prey to the "black hole of cyberspace" phenomena where they don't reach their destination. I've had this happen more than once with both business and personal emails.

Well said. There really isn't a tone for emails, it's whatever the reader makes it out to be. Serious issues shouldn't be handled with either text/email. It's impersonal and a bit disrespectful.

Posting a ":)" or "LOL!" does not convey the humor of a joke and could easily be taken the wrong way too.

:D

Jessica totally nailed this one--and there are times when I need to call her and get information by phone that I could easily email her for, but I need the sound of her voice and the inflection to have the information make sense.

It's so easy to misinterpret even the simplest thing sometimes. We tend to forget how much of a conversation is voice and inflection. Even better is body language and expression, which is why I love the occasional chance we have to meet in person.

totally agreed. at certain moments, 'tis best to just PICK. UP. THE. PHONE.

And, no one has mentioned this, but - some conversations I find better to sort out on the phone first, then follow up with an email to confirm and get the understanding in writing.

Email is great, as you said, but I also agree that the phone is a very handy mode of communication. In fact, short of seeing a person in person (or snail mail), it's the 2nd best form of communication to me. I enjoy emails, I like receiving them, but I can't tell you how much I've appreciated it when a family member/friend/person Im working with took the time to dial my number and call me up (even if it was for "no particular reason, just to call").

Yep. Same with texting. I'm all about it, but you lose something without tone and inflection. Sometimes it can come across as cryptic and rude, when it isn't intended to.

I found it sad lately when my daughter told me she knew next to nothing about her boyfriend of just over a month. Only the surface stuff they talked about in the hallway at school and then constant texting. But they NEVER talked on the phone. Never. I remember being on the phone for hours as a teen, and God help me if I could have brought that phone WITH me when I left??!! We'd laugh and talk and get to know people. You can't do that in sentences like 'how ws ur day mn ws fn & did u see her car it ws cl. cul8r.'

There's something to be said for the human voice.

I often think I communicate clearly when I speak, but in reality, I tend to sound more like the teacher from Peanuts. My students have gotten used to it and usually know what I mean.

I have to use email because I can go back over what I've written several times and make sure it's clear.

I deal with this at work a lot. Many others I work with do things more "old school," while I have streamlined my processes with email templates (which I customize) and spreadsheets to track my work. However, the clientele I work with as customers are frenquently one or two generations older than me, so I try to keep that in mind. Sometimes it is easier to do a call and discuss something rather than send an email.

I think with anything potentially confusing or upsetting, a call should always be made, as a good business practice. People, at least in a business relationship, may be less likely to go off on you if you offer a kind voice, rather than an email that can be misinterpreted.

I've been the victim many times of misinterpretation of emails. Unfortunately, it's not always possible to email someone across the world or even carry on an instant message communication because getting past the miscommunication is often difficult. This post needs to be repeated often.

Agreed

Very true. I think this applies to text messaging/other-com-apps as well. Nothing can really match the intimacy of a phone call.

Yes, exactly. I can't tell you how many times I've been misunderstood by email or even text. It probably doesn't help that I tend to tease people, and that without tone, it comes off wrong. Also, people sometimes understand sentences differently. It's very weird to find out that what I thought meant something is being understood in a different way by someone else.

Email and text in general often doesn't capture the nuance, tone, word emphasis, etc., that is conveyed by speech, unless one uses a lot of formatting, emoticons, or other ways to mark the text, which can be more time-consuming than picking up the phone and still depends on the audience being receptive to and able of understanding it. I still prefer email for most professional correspondence, and sometimes for personal communications that are short and sweet, but in-person or vocal communication is often simpler, more direct, and less confusing for many situations, especially ones that might involve a lot of emotion.

I think it depends on the person, though. We all have our strengths and weaknesses when it comes to communication. The importance is the communication, not the method, although I think most people are strong verbal communicators.

To me, verbal communication is a disaster. True, I have ADD, so I lose half of what the other person says to me. I think a million things, but either nothing comes out of my mouth, or only half comes out, which leads to huge misunderstandings and miscommunications.

I cannot think and talk at the same time.

Email, on the other hand, is just a writing skill. If you can communicate voice and tone in a novel, you can communicate voice and tone in an email. Generally, if I confront someone or resolve a dispute in an email, the recipient feels great and thanks me. It's easy-peasy.

My preference has always been to talk on the phone when I have issues that need to be addressed. But considering how I suffer from not engaging brain before putting mouth into gear with an alarming frequency, I now do the bulk of my communication via the e-mail.

And I don't do normal e-mails either. Due to the nature of my job, I am forced to go above and beyond with so much information overload that I dare say that I could make most the commenter's heads swim if they'd read even one of my missives.

However, I loathe the "LOL" and the "lol". I find them highly insulting and the fastest way for someone to get on my bad side.

I agree. Sometimes we misinterpret the tone of an email and get hurt for no reason. I have also realized that talking on the phone when dealing with a sensitive issue is better than writing.

I have found that to be so true. We can't always read the tone of the other person and so it is easy to assume. Voice to voice is always the best:)

Too true. Sometimes when I'm writing back to an agent just to thank them for something, anytime I want to throw in something extra, I agonize over the words and phrasing so I don't come off as sarcastic or rude somehow. I'd love to throw in a smiley face as proof, but then that's not exactly professional.

Good advice Jessica. And if authors need another set of eyes, they should check out www.critiquecircle.com

I was introduced to it recently, and it has been wonderful to get feedback from other writers. My second novel is in my better shape for using this website and I am very glad I didn't send it to my agent before using it. Good luck! Sally

I would never EVER send anything to my agent or editor that was not as close to perfect as I could make it.

That being said... some agents are geniuses at spotting just what it is that's wrong with the book, when you can't put your finger on it! (I'm looking at you, Jessica!!) IOW, sometimes you are 'done', but something is just *wrong*, and in that case someone should see it before your editor, someone whose judgment you trust.

I can't imagine sending a rough draft to anyone but my family. I'd be horrible embarrassed for anyone else to see them. In fact, I have a deep fear that when I die, I'll have a rough draft on my computer and someone will discover it.

It's not just for the sake of editors/agents that we should do these things.

^^^ and that should say 'horribly embarrassed.' See what I get for sending a first draft?

That's the truth. I also want to point out that it's the same most times with smaller presses as well. Authors seem to think that a smaller press is desperate and not as strict about MS drafts. It couldn't be farther from the truth.

If anything a smaller press may even be harder because they have more invested. However, it's worth it all in the long run.

I'm curious.

If you have an author whose book you've already sold and they're working on something new, do you ask to see a bit of it before they're done (in case it's not something you click with) or wait until the whole thing is polished?

I would assume that, even in the case of sending you a sample chapter or two the author would still make the pages they sent as good as they could, but it seems like you'd want to know what they were spending their time on so you'd be able to anticipate the potential market for it.

Great tips, Jessica.

I have read that term before, "dream author" and it is understandable that editors want their jobs to be easier. After all, it isn't like they have only one or two authors to work with...right?

One of the main reasons I resist the temptation to travel the easy road (self-publish) is because I want my writing to improve.

Thanks Sally for the link. I am registering for that site now. I submitted it, but it is still pending. That would be a great link for my blog, too.

Lucy

I edit for a small press and I'm often appalled at the quailty of writing. I'm not sure if it's that the small press are getting less submission due to the trend in self-publishing or what. I would be mortified to submit some of the manuscripts I am having to edit. I guess this is what Miss Manners feels like in this day and age where social graces have fallen to the wayside.

Even a polished manuscript after acceptance will go through copy edits and still need a bit more work. I just finished going through the copy edits from my editor and a funeral is being held for all the darlings that got killed. A few paragraphs were deleted to speed up pacing... Sigh. Words of advice: Write tight! :)

Nice post. Thanks.

We all make mistakes - no manuscript over a certain length (10 or so words) is going to be letter-perfect, I'd guess.

So you should send your best work. You should be able to say "I'm fully confident that I could not do better."

And so pack it off and send it -- and then spend weeks going over in your head whether you used "effect" or "affect" correctly; indeed, whether you used "whether" correctly, or weather, or even bellwether.

I kid, I kid. Still, it makes me nervous. After a while I just get sick of all the words, and I think, "Well, at least an editor will be able to straighten this out."

My hubby keeps telling me to hire an local editor so I can get another set of eyes on my ms. before I send query agents again. Any thoughts? Personally, as a teacher, the idea makes me think he questions my writing abilities. Although seeing as how I'm still unpublished, maybe he has a point.

I don't have an agent; or a first published book. Talk about dreaming . .

But I know how I submit to my critique group, and I can't imagine doing less (OMG) for an editor.

When I first started the group, I sent everything. Then I learned some things about writing. Now I refuse to submit to them unless I feel it is "publishable quality". That way, they focus on the characters, plot holes, pov, consistent timeline . . Not on sentence structure, punctuation, spelling.

What I want to hear from my crit group - and eventually from my editor - are things like: I like this section, can you make it more intense; this emotion is all wrong for this character; or even the dreaded "I see what you want me to feel/think/get but its not happening.

My crit group has a couple favorite WIP from me, and sometimes they like: did you write the next scene, can we see it. My answer is usually Nope, not done developing that concept yet . .

The hardest thing for me is to submit while I'm writing something. Unless it's cuz I'm totally stumped and just need a brainstorming session.

This was really helpful Jessica b/c it shows that my crit group is probably preparing me well for the larger world of publishing.

Someday . .

........dhole

@Anon:

Mind if I respond? Silly question since I will anyways. You don't have to follow any free advice from another aspiring writer. Just an inexpert opinion . .

Your husband has the right concept with "get another set of eyes" on your ms. I tell you true, I've seen my novel(s) so often I have it memorized. Not what it actually "says" but how it should read if I wrote it as I envisioned it.

Its pretty awesome now (quoting myself and a few special interest friends/family/critiquers), but I've had this feeling about the writing through every stage of writing/editing/revising.

So you're pretty much were I was about 2 years ago. I know some freelance editors - through the blogs - and I think they're awesome people. But before you lay out the bucks, maybe you should check out your area for local writer's or critique groups. If you can't fine a face to face group, then start right here in making "friends".

Check out Jessica's followers - click on the pictures - and the people who comment.

See what you can learn from them. Post comments, ask questions. Find people who write in your genre and if you respect their writing enough, and get to feeling comfortable in your interactions, maybe you can do a critique exchange. Or find some resources for sites that are dedicated to the art of critique exchanges.

For free.

I'm a fan of free :) I'm also a fan of writer/bloggers. A great group of people who usually can't wait to share thieir insights, resources, and experiences - both failures and successes - and help a new writer along.

You've definitely come to the right starting place. An agent blog (Jessica being one of my fav's) will benefit you even if you go no further in the blogger experience.

You can click on my name an it will take you to my profile, and my blog. Unfortunately, I don't allow anonymous comments, but you can e-mail me (reference this post in the subject so I don't delete it as spam) and I'll send you a list of critique resources. Most of the links are posted on my blog, and on a lot of other blogs.

Good luck with your writing adventures Anon, however far you go.

.......dhole

I don't even show first or rough drafts to my critique partners or my editor. I need to be further along than that because everything could change.

I also wonder if the agent might wish to see how well you work together during the editing process. Do you handle/apply critique well? It must be frustrating for an agent to sign a client and find that deadlines won't be met and edits are like pulling teeth.

I second that, Laurel. As an author, you are more than just the product of your manuscript, which is why it's so important to be professional and courteous in this business, like in any other.

It isn't just your manuscript that an agent is presenting to an editor. That agent is presenting you as an individual, and wants to be sure you'll be someone who is not only pleasant to work with, but someone who can adhere to deadlines and be flexible when it comes to editorial advice.

I went through a similar round of revisions before being offered representation with my agent, and while I knew from the get-go how comfortable I was with her and her editorial direction, it was a wonderful thing to hear her say at the end of our revisions that she felt confident we made a good team.

Maybe I am reading too much into this, but I thought this writer was saying that the agent was making changes herself, not asking the writer to do it… Am I mistaken? Because if that's the case, then yes, it sounds weird to me. But if it is just a matter of the agent working with a writer and suggesting edits/changes, then I would say that that is “normal”--at least I have heard of it many times.

I sure wouldn't stop querying other agents.

"There is no such thing as “normal” in this business."

This sentence should be the title of a publishing blog.

Good post.

My understanding always was that if you're working editorially with an agent, you're ethically on hold with that agent until the outcome is decided. This happened to me after making the changes an agent suggested and waiting to hear back from him. Another agent requested material and I was honest with both parties about it. The new agent didn't want to see it until it was "free and clear," and after two months, I bugged the first agent for a reply. He let me go, I sent it to the second agent...and she rejected it in one week! That was a while ago, but I have an agent now.

Just a comment regarding edits--I rarely send my material to Jessica, but I recently sent a novella for her to check over, and she sent it back loaded with suggestions for revision. A LOT of revision, which I'm doing, because they all make sense. If you are not comfortable with the suggestions an agent makes regarding your work, it's probably not a good idea to sign with them, no matter how desperate you are for representation. At some point, you have to decide if you and your agent are on the same page--do you have the same vision for your story, and will your agent's suggestions have a positive or negative effect on your process?

I can look at the suggestions and comments I got from Jessica and know they make sense--which means that, while I won't follow everything to the letter, I will be able to rewrite my book and make it better. If I didn't agree with her ideas, she might not feel as strongly about the story, and I wouldn't be happy with the finished product. You have to be on the same page for the agent/author relationship to work.

I have heard that this is becoming more and more common. Agents aren't wanting to tie themselves, or the author, down if they aren't sure that the end results are something that they can work with. If you are uncomfortable with the process or the agent then thank them and go on your way. If you're working well together and you think there is a bright future then by all means keep working with her, but IMHO it would be respectful to stop querying until it is decided. I wish you the best of luck on the revisions and the agent.

Interesting post! Thanks for sharing! ;)

Also, I agree with Ryan. :)

@Anonymous: I think that would only hold true if the agent has asked for an exclusive. Basically the agent is volunteering her time and expertise right now, and might not even sign the writer. It wouldn't really be fair to expect the writer to wait around either, although if I were the writer I probably would feel I was going behind the agent's back, so to speak, by looking for others. To remove that ethical taint, I would be up-front with all parties involved if I continued to query. (All parties being agents who request a full or partial, plus the editing agent. No need to mention the situation in a query letter, really.)


From the writer's perspective, this can be nothing but a good thing. If the agent offers representation and you have a stronger manuscript, then it's great. If the agent doesn't offer, you can keep the edits or continue submitting the original ms to other agents.

Kristin, thanks, it was a touchy situation; I had just queried the second agent and received her request after the first agent's revisions. Maybe I just should have sent it, but I would have used the first agent's version, because it was better, and maybe I said too much, but I also felt it would be like going behind his back. So I pressed him for an answer. Would he have responded differently had I not pressed him? Who knows. He liked what I did, was just afraid he couldn't sell it. Anyway, I used his version to get the agent I have now.

Any time a professional offers editorial advice, it's always wise to consider. You'll learn from it even if you don't get signed with that agent or editor. Before I got my agent, this happened to me a few times and I know it made me a better writer. The experience alone of working with a professional is extremely worthwhile.

I think it's wonderful that an agent would go through the trouble of working with a writer prior to offering representation. I wish more agents would do so.

Jessica when I got to the submissions page and click on your name I don't see your interests just your email. I see your partner's interests, but would you mind posting what genres you are interested in?

I've noticed a lot of chatter on blogs lately with agents not doing their job. This can be frightening for writer working on her first novel. I am a researcher and crave knowledge. I also like to get as much information about someone I'm going to work with as I can. Is there a way research an agent's work ethic before signing with them? Can you ask to speak with other authors they represent?

eek, what a horror story! Great advice and good luck to the OP!

Laura, you can definitely speak to other authors agents represent. Before I found Jessica, I belonged to RWA and listened carefully when anyone spoke about agents. I went to agent workshops at conferences to listen to the agents themselves. Once I had an offer from Jessica, I asked her for client contact info and emailed and then called some of her clients to talk about her and how she worked. Everyone is happier when the agent/client relationship is a good fit.

"C’mon! I’m not buying that."

That was my first reaction, too.

My agent is so bad, they will only respond to me with rejection letters. One after the other, which is getting me nowhere. Sometimes I'm glad when their email is down.

Laura, also check forums like Absolute Write's and websites like Writer Beware. People will often post if they are having a negative experience with an agent, which could help alert you to some trouble areas in advance.

Even the Canadian Wilderness is no excuse - we have deer and coyotes and the occasional moose wandering through the yard, and the closest "urban" area is a 20-min drive away, a village of 375 people. My internet and phone work just fine out here. :)

Laura:

Also keep in mind that people will complain well before they will praise which means, as with anything, we always hear the bad much louder than we hear the good. I bet if you start to see names you'll find it's a small percentage of agents who don't do their jobs.

--jhf

Great advice, Jessica. Thanks for posting.

"Books aren't written. They're rewritten. Including your own. It is one of the hardest things to accept, especially after the seventh rewrite hasn't quite done it." Michael Crichton.

Sounds like the author is writing the book for themselves and not an audience, which is perfectly fine. If however they intend to write for an audience then by all means they should take a hard look at the manuscript and most likely take the much needed advice of the agents. Agents after all, know better than authors what will sell and what will not.

having never published or worked with an agent before, is it typical for an agent to suggest a re-write of a plot? Maybe my understanding of an agent's role is wrong...

I agree with Mike. If that's the case then why don't really they just self publish. Didn't the author mention they were well known. If so then use that platform to sell books.

Let's all keep in mind that agents are in this to make money as well. It's not personal. They have families, bills and

+1 to Mike Koch. Completely agree with his assessment.

I had the very same thoughts when I was reading the question.

@Karen, the role of an agent is to negotiate a sale of the manuscript (and various rights). It's not at all uncommon for a manuscript that shows a lot of potential but isn't *quite* there to be accepted by an agent. The agent then works with the writer to make the submission shine so it has the best chance of selling.

It didn't sound like the agent here was trying to change the plot. Instead he just wanted revisions to make sure everything was properly structured so the reader wouldn't feel the ending was out of left field and be disappointed with the story.

Jessica is giving great advice. And for those of us drowning in the query waters, DYING to get an agent, I think I can speak for the majority in saying I'd kind of like to slap this author in the head...just a little slap. Heh. ;-)

I once had an agent who I respected (still do) and valued her input. The ONLY reason we parted ways was because with the three MSS I wrote while we were together (other than the one she signed me for, and yes, I did TONS of revisions and it's a better book for it)we could never see eye to eye on my books. Not just one little part, but the core of them.

It stemmed more from trying to fit my work into a romance box when I was really meant to write something else. But that wasn't my agent's fault. It was mine for having not found my way before I signed w/her.

All that to say, the only time I would break ties w/an agent is if there are differences in the vision for your career as a whole. Not some little disagreement over something petty like one eensy part of the story.

This author needs to forge out on their own, because obviously, they have all the answers; leave the agents for the rest of us who are willing to work at the agent/client relationship and for the betterment of the MS.

I am going to agree with Mike's observations. It does sound a lot like this author followed his or her heart (not necessarily a bad thing), but is not taking thought to what might be sellable. More importantly, it sounds like they're not aware of what an agent's job really is. They're there as your business associate/partner. They're there to help you get the best things possible for you and your career. And if that sometimes includes pointing out where your work can be improved, all the better.

From reading the letter I definitely agree with Jessica, sounds a lot like the author has an ego. I mean if you can't take the suggestions of your agent, someone you presumably respect enough to sign with then how will you feel taking notes from your editor later in the process? The author in question seems to think that his/her books needs no revision. I think it's great that agents will care enough about a book that has potential to actually give notes instead of rejecting it for not being perfect!

This guy has had two bites at the apple, when most writers never get one! Seems to me agent #2 should have asked why he left agent #1. Agent #2 would have had a warning that this writer was difficult to work with.
I agree with the comments above. Good luck getting #3.

There doesn't seem to be anything "typical" about this situation. Obviously, this already famous author can afford to be picky and can also, seemingly, get another agent at will. After all, a book has been written about them. But they don't sound like they care that much if their book gets published or not.

Regardless of who was right and who was wrong, the assertion that the real secret here is to not "bother with an agent until you have a track record that establishes your credibility" is crazy. Without an agent, for an aspiring author, that's impossible and easy for him/her to say.

Excellent post and advice. As the author, we know what's going to happen and why, but unless we make that clear and interesting to the reader, it's not going to work. If the agent (ie: the reader) sees a problem, then there's most likely a problem. I've learned to take advice and criticisms in the manner in which it's intended--and that is to help me craft a better story. As writers, we have to put ego aside and consider the book and what makes it work--or not.

Karen--if an agent is interested in a project but feels it needs some work before they can find a buyer, they're definitely going to offer advice.

Critique is the only cure for Golden Word Syndrome. Sadly, the afflicted can rarely stomach the treatment.


In fiction, a last minute save with no prior set-up (especially through means that could be considered unusual or supernatural like an OoBE)isn't "realistic" in fiction; it's deus ex machina.

It doesn't even take much to set something like that up in a prior chapter.

And an agent saying that something isn't foreshadowed is NOT a religious complaint. It's a legitimate observation from someone who would rather not have readers throw the book across the room at the 2/3 mark.

Something else that I wonder about here is the mention of the 2nd agent wanting to rewrite the plot, and having that be a surprise to the writer. IF an agent not finish the book was such an ordeal the first time, why would you sign with a second agent who also hadn't read the book first?

This author isn't describing a desire for a "supportive" agent. The agents were supporting the author by not submitting the material as-is.

This line: "In the second, the agent's ego seemed to be more important than my success." is particularly telling. An author's success isn't only theirs, it's their agent's, too.

(My verword for this post is ironic subrartra, since my first thought was: What a brat.)

If the writer is recognizably famous and has a marketable platform, skipping an agent and going directly to a publisher should be doable. Evidently the book is shows strong potential.

Doable presupposes that the writer has the personality skills to slip in the gate. At that point, however, an editor is likely going to want to buff and polish the text. That will be a telling event.

Every reader earns an informed opinion. As a reader, that opinion impacts whether I talk up the book (or talk it down). Mr. Writer may be in the right on this. It certainly is possible. More likely, Mr. Writer's skin isn't yet thicker than rhinoceros hide.

I can't remember who said it, but the difference between fiction and real life is that fiction has to make sense.

I have to agree with the comments that the first agent seemed to be offering a valid critique, and though this is only one side of the story, the way the letter is written makes it sound like the suggestion of a revision led to a cutting-off of the relationship. Guess what? Good agents will offer critiques. I agree it could be quite jarring, and might turn many readers off, if a religious/supernatural twist is thrown in 3/4 of the way through the book without any prior hint that the book would incorporate some of those elements. Death can happen without warning, but surely there is a way to work in some subtle hints earlier on. Maybe the protagonists expresses skepticism about such events after overhearing a news story, or there is some hint of the connection between her and the person whose life she saves, and so forth.

Without corroborating evidence, I can't tell if you're fairly judging the motives of the first or second agent. But it might help to examine your role in all of this, unless you really are famous enough that you can just go to a publisher without an agent and expect to get published, or your platform/visibility will allow you to do well enough self-publishing.

Dave's comment made me LOL.

I appreciate your willingness to address this head-on, Jessica. It sounds to me like you nailed the issue.

This is wonderful! Thank you so much for this, I really appreciate how much advice I can get from blogs like yours before I even go into the finding-an-agent process.

Sarah Allen
(my creative writing blog)

As I read this, I couldn't help but think that a person who believes he is a self-sufficient island probably doesn't see the need for working with another human, which is what I see as the heart of the author-agent relationship.

An author who wants to be held as all knowing before he/she has any commercial success to base it on, is a naive person indeed. No one is all knowing - ever.

Mike was spot on. An agent knows commercial value, as well as literary. When you sign with an agent, it's hopefully based on research you have done into the agent's client list and successes within your genre.

There are great agents. Jessica is one of them in my opinion. I've have read here, more than a few times, excellent advice on choosing an agent. No where in that advice did I see any mention that an agent would cowtow to an author's dillusions of hyper-inflated self worth.

When you seek an agent, you seek a champion for your work. You also seek the wisdom the agent has gleaned by experience to shape your book into what will sell. Something an agent believes in and hopefully loves.

If you listen. If you learn and are willing to work, that champion will be there for you for years to come.

Maybe the author needs to take a deep breath, find a couple of stories written in a similar vein to his, and then tear them apart. After looking at the structure and analyzing what makes them work, he might see how he can better foreshadow those troublesome final chapters.

The first agent sounds like a gem. The second, not at all.

But the author also doesn't sound like a prize, based on this letter. I really hope the reason for that was the letter was written in anger, as a means of venting reasonable frustration over being back to square one.

Author, I wish you well. Keep working toward your goals.

However, please remember that if you "own" your failures, that means you can learn from them and do better next time.

If you blame others for your failures, however, then you're setting yourself up as a victim in your own mind. That might be easier on the ego in the short run, but in the long run, you're demoralizing yourself.

Whether you succeed or fail is up to you. Never (mentally) assign that power to another person.

I wasn't sure why the writer was so dead-set against revisions. It seems that foreshadowing in a sentence or two in several places in the book would be very simple, and he could leave in the dream that he thought was so vital. Without foreshadowing, a big event like that could seem ridiculous. While I read this post and the comments, I kept thinking of that phrase about TV shows "jumping the shark."

I can't help but wonder if the writer had his/her book critiqued by several critique partners before sending it out. Did the critiquers all think the book was ready?

Ms. Trite says:
Agents are to writers what salt is to potato chips.

Fiction has to make sense. In real life, things pop up out of nowhere and knock us sideways.

But in a book, we need to know that a character is going down that path that will put them in the situation where something will pop out and get them.

If you can't accept an agent asking for revisions, what in heaven's name are you going to do when an editor asks for revisions?????

Interesting and frustrating.

I mean, c'mon. TWO AGENTS for his book?!

The agent wants to sell the book. Why wouldn't the author want to co-operate to do just that?

I realize we all got to keep our voice, but if we want to sell our work, we have to understand the market and do what we can, within our integrity, to meet that market.

I'm with you Jessica. As a personal rule of thumb: If one person objects to a passage, I may question to understand where he or she is coming from. But if two people come back with the same critique, it's almost certain there's something not working.

Janice

I just want to commend you, Jessica, for taking the time to provide such thoughtful answers. I know how valuable your time is, and I appreciate that you use so much of it to provide constructive feedback so that others might learn. Keep up the terrific work. Blessings, Buffy

Correct me if I'm wrong but isn't part of The Call asking a potential agent "How much revision do you think my book needs?" and "What was your favorite part? Least favorite part?"

Shouldn't the author have had some kind of inkling how the agents felt about the book before signing on?

I agree with Janice...one person finding a problem could be subjective (though I imagine the chances of that are less if the person is a professional), but two says there is something wrong.

I'm not yet in the position to query agents for a novel, but I appreciate the chance to ponder what I'd do if faced with an agent's request for revisions. I hope I'd put my ego aside to take an honest look at my manuscript. It sounds as if this author had a difficult time doing that.

Thanks for tackling this issue in such a straightforward and honest way. It's great for newbies like me to be able to tap into your experience through this blog.

Totally agree with Jessica. As an ex-Agent I can only endorse her advice. That particular writer should work on her own until she can stand back and view her work dispassionately. I'm a writer myself so I know how difficult this can be but it has to be done if we truly want to be successful.

I would have tought that was done when an agent signed on a client. I'm surprised it isn't. It is so important to sit down and talk about where the author wants to go, and for the agent to inform the author where he/she hopes the author wants to go. Thank you for taking the time to listen to your followers and clients. It's feels good knowing you support our efforts. :-)

Just another reason why you're on the top of my list of agents to query :o) It's very refreshing to hear of an agent willing to make changes to better serve clients AND queriers. Commuication, respect, and honesty are very important to me- in all stages of the process.

As anon 8:53 said, today's blog is refreshing. After scouring dozens of agent blogs over the past year, it sure seems like they can get too busy to keep up on this kind of service. Bet it's a tough juggling act though.

Thanks for the insight!

Is there a reason you couldn't set up something like this with your clients? You could even include it in the contract when signing new ones. I'm sure most of your clients would be happy to oblige and let you know what you're doing well and what more they might need from you. It might even make them feel more comfortable doing the latter, by removing any fear that you might drop them if they have displeasure to voice.

Every year my agent and I do a sort of "state of the union" talk, we go over what happened in the past year, highs and lows, goals for the coming year etc. It's a great way for me to set goals and share them and if there are any issues then we know they have been aired

Must say, you sound like an awesome agent! As an editor, it's great to know that there are wonderful, nurturing agents out there.

Kristin:

I do touch base with my clients every year, especially if I see them in person, to discuss goals, etc and, frankly, I do try to talk to them frequently throughout the year to keep them updated. I think the trick though is that not all authors are comfortable having the "review" talk. They are happy to talk about what they want, but to really say to me, I wish you'd do this or change that, etc, etc can be difficult. My point here is that I think authors need to know that it's not only okay, but good to have that conversation.

--jhf

My company has upwards and lateral "review" processes - it's been really helpful to open up communication in a structured way. I think you'll be pleased.

I agree. I think evaluations are healthy and productive. I give them and I can tell you that I give them a lot of thought. My goal is to help those who work for me do the best work of their lives. I want to know how I can help them achieve the goals we've agreed to. It's all about communicating. Right on girlfriend!

This is so nice - and so refreshing. Authors and aspiring authors obviously appreciate that you share your knowledge and experience by taking so much time to blog, but it's super-nice to see this reminder that you do actually care about authors and don't just blog as an ego thing.

That said, I started my own company last year (as an ego thing) and can safely say that lack of performance reviews is one of my top five favorite benefits of self-employment!

A very common question in professional job interviews is "what other jobs are you considering". And the follow-up "Do you have any other offers?" For those of us hiring the employees, it's a great way to tell so many things. For those of us looking, the option is always there to give a vague response. It doesn't hurt the situation.

I guess it just makes sense to me.

My agent asked who else had offered when she was looking at my material. I figured it was a veracity check than anything else: hang around a writer's forum long enough and you'll hear a story of someone who made up an offer of representation in order to get agents to look at his or her material. (Yes, everyone agrees that's stupid.)

For that reason, I told her without hesitation because if she wanted to check up on me, she should feel free to do so.

Wow, I am SO glad that I've never even heard of this Agency Gatekeeper. They sound like a spurned/bitter/un-agented writer more than someone with any real advice. They also sound like a bad business person.

I can totally understand a prospective agent wanting to know who is behind other offers on the table of a prospective client. It's a very reasonable question.

In the horse world, if you've been given more than one offer to ride more than one horse for a specific event, there's no hiding what owners/trainers had made the offers. The entire point is to get the most competitive combination of horse/rider/trainer arranged so that you have the best chance at winning. There are a lot of factors involved and trainers/owners want to consider them all.

To me, an agent would be the owner/trainer in this analogy of the book world, and your book is the horse. Nobody is trying to suck you into any arguments (like a stranger's opinion would matter in a 'generations-old battle' anyway) and agents have a right to ask any questions pertinent to offering us representation, just like we have the right to ask agents any questions about an offer for representation.

Gatekeeper said...
"that just isn't fair".

That phrase is the phrase of children fighting over who gets to sit in front, who gets the biggest piece, who gets school shoes first.

Boys and Girls nothing in life is fair, nothing, nothing, nothing. It's either right or wrong.

Ms. Trite says: ask me what you will, the only dumb question is the one not asked.

Will I answer...let me sit in front, give me the biggest brownie and a new pair of Niki's and I'm all yours...I'll even make up an answer if you give me another brownie.

I hadn't heard of the gatekeeper before Janet's post but I don't think it's a blog I'll be following anytime soon. It's one thing to give your own opinion on how to do business. It's another to make such a huge incorrect generalization.

I would think that if someone came to you saying "I've got another agent who's made an offer," that asking, "Oh, who?" is a fairly reasonable question on the part of an agent (or any business representative, for that matter).

Philangelus calls it a "veracity check" which seems reasonable enough to me. The author is, to some extent, saying, "Hey, hurry up if you want to work with me." That can be BS in so many ways, that a simple, "So who's the other guy?" seems to me to be due diligence, if nothing else.

I was in that situation once and I told the agent and she said, "Oh, okay." Why not? If you're not lying, what difference does it make?

I'm actually a fan of Gatekeeper's blog. But I understand your point. I think there's a solid middle ground between each of your points: letting the author know that it's okay to *not* tell the agent who asks who else has offered representation.

I'm all about asking for what you want -- because otherwise you'll never get it. So from the agent's point of view, it can't hurt to ask. But I think a lot of authors are so eager to land an agent that they're nervous to say no to anything, especially at the point where an agent is showing interest in them and their work. It's good for authors to hear that it's okay to say no in this instance, that it shouldn't ruin your chances of representation (and if it does, you didn't want to work with that agent anyhow).

So who is Agent Gatekeeper and which agency are they from? Never heard of them. That alone makes me wary.

www.duosays.com

I read Janet's blog regarding this issue and I'm glad that you posted on it as well. I've never heard of The Gatekeeper. I have, however, heard of you and Janet Reid. This is why I follow both your blogs and love your advice, and I don't follow The Gatekeeper.

Thanks Jessica

Evidently, the Agency Gatekeeper highly underestimates authors.

Thanks for weighing in on this. I see so much bad advice on blogs like Agency Gatekeeper it's nice to see a balance with good advice.

I think everyone is really blowing that blog post out of proportion. The Gatekeeper was giving her opinion based on her own experience and some horror stories she heard. She ultimately said it was up to the author to decide the best course of action in this situation but it was ok to say no.

I read/follow several agency blogs every day, including this one and Janet's, and so should all aspiring writers. Hopefully we are intelligent enough to make our decisions regarding situations like this.

But I don't think it's cool to keep calling out a specific agent or blog because they have a different opinion. I mean, it kind of makes the Gatekeeper's point for her.

I actually agree with Gatekeeper. Sure, it may seem like a harmless question but you never know when it could open up a Pandora's box. We all know agents love to gossip--who doesn't?--even if they're careful not to name names (just follow their Twitter accounts). Besides, giving out this type of info could haunt you later.

What if the writer did reveal the agent and the first agent found out and withdrew the offer? I say that's offering too much information. I've had agents ask me which agents were considering my ms. before they'd even read it--why should I bother? We don't ask agents whose work is under consideration, do we? I'm sure they'd say "It's none of your business." Likewise.

It seems to me that Agency Gatekeeper is expressing discomfort with the question. So another response might be to say, "Why are you asking?" Just walking out means sacrificing a chance to understand not only the agenting business but this particular agent. It's an opportunity to establish open communication and trust.

Not to point out the obvious, but if I have more than one agent offer on the table, I'm naturally going to want to see evidence of each agent's sales and negotiating skills. Frankly, if one sits back all quietly and politely, and one asks for whatever information that will help her make the "sale" to me, then I'm going with the proactive one.

It's how I'd want her acting when she's selling my book! I mean, duh! LOL! :-)

I’ve actually been in a situation where agents who have offered rep asked about the other agents who offered. 5 of 6 had good intentions, but there is always one bad apple in every bunch, no matter the business. One agent in particular hung up on me when I told him/her who else had offered. They later emailed me a two sentence message saying that they just didn’t think it was going to be a good fit after all. No kidding. I later found out the agent who hung up on me was a blabber mouth who had blabbed about losing a particular best-seller to their competition, who they claimed was ‘an incompetent buffoon’. After nearly two years, the author is still living off of that advance, but, I digress.

In the end, I think it all depends on the intentions meant and results followed. If asked in a manner of curiosity so that the agent can in turn tell you what they can offer that the other agent(s) can’t, such as superb editorial skills and/or specific names of editors at various houses that would love what you have written--in other words, an agent guaranteeing something so that you are not waiting for months on end with no responses from either end--then that is totally different. That is the kind of agent I would want! But to ask with just the intention beating the competition while offering nothing to me in return, then no thanks. I'll stick w/offers 1-5, thanks.

I mostly agree, but there is one thing that would make me hesitate to give the offering agent's name.

What if it somehow got back to the agent that I was using her offer to try to get a better offer?

If I asked a guy to the prom and then I found out he was using my invitation as leverage to get another girl to agree to go with him, I'd be pretty pissed.

That's my fear...not that I'd enter into some age old controversy by dropping the name, but that I'd hurt the original agent's feelings somehow.

I still think Gatekeeper has a very valid point (and is entitled to her own opinion), but at least you responded to her post without resorting to name calling and obscenities.

Good on you!

Ditto to Marsha's comments.

It's actually good to be having this conversation as it allows all opinions to be heard and considered, leading to a better understanding of the process.

Here's my two cents...I think in any relationship, personal or business, it's always important to take the high road; act in an honest, upfront, and professional manner. Ultimately, you cannot control the behavior or reactions of others, only that of your own.

Thanks, Jessica (and Janet)...great post.

The Anons seem awfully paranoid about this.

Why would an agent, genuinely in love with a book, withdraw their offer of representation after discovering another agent is interested too?

Either they're (1) too insecure to be a good agent, or (2) they think the other agent would be a better match and are doing the honourable thing for the writer's benefit.

If it's (1), then good riddance to that agent. If it's (2), then they're a saint, which is weird, because saints are rare and you don't generally find many of them working in sales.

In other words, this scenario is not one we need to worry about.

@ A. Grey

In fact, Gatekeeper is a fairly well known, though somewhat younger agent; and a lovely person. I've been following that post and its comments, and found nothing particularly objectionable--just a differing opinion.

May I add, she's not the only publishing professional to use a pseudonym, as Editorial Ass, Editorial Anonymous, and Evil Editor can tell you.

I do however, appreciate Jessica's reasoned approach to disagreement.

L.C. Blackwell

As a design professional, it is perfectly reasonable to ask if other groups are also pitching for a project.

It is pushy, rude and breaching etiquette to ask WHO else is pitching.

To me, the moment where you contact other agents with the news that you've received an offer of representation is really powerful. It means that other agents might hurry to read your manuscript, looking at it as a commodity. If just anyone could say "I've received other offers" but don't say from whom, it means that anyone could bend the truth (or outright lie) to achieve that powerful position. It makes perfect sense for me from all angles to be honest about the offers you receive.

After all, if the offer is from a "bad" agent in some way, or you're embarrassed for whatever reason about that agent, you shouldn't be considering their offer anyway.

excellent post, Jessica

I don't understand the big deal in an agent asking who else is interested in my work. If they are the type to decide not to work with me because Agent So-and-So is interested, then I'm sure I don't want to work with them either.

I have an issue with all of these anonymous bloggers writing about publishing, agents and writing. It makes me wary, as another commenter pointed out, and just doesn't make a lot of sense. Perhaps this particular blog isn't so anonymous, but many others are and I don't understand the need to hide behind a pseudonym if all you're offering is 'good advice'.

By the way, should multiple agents like to be interested in my work, I will happily provide a list for each. Generational battle, Pandora's box, or catty bitch-fight, I could care less. Have at it, as long as in the end, someone represents the damn book.

To me, it's just like the whole "exclusive" issue -- the agent is not a bad person for asking it makes good business sense to ask! -- but you, the author, get to decide what your response is going to be. I had multiple offers and felt perfectly fine telling the agents who else had offered; they were all respectful and friendly about it. But a simple "I don't feel comfortable giving out tht information" is just fine too.

There's one very practical reason for agents to ask, which is that some share office space even if they're not at the same agency, which isn't as obvious as it used to be now that we're mostly querying by email and don't always know the physical address.

To me, it's a simple solution: If you're comfortable giving out that type of info, do it--if not, don't. Personally, I wouldn't reveal that info until I'd def made up my mind--and I'd think twice about signing with an agent that demanding.

I'd say I'd rather not "jinx" it or "Why do you want to know?" Agents just want to make THEIR lives easier, not yours.

Thanks for the breakdown Jessica. I do agree with your point of view on this one.

I would like to point out to some of the commenters who haven't yet read Gatekeepers blog, but are denouncing it solely based on Jessica and Janet's responses, GKs blog is actually a very informative and helpful blog. Just because you don't agree with one blog post don't cut it out forever. I've read a lot of interesting advice there, just as I have on Jessica and Janet's blogs.

Seems to me that one of the most valuable pieces of advice I've read time and time again from industry blogs is to get as much advice as possible. Read as many industry blogs as you can find. Make your own decisions on what advice to follow.

I think that you're being too sensitive Jessica! It's a subjective opinion different from your own and lots of others, that's all.

I'm with Marsha on this one: the defensiveness with which agents are circling the wagons proves Gatekeeper's point.

Once a regular peruser of lit blogs of all sorts, I became disgusted with this defensiveness among industry "pros" primarily because it is so often deployed against the interests of writers and the health of the community as a whole. And, every time I venture back, this assessment is quickly reconfirmed.

There is no good reason to ask specifics about other offers. To what purpose, exactly, could an agent put this information that is simultaneously ethical, beneficial to the writer, and beneficial to the agent and his/her agency?

Sure, some writers may lie, but the idea that such a question is a "veracity check" is outrageously disrespectful in the way it lumps all writers together in the dishonest category.

There's a word for this sort of gross generalization: prejudice. Lit agents expressing such an insulting prejudice against writers deserve empty inboxes -- or at least inboxes filled only with garbage writers who have no respect for themselves or their profession.

JJ -

The Anons of the world have always seemed paranoid about something.

=)

Colleen

I *love* the Gatekeeper's blog. I love her enthusiasm for the industry, her passion for agenting, and her helpful advice, opinions and insights.

Not to mention her recipes!

I also don't see how it really helps agents to know who else is offering on a project, most especially due to the power imbalance (at that point of the process) in the relationship between agents and writers.

Perhaps some agents aren't assigning proper weight to the result of years of rejection upon writers -- and how, for some writers, when finally faced with a chance of representation, saying no to ANY request from an interested agent can feel quite daunting.

And on that note, why put a writer in that position in the first place? Why make it about the agent in that hallelujah! moment? How about making it about the writer, *finally*? The whole process is stressful enough.

I just had five offers of representation last week, and not one agent asked me to divulge the others offering. I thought it quite classy of all five.

Now, as for a writer lying about receiving offers? I think the proof will be in the manuscript. I know I had agents saying to me, "I can understand why so many agents are interested in this ms ..."

Do agents get curious about their competition? Sure. But let's call a spade a spade, and admit that curiosity is just that -- curiosity -- period.

The only question I was asked, in the end, was if I'd divulge the agent I'd decided upon. I had no problem, in that instance, sharing that information.

Just my two cents.

In the first place, Ms. Reid's blog about the subject was just rude and unprofessional. The work in two different agencies but there should still be a line of professional courtesy that one shouldn't cross. IMHO, Ms. Reid crossed it. I would never consider her as an agent for that reason.

Why is the Gatekeeper wrong? Because you disagree with the practice that makes her "wrong?" Why can't we just say, "I disagree" and leave it at that.

I, personally, see no harm in the practice of being asked and answering the question. But then, we seem to be assuming that the Gatekeeper and her agency don't have a justified reason for the policy. I think before we start pointing fingers and saying, "you're wrong" or "you're an idiot," it would behoove us to ask why. And still say, "I disagree."

*congrats to emilymurdoch!*

That said, I am in total agreement with Jesse. If an author wants an agent, they will do all of the necessary research in going about doing so. I’m sorry, but I don’t believe that one agent is more right or wrong than another in this business. It was built on varying opinions, correct? If an agent asks what other offers that author may have and who those offers have come from, as said time and time again, it’s up to the author to divulge that information.

In my opinion, I owe you nothing but my best work until I have made a final decision and all the contracts are signed. If anytime I feel bullied or pressured by an agent to give an answer about something I don’t feel comfortable with giving, do you think I’m going to let them touch 15% of a regular commission plus foreign rights if I’m lucky? I think not. On that note, I don’t necessarily have a problem with asking, depending on intentions, but I do agree that continuously stating how wrong the Gatekeeper is just proves her initial point.

As I said, this business was built on varying opinions. If you all thought the same and loved/read/only wanted to publish the same books, none or all of us *struggling writers* would be published by now. I believe in agreeing to disagree, but in this case, it just seems a bit much. And in Ms. Reid’s case, I’m sorry, but her reponse was just extreme. The swearing didn't bother me, it was the tone. What the Gatekeeper said was a ‘crock of ****’ huh? Spare me. And that’s my two cents.

I do know who Agency Gatekeeper is, but I guess to divulge that information would be rude right? Or would it? *Chesire Cat Smile* Her blog persona is different than her in-person persona. I never would have imagined she would stir up this kind of controversy. My, my. Didn't know she had that in her.

Thank you for the congratulations, Valerie B! Very kind of you. : )It took many years of hard work to get here, and I'm savoring my cloud nine.

I have to agree with you -- stating differing opinions in a respectful, professional manner is a wonderful thing, but condemning those with differing opinions in the way done on the other blog was unprofessional and crossed the line, imo.

Our perceptions regarding what we see often have nothing to do with the truth.
Does that matter?
Yes.
The author has made up his/her mind and is skeptical; not a good fit, move on.

You can't explain away doubt, it always seems to creep its way back in when things don't go as expected.

Good question and answer. If I'm on the computer writing I'll tweet to clear my head and it actually improves productivity. I guess an agent will do the same. I agree that if you have this perception you should move on.

You should use www.socialkik.com to buy Twitter followers ... we purchased 10,000 Twitter followers from them and we're quite satisfied with the results. It was the best marketing and adverting expense that we spent to date. Sales are going through the roof simply because we have a 10K audience on Twitter.

I've never thought of my occasional checking of Facebook as what you said, a way of stepping away and thinking about things, but I think it's true!

My mind is working on a problem, and I need a moment, I read a blog and comment (ahem) or check Facebook and update.

I agree. To all of it. I tend to be a person who needs extended periods of absolute silence to really keep my brain focused. My husband is the exact opposite. He needs TV, radio, or people buzzing in the background and short but frequent breaks. Both of us are productive people.

But. . . I'd never be able to work with him and he'd never be able to work with me. Neither is wrong, we're just not a good fit for "desk work". So if he was a potential agent, I might love him to death, but I'd never pick him to be mine.

I think this is one of the things that should be taken into account when choosing an agent. It's all about the fit.

I don't use Twitter and doubt I ever will. Tried it for a time and found here is no one I want to follow that closely am not looking for followers at that level - it strikes me a trivial form of communication, ill-suited for serious thinking.

I do use FB for family/friends and logon daily - probably spend 30 minutes a day. I have a separate professional account and logon when I have something to push - sometimes 1-2 hours/day but usually just 1/2 hour to read and respond to posts.

I have noticed that some FB users are on almost continuously and they are always people with a lot of free time on their hands.

Social Networking is not really different from the water cooler. Some folks do a lot of socializing and some folks work.

This was my question, thank you so much the thoughtful answer. I do appreciate it.

Today (its been a few weeks since I emailed you this question and months after I was supposed to have an answer) I still have no response. However, I do know tons more about this agent -- where she went for dinner, who went with her, what they ate and talked about, the clothing item she's purchased and why, what she's eating for lunch, how her eighty-five agent friends feel about what she's eating for lunch, how she spent her Labor Day weekend, what movie she recently saw and how she feels about that, what music she's listening to and what she'll listen to next, and on and on. Unfortunately, I haven't learned anything more about her views on the pub industry, books, editors or anything publishing related, which, ironically, was the only reason I looked her up on Twitter to begin with...

It's true that perception isn't always reality. I get that. I do. But without being given a response on your ms, sometimes perception is all you've got to go on. To each his own, though. :)

Twittering makes me think of talking to my mother on the phone -- she's there, but not, listening to me, but watching Alex Trebek on Jeapardy at the same time. It irks me.

As long as my agent, or potential agent, is twittering and f-booking to schmooze potential acquistions editors, I don't care how much twittering they do. ;)

In all seriousness, publishing seems to be a very social and somewhat incestuous business. There are different cliques and circles, but it's part of the business and staying social is how things get done. In fact, it's the best reason to HAVE an agent, because writers aren't usually all that social, and they need to have that one bubbly, outgoing friend to get them into the 'good' parties.

Anon 9:44,
Your question is a good one, and I think a lot of us understand your frustration. However, I think it's a mistake to assume that this particular agent is spending all her time tweeting when she "should" be reading your pages. Personally, I need a quiet place to read, and I wouldn't do that with a desk full of paper work in front of me--I need to be curled up in my favorite chair. It may be that she reads partials and fulls during evening or weekend hours, which I suspect is the case with lots of agents.

While I understand that the wait is deadly (wait til your work is out with editors!) you don't know what her To Do list looks like, nor her desk, nor her To Be Read pile. My suggestion--stop reading her Twitter page! Trust me, you'll feel a lot better.

I try to maintain a presence on both Twitter and Facebook and tell myself it's for promotion, but the honest truth of the matter is, it's often my only social contact with anyone outside my office for days on end.

Like your water cooler conversations, Jessica, it's become an important part of my writing process--a chance to step away from the WIP and get a fresh perspective on things. And yes, checking out blogs is another aspect of the same need to recharge the batteries.

For those of us who work from home, there is never a time when we're totally NOT working. I don't think that's a healthy life for anyone, to be constantly involved in the book, though that's often the way it feels. Thank goodness for a few moments away throughout the day! And while it may look as if that's all we do, it's merely a small fraction of the time I actually spend writing.

I can't help but wonder if this person doesn't really know much about twitter or social networks. It takes all of two seconds to post on twitter. How much time does that take away from work?

Hey, I'm an actual client of an agent to whom I'm a great deal less important than social media.

If I had an agent who spent all day on Twitter, I'd fire her.

Ten, twenty posts a day on Twitter do not take a couple minutes. It means the person is spending hours reading other tweets. And frankly, it's unprofessional to go on and on about cupcakes and shoe sales all day in an agent/editor forum where potential clients have access.

I think the poster is voicing the frustration of a lot of writers: If you can't get to the queries within a reasonable period of time, then be closed to queries. If you can't read a requested manuscript in a reasonable period of time, don't request the manuscript.

Professionalism goes both ways.

ryan -- it's not "just" twitter, though the twitter entries are staggering.

Anon at 11:56 -- yes! those are my feelings exactly.

I've previoulsy suffered with an agent who, despite having a glowing social presence (twitter, blogs, contests, facebook, answering a well-known writer's site Q and A column, panels, conferences, etc, etc...) rarely followed up on subs and would take 4/5 months to sub a finished ms. I've been gobsmacked before, reading her "agent advice" (on her blog) on dealing with an AWOL agent, knowing she was AWOL for a lot of my time with her.

At some point, you have to look beyond the "personality" someone has created online and face what they're actually doing/not doing for your career. I just don't want to be stuck in that situation again (image over substance), hence my question. If you haven't been there, you might not understand.

Thanks everyone! :)

I think it was a great question as I've often thought the same thing...how can an agent be taken seriously when they complain how busy they are and have no time to read queries, etc. yet spend all day tweeting? I don't hold it against them, I just know I wouldn't want them to represent me. The best thing I've gotten out of Twitter is that after reading so many useless tweets I've weeded down my potential agent list.

As a writer, it really helps not to seem like an awful person. That's true with regard to editors or agents who might be considering working with you. It's true with regard to readers who might be considering spending money and investing time to see what's in your head.

Submission, whether to agents or to editors, is emotionally taxing, and it will make you a little neurotic, even if you are a balanced person. But try very hard not to be a jerk. There are other things going on in these people's lives besides your manuscript. That's true even if you are a client.

You need to understand what demands on an agent's time and attention are reasonable. It is not reasonable to ask somebody to set aside everything in their life to pay attention to you immediately. If you respect your agent and recognize that their time is valuable, they will like you better and work harder for you. It's good to have confidence in your work, but expecting extraordinary special treatment, especially prior to signing with the agent, marks you as difficult and potentially crazy.

Also, keep in mind that prospective clients are an agent's lowest priority. Waiting a month to six weeks for an answer on a full is considered fast turnaround; two months is industry standard. Agents won't move you to the front-burner unless there is a time-sensitive issue like another offer on the table.

Dan, I think several of the people commenting here are, like me, not potential clients but current clients of agents. We may be awful people, but we probably aren't.

I hope and assume that my agent has a life. But my agent also has a job. And this isn't a matter, for me and others, of the agent not dropping everything to deal with us but of the agent missing deadlines while blogging, meetupping and twitting.

It's a really good question. First, you can't really judge an agent by how quickly they get to your submission. It's only an indicator of how hungry they are for new clients.

What does matter is that there are two kinds of agents when it comes to social media and both have their pros and cons. The upside of one who does spend time blogging or tweeting is that they can provide some nice publicity for your book.

anon, 9:44
Easy for me to say move on.
If I were you I probably hang on as well.
Even though you know so much about that agent, you don't know everything. Maybe hanging on to the 'don't know' is the thing.

There are agents and editors I follow because they talk about their jobs and are insightful. I love hearing about new projects and what excites them.

Many answer questions on twitter and help people as well. To say that -- across the board -- someone is wasting time if they are on twitter or Facebook or whatever -- is unfair to the ones who really use the social media as an outlet to help others, and even cheer on and promote their clients and authors. I also think its important to remember that people work their day and have off hours and weekends in many jobs. But editors and agents tend to work very long hours and don't even get to read until weekends -- which means they get no weekend. If they want to pop onto twitter -- so what. They work hard and long. If they want to talk about personal stuff -- they deserve the break. How else will book continue to inspire them?

Also, staying entertaining on twitter keeps people around so you have influence to get them to look at books and so on.

My thoughts, exactly, to all the Anons! I've considered querying quite a few "popular" agents but after reading their tweets on Twitter, just said forget it! OMG why don't these people go work in an actual office if they're so bored and starved for "real" people interaction. In fact, I refuse to query ANY agent who's on Twitter more than once a day or so...and doubt they'd care one bit cuz they're way too busy tweeting. Guess they'd rather waste time comparing notes about cats and restaurants and mocking queries...Their loss!

I tweet a lot. I also wrote 4 thousand words today. So really, it seems a silly assumption from someone who has no real idea what anyone does those other billion and a half characters a day. We don't know each others' work processes, we just know ours. My own agent, for instance, often reads requested material in her bed in the evenings when she's not in her office.

People occupy social media in different ways. I said *people* on purpose because agents and editors are people. People who like cupcakes or shoes, people who like crocheting or model airplanes. People tend to talk about things they like. In the midst of all that, quite often, you'll find those opinions about publishing, but because people are more than their jobs, they're going to talk about other things. That's why it's SOCIAL media and not your website.

However, if said chatter bugs you, it's really quite easy to unfollow someone. Just a quick click of a button and it's done.

One last thing - an editor who requested material from my agent sat on that manuscript for over two years (we pulled it later). It had nothing to do with twitter or anything but that editor's work ethic, which did not match my expectations so we pulled the book. You'll fit with some and not with all. Oh and you'll wait. A lot. And then you'll wait some more. Think of this as your training wheels because publishing is all about waiting.

If I had an agent who spent all day on Twitter, I'd fire her.

LMAO. I was just skimming and wasn't going to comment until I saw this...

Um...if my agent was on twitter all day but was still selling my books? I couldn't care less.

If I'm feeling neglected as a client, then I'd re-evaluate, but just because she tweets a lot doesn't mean she's neglecting her job.

I know plenty of people who tweet a lot-me, for example-and don't neglect their jobs. I tweet like mad and still manage to get my deadlines met, my kids fed, to school, etc, etc, etc.

Now I can understand why the writer who wrote BE feels frustrated, but just because the agent is on twitter doesn't mean the agent is neglecting her job. I'm often doing twitter while I'm doing five other things-multi-tasking-many of us are good at it. And as it's already been mentioned, twitter is a very good way to clear the head and refocus.

Shiloh,

"...Um...if my agent was on twitter all day but was still selling my books? I couldn't care less..."

The whole point of the question is that the agent ISN'T doing her job. When an agent says they'll get back to you about your ms by such and such a week and then it's six, eight, nine weeks past that with no word, even when a heads up email has been sent AND YET they're on twitter every fifteen minutes, then yeah, they're either confusing themselves with a fifteen year-old girl, have no concept of follow through, or are on twitter so much they forgot how to work without an instant cheering section praising them because they ate a tuna sandwich for lunch.

As someone else said a few posts up. Professionalism should go both ways.

Just like authors, agents/editors put themselves out there to get more exposure and possibly more clients. Or just to have a social outlet. I don't see a problem with this. If they want to tweet about life as well, go for it. It's fun to see an agent/editor 'humanized'. Takes away the fear and God like status some authors give them. I actually prefer a social network savvy agent. Someone who's on top of the trends and times.

But the bottom line is look at the agent and how he/she's selling. Is he making sales? Are the agent's current authors happy? If so, what's the problem. Publishing always is and most likely always will be a slow industry. Like they always say...hurry up and wait.

Obviously the clients aren't happy cuz they're being ignored by these agents who put Twitter above their work. It's called PROCRASTINATION--and there's already too much of it in this slow as hell, time-sucking biz. Writers don't need to waste any more time on these ADD agents when they can go directly to editors and publishers who hopefully have better time-management skills.

"The whole point of the question is that the agent ISN'T doing her job. "

Actually, to read and find new clients in a timely fashion is NOT an agent's job. At least, not their primary.

An agent's job is to represent and sell their existing clients. When they have time in their schedule and a need for new clients, they read submissions.

It may well be the agent gave the 'x number of weeks' with the best of intentions, but is now caught up in other things. It could be that the agent has read the full MS and has concerns and is on the fence on whether to give detailed feedback or just flat reject.

Lack of response to follow ups can be concerning, but really, if this MS is with one agent, it should be with many more. Then when you follow up, it will be because when one does read and offer representation you can contact the others and let them know they now have a very limited time to decide or have lost the opportunity - IN A PROFESSIONAL MANNER. As in, thank them for any time they DID spend with your MS.


Or, you know, worry about someone's time on Twitter. :)

Wow, so many opinions on both sides of the fence.

Online social networking or not, it all comes down (in this case) to one thing that's a consistent need in any industry: setting realistic expectations, and communication (outside of online status updates). If you say you'll get back to me in X amount of days (weeks, months, years), please do. If you can't, please let me know why you can't. If you don't, and I ask when you can, please provide a new timeline.

I'm far less anxious about hearing back from the person who has said they won't get back to me until February of 2011 than the person who said they would get back to me in August of 2010...and it's October. The why doesn't matter so much to me as just knowing what to expect and being able to trust the timeframe I've been given.

"The whole point of the question is that the agent ISN'T doing her job. "

Actually, to read and find new clients in a timely fashion is NOT an agent's job. At least, not their primary.

Patrick said it much better than I could-the agent's primary job would be her current clients.

Now, it's always nice if agents follow through when they say they will, but life happens. If the agent NORMALLY reads queries at home versus at the office some agents prefer to?

Eh, sorry-agents aren't going to change their schedule to suit potential clients.

However, some people have already mentioned this writer is always going to have doubts, and I agree. I doubt it will be a good fit.

But...no matter where you go? Be prepared to wait. And wait. And wait more.

Publishing/writing is all about waiting. We live 18-24-36 months in the future. Books I'm writing now? I wont' hear back from my editors on them for 6-12 months. Readers won't see them for 12-24 months, or longer.

You will wait. A lot.

I think that the fact that the Agent is on Tw, which represents a very transparent accounting of time you think she should be using to get back to you, only serves to exacerbate the circumstances. I think you are already annoyed with someone who gave you a time estimate, has drastically overshot that estimate, and who has ignored your e-mails to ask for a revised estimate. The fact that in the interim you have self-flagellated by following on Tw so that you think you know what she is doing every 15 minutes is only serving to make things worse. Your due diligence phase about her should be over; now I think you feel more like a cheated-on spouse.

Clearly you are not a good fit for one another. This is the fault of neither party. This person likely will annoy you throughout your entire relationship, because you have differing ideas of responsiveness and what you perceive as her attenuated work ethic (she may work 18 hour days and all of that tweeting is really subterfuge to look like less of a geek ). It has always been my experience that if someone doesn't feel right during the wooing phase, it only goes downhill after the wedding. YMMV. I'd break up. Not over lunch on Tw, but I'd have that ms elsewhere. You need to feel comfortable; I recognise that generally the writer has zero power in these relationships, but you do have a little, and someone else will likely be a better person with whom to partner for your manuscript.

@latta

Jessica,

I have only recently researched "how to sell my book" and have to say I was one of the insane that thought the world should bow down and read my wonderful art...why should I have to do a thing but write? That being said, by chance at 2:30am, I found your company's website, found your blog, and if I never get published, I will be forever amused and entertained.

Brainstorming. That is something that I learned at an early age, and through years of self delusion, believed I never had to do while still being a serious writer. I thought that if it was important enough to put on paper, pure imagination would carry me through the end, producing the epic book!

Uh, yeah. So far, I have attempted many, but recently found only one coming to completion. The main difference? Brainstorming.

Self discovery is a double edged sword, affirmation is a rose with thorns.

I've never had an agent, so I don't know much about the specifics of it. But I do dream of getting one that will love working with me on my projects, that will give me suggestions and... well, brainstorm! I see agents and their clients exchanging comments on twitter, and I think that's what I want. Someone who can discuss my work with me, and who can root for me and my books in addition to selling them.
I don't know what an agent is supposed to do, but I hope it has to do with this.

I imagine it depends on the writer but I'd take your brainstorming sessions as a real investment in their career and not necessarily 'telling them what to write'. If the client doesn't want to use an idea, than I'm sure they just say so. Whether the idea is theirs or yours, i'd imagine it doesn't really change the agent-client relationship in any way. You only benefit eachother.

This post really struck a chord for me. I've been querying for some time now. And while I'm disappointed I don't have an agent and a book on submission, I'm even more disappointed that I am starting on my next project without some guidance from an agent who will help me establish my career as a writer. Some days, I feel like putting a PS at the bottom of my query saying "If you don't want to rep the book, can we still brainstorm for my next one?"

The brainstorming/collaborative relationship that an author and agent have must be the most important aspect because it is working toward long term results.
Thanks for the great post, Jessica!

Who wouldn't be honored to brainstorm with you?

I'd be guilty for getting too excited.

When I wrote my first manuscript, it felt like I was writing in a bubble. I hadn't connected with many people online - certainly none that I knew well enough to share my writing with - and no one I know reads my genre.

A few months ago I joined a crit group, and my approach to writing's changed completely. I can bounce ideas off writers whose opinions I respect, get their feedback, and improve my story.

I don't have an agent (yet!) but I will look for one who has a keen editorial eye and wants to be an idea bouncer with me.

Jessica, I think your clients are lucky that you're flexible enough to approach their work in whatever way suits them best.

I remember learning brainstorming in grade school. It drove me absolutely nuts. Draw the word in the middle then another word and link them and then another word from there. I had already skipped five words out but I had to go back and write each of them. Leave me alone, teacher! I've already found the interesting stuff.

I've read authors' accounts of discussions with their agents on what they should write next based on what they find interesting and salable. This scares the crap out of me. I want to cooperative. I want to be that guy people enjoy working with. But I don't want to be told what to write. I just finished by third ms and I already have 14 more queued up in my brain. If someone told me not to write what I wanted to write but to write something else they think would sell, I doubt I could turn out anything good enough to publish.

I have certainly benefited from brainstorming sessions with my agent, particularly when it came to the revisions of my debut novel.

For anyone who feels an agent who advises and brainstorms is interfering with a writer's work is, in my opinion, not enjoying the true glory of a writer/agent relationship. Collaboration is a thrilling and integral part of the partnership. There is no question in my mind that my work is stronger going out into the world (and my wonderful editor's hands!) because of my agent's recommendations as we brainstormed together.

Jessica,

Great post. I think this should be printed out and given to all new writers when they sign with an agent.

Faye

Why would you want to turn down anyone willing to brainstorm with you? It can only help and even if an idea seems crazy it could lead to another perfect one.

I think part of what makes a truly good writer is the ability to be open to all ideas.

I for one would love an agent to help me figure out my books -- which, of course, is very different from telling me what to write! I think *most* authors are seeking a partnership with their agents (and probably editors too). But as you said, what that partnership entails is dependent on the individuals involved... I guess if that author really doesn't want help from her agent in that regard, that's her prerogative. And it leaves more help/agent-love for the rest of us! :)

I could definitely use someone to help me brainstorm right now :P

I don't think there is a fine line between "brainstorming" and "telling an author what to write"--there is a HUGE cavern between the two.

As a writer, though I have yet to get an agent, I don't see my work as perfect, and I welcome any help with idea crunching and brainstorming to make it better.

When someone tells me they hate my main character, and could I please replace her with someone else, and to help me out they've rewritten the first three chapters of my novel... well, then they've gone too far.

Fortunately, few have come close to this level of overhandling. Most readers and fellow writers have given me extremely useful feedback.

I don't even have an agent, but the advice I've gotten from them has been invaluable. I've been working on a series of revisions for an agent since May and their insight has definitely helped me to figure out what wasn't working and why.

I wouldn't be going through all this work for an agent who hasn't offered representation yet if I didn't see the sense in their comments.

Great post!

Brainstorming with Jessica is a hoot. I've decided the woman has a truly convoluted mind...and no. You did NOT hear that here...

Point being, two heads are always better than one when you're working with the kernel of an idea. Tossing suggestions back and forth sparks new directions and concepts an author might never come up with alone. I still laugh about brainstorming w/Jessica for my DemonSlayers series. She tossed out "big book," I--thinking I was being witty--came back with "good vs. evil." Jessica said, "Send me a synopsis.

She got demon-possessed garden gnomes and a new series was born. It doesn't take much, but those sessions can spark all sorts of ideas--I consider them a valuable part of our working relationship.

The best ideas come from brainstorming sessions between authors, editors, and agents. Just as long as everyone understands the author is always in control and usually right (just kidding).

Since it's an agents job to know what's selling, it behooves an author to, at the very least, take a hard listen at what their agent has to say in regard to a hook or story line. For instance, I write straight horror. But if an agent or editor said, "Hey, Justin, use that dark writing to craft me a thriller about such and such..." well, I'd certainly take it under advisement.

To the best of your knowledge, is brainstorming something all agents do, or is it a necessary question to ask when signing? When I'm first starting a book I press tons of friends into service helping me think and talk through a plot - I would definitely be one of those authors who appreciate an agent brainstorming not only just ideas, but with the knowledge of what sells.

I've only had one experience with an agent and it wasn't particularly successful. She "loved" my sci fi/romantic suspense and we signed a contract. She suggested some changes which I made. And that was about it. I never heard from her regarding my book. In fact, the only thing I ever received from her was a copy of a historical romance and a suggestion I write something like that. The contract expired and I never heard from her.

Personally, I would love an agent who wanted to brainstorm with me.

When I was in grad school, a professor mentioned one of the best ways to birth great science at a university is to make sure all the scientists have their offices/labs the same building.

So they can brainstorm.

Thank you Jessica, a great topic. I agree with so many of the sentiments expressed above. I am as yet unrepresented, but can relate to how unique and malleable the process of collaboration and partnership can be.

For me--and at this stage of my writing career--it is all about inspiration. Inspiration fuels the process for me, from whatever means. If someone simply said write a book about *blank* I imagine I would utterly fail. I don't believe the emotion would seep onto the page.

One of the things I look forward to if I am offered representation is the collaboration process, presently and in the future. The novel I have written has so many elements I believe could be fine tuned to different audiences without gutting the essence of the story (more YA or Adult, more romance, action or thriller) because the elements are already there. Perhaps I should be concerned what I see as all of the pieces to a great story being viewed as novice and untargeted, but I hope to find an agent who will share my vision, know its marketability, and believe the work (and the writer) are close enough that their skills and experience can make the difference. Naive?

Ooh, I LOVE brainstorming, too! My crit partner and I send massive e-mails back forth with each other with whole lists of crazy ideas that might help get one of us out of a hole or unstuck. I love the idea of having an agent who would go on those zany side trips with me. Maybe someday!

- Liz

I don't think it's evil or manipulative or whatever other negative thing critics might suggest about an agent brainstorming with an author, but I'll just add the proviso that different authors (just like different agents) have different processes that work for them, and while brainstorming can be great for some authors, it can be death to others.

Personally, I can't cope with outside influences when I'm creating the first draft of a story. It just shuts me down completely. It's the little bit of rebel in my soul (which generally is quite happy to abide by rules and study craft and theory), but as soon as someone makes a suggestion when the story is in the earliest stage, I reject it automatically, even if it's a good idea, and on that I'd appreciate at a later stage.

For later drafts, I'm thrilled to brainstorm, and I'm happy to rewrite, etc. But input from outside my weird brain in the earlist stage is just counter-productive.

And that sort of fear of writer''s block might be behind some of the resistance to the idea of an agent brainstorming with a client.

That's AWESOME you like to brainstorm with your clients--good for you! What a lucky group...When I get an agent, that'll be one of my requirements: Must be willing and able to brainstorm crazy ideas for current and future projects.

To me, there's nothing more fun than brainstorming with an agent. It's great to feel that connection with someone, especially after the long months of writing and querying.

Having an agent who is willing to brainstorm should be every writer's dream.

Jessica, brainstorming is absolutely one of the best things about my job too.

I'm a children's writer and the sheer act of daydreaming and floating around in my child mind - sometimes with a pen and paper nearby - is my favorite part of the book writing process.

There are no wrong answers. As a matter of fact, it's usually well into my brainstorm - sometimes days in - that I even draw near the right answers.

I'm happy to hear that you dream along with your clients. And yes, I can attest that finding the best idea in one big brainstorm can be a daunting decision.

Great post!

There is a difference between interference and guidance. A writer needs an agent to guide and not interfere.

What a great post! I sold my first book without an agent, which was over-the-top exciting. Thanks to my critique group and others who read the ms. before I submitted it, I know how vital feedback can be. But brainstorming? Is that what I do with myself at 3 a.m.? How I would love to have an agent like you!

I find this relieving and hope to someday find an agent who takes the same approach as you. There are times when I just want to do it on my own. Give me my computer or paper and some writing instrument and I'm good to go, no outside input needed (for the first draft). Other times, yes, I want somebody to bounce ideas off or maybe help me figure out where to go with something, and it'd be nice if that person had some idea of the market, etc. For different projects, I may desire different amounts of outside involvement (again, for the draft). So yeah, this sounds good to me.

"an agent’s job is to partner with an author to help build a writing career."

And that is why I've spent the last decade pursuing a partner. I have had opportunities to go different directions and I've had moments where I feel jaded. After all I found my wife faster than I seem to be able to find an agent, but at least these days a few agents are willing to "date" me by actually reading my works. One day one might even pop the question.

An agent should try to use their influence on an author concerning what they should or shouldn't write. Writing is a business, and literary agents and editors know what sells and what does not.

One of my pet peeves as an editor at our literary magazine is dealing with authors who do not recognize the commercial aspects of publishing (even on the small, literary magazine scale). I know our audience, search submissions not only to find quality writing, but also to discover a unique literary voice which one may not find simply anywhere. If a writer asks me why I rejected them when they were published so many other places, the answer may simply be that I can find work like theirs at so many different venues.

I too am a writer who has learned to take criticism and accept advice, and that has helped enormously. So too, has my experience as an editor helped me to write.

My goal is to sell magazines, and an agent’s goal is to sell books. There is nothing alarming about an agent trying to accomplish this task with a “brainstorming” session to keep a writer relevant and marketable.

Geez, even bestselling published authors have to go through Query Hell? Again, and again, again. What a drag. No wonder authors are afraid to leave bad agents.

Absolutely query... it's vital that the agent you sign with be enthusiastic about the project they'll be representing, and for that they need to see a proposal.

There is no way *around* query hell, only *through* it.

Definitely query. I'm a nationally bestselling author of six novels published with a large traditional publisher. I pitched a novel to over thirty agents and was turned down by all. Only a couple of agents treated me differently because I was previously published. Most treated me like I just anyone in the slush.

Obviously there was something wrong with my project and I've since abandoned it but I was amazed that nobody wanted to take me on with my track record which included several starred reviews and all kinds of accolades. When they say this business is tough, they ain't kidding. I wished I'd stayed with my agent. She wasn't the greatest for sure but it's really rough out there and extremely humbling.

Great advice, as usual :)

Oh, I wouldn't so much mind the query process if I were a bestselling author. I think the experience is as different as heaven from hell for an aspiring author and a bestselling author

Claire

great advice. Especially liked what anon said.

I think I'm going to take up painting, opinions are immediate and if nobody wants to buy my art I can always hang it over the couch.

Great advice -- I hadn't thought about "what happens if the phone call leads to an offer" (and how that might limit your search for the best agent fit) -- but man oh man do Anonymous's comments sound scary... :\

Anon 8:18 a.m., I don't think you should feel humbled at all. I think you should be rightly proud of your accomplishments.

What is happening to you is a not a reflection on you, but a reflection on the system. If the system is not bringing back into the fold an author with a proven track record of creating quality works that make lots of money, that's a terrible flaw within the system.

You might consider e-publishing. Check out what J.Konrath is doing:

http://jakonrath.blogspot.com/2010/05/shaken-by-ja-konrath-press-release.html

With your name recognition, you'd probably leap to the top of the charts.

Thanks, Mira for your encouragement. I respect Konrath and his ambitions but I want to be with a traditional publisher again. After my failure with that novel, I brushed up on my storytelling chops and wrote another novel. I'm going to shop it again in the next week or so.

I have a few novelists friends who are going through the same thing. You don't hear about it a lot because it's embarassing to talk about. Hence my anon status.

Good advice, especially for authors who have proven track records with books and sales in one genre and are thinking about switching to another.

"Of course, you’ll need to dissolve the relationship with your current agent first."

But if you then can't find a new agent, or a better one, you've really *hurt* yourself.

We don't expect someone to quit his old job before going out to find a better one.

How about being completely transparent and telling presepective agents you have an agent but are dissatisfied with him?

Anon 10:41 - my support is heartfelt.

Again, I don't think you have anything to be embarrassed about!! You wrote several best-selling novels - any agent would be lucky to represent you, any publisher would be lucky to publish your works.

This really is a flaw in the system - a fairly serious one, from my perspective anyway.

So, I hope, in your struggles with a difficult and pretty nutty system, you don't lose sight of the fact that you are extremely talented and have a tremendous amount to offer.

If it helps - I'd trade places with you in a flash. I'd love to be a best-selling, praise-winning novelist, agented or not. Sounds like great fun to me.

You'll find your agent. It will happen.

But -- if you run out of options, let me know. I'll represent you. I'm not an agent, but for a best-selling author, I'll figure it out pretty darn fast. In fact, send your friends, too. I think I could make a good start at opening an agency with all best-selling authors on my list. :)

I wish you the very best of luck!

Great advice. A little disheartening to hear that even well-pubbed authors have a tough time then finding representation in order to change agents. But good to keep in mind.

First of all, I'm a published author, but not a bestseller. My work has gotten great reviews, but I had not sold enough to be a bestseller (yet).

Secondly, I don't think there is a flaw in the system. As with all things worth having, traditional publishing is difficult to get into, but well worth it. From all the things your agent (a good one, anyway) does for you (which is far more than simply selling), to all the things a traditional publisher does for you (which is far more than merely printing the thing), the system works and is worth it. It is a vetting process, and I think, basically a good one.

Also, unless you're self-employed, you go through a similar process to get a great job. This is no different. It requires dedication and perseverence - which reserves success for those who hang in.

Lastly, a "bad", or disinterested agent can be as bad as having no agent at all. I know because I had one and now I'm out there querying again, too. If your agent doesn't return your phone calls, and a lot of other things, then you're hosed, and you might as well end your relationship with them, because it's the same difference.

It won't be easy, but again, nothing worth having ever is. I *will* get new representation and I don't plan to give up until I do.

To the person who wrote the original question on this post, and to Anon 8:18, I say "Hang in there! You *will* succeed."

Anon 11:00, while not all agents know each other personally, a lot of them do, and they move in the same circles... if you contact one agent and tell them you're dissatisfied with your current rep, not only is your current rep going to hear about it, other agents may too. You'd be shooting yourself in the foot pretty bad, in my opinion.

Leaving an agent is more like a romantic relationship than a job. Leave one before you take up with another. It's the standard in this industry.

Jessica's advice about pitching a specific project, not just your authory self, is a great insight. Good luck, bestselling author!

Excellent post, Jessica. Leaving an agent is hard, but the WAY you leave him/her can make all the difference.

"How about being completely transparent and telling presepective agents you have an agent but are dissatisfied with him?"

No. Because all these agents will be able to think is, "If he did it to him, he'll do it to me someday." Make a clean break and leave with a clear conscience. Comparing what we do to "regular jobs" is ultimately just a pointless waste of time. It's not like other jobs and it never will be.

Oh, I guess I should explain why I think it's a flaw in the system. Briefly, since I've posted alot here today.

First, best-selling authors are extremely rare, and one that wrote six of them has a proven track record.

The industry survives finanically because of these authors. 85% of authors don't earn out. The 15% that make siginficant amounts of money are the reason the industry is viable.

For an author with a proven track record of making the industry money to be unable to find representation is mind-boggling. That his or her friends are also in the same situation is a serious and rather scary situation - scary for the industry.

It's not scary for the author. The author can e-publish. This person is choosing not to, but they can if they decide to do so. And all of that revenue will leave traditional publishing.

That's a flaw.

And once again, I want to point out that my prime motivation for pointing out these things is I'm trying to be HELPFUL.

I felt a need to post quickly and explain something from my perspective. Keep in mind I know nothing about Anon 8:18 and I'm primarily addressing Mira because I think there are a few misconceptions in what you are saying.

"national bestselling" while fabulous, can mean a number of things. It does not necessarily mean NY Times and absolutely, does not guarantee big money. I have seen a number of authors who have had "national bestselling" books at one time or another, but very quickly stopped making lists and/or never made quite as much money as the publisher was spending in advances.

An author who sold six bestselling titles has had a proven track record at one time, but there's no saying where that track record is now. Were those books published recently or 20 years ago? Did the last six books the author published have terrible numbers and maybe were not bestsellers?

I want to clarify, this has absolutely nothing to do with Anon 8:18 and I want to thank this person for allowing me to use her (him) as an example. I am sorry Anon is having a difficult time, but it sounds like you are a smart business person and will recover. You seem to understand this business.

I just want to make it clear that while Anon is struggling and has had success, there are a lot of variables to consider and being a bestseller once (or six times) does not guarantee ease another six times.

jhf

If you follow his blog, agent Nathan Bransford had to query for his YA novel, just like everyone. Who knows if what he was got him better treatment -- after all, being able to agent doesn't necessarily mean that person can write.

wry wryter:

As a former painter who's transitioned into writing, I've noted your exact sentiment. If you're in the visual arts, you can post all your work on a Web site and get feedback from all around the world. No one has to approve it first, and you stand a better chance of "being seen" and getting representation because of it.

Obviously having a Web site or blog is a marketing tool for an author, as well, but if you want to go the traditional publishing route, you can't post all of your novels for free before finding an agent. Very different product.

There's also no stigma to the equivalent of self-publishing for visual arts (well, at least not in the contemporary market). It's totally fine to rent a DIY space, organize a show, market the hell out of it, and get some attention.

Setting aside the making of either art form and how easy/difficult that part of the process might be for any individual, I think it's far easier to have your work seen and appreciated as a visual artist than as a writer because the norm is for people to look at it without buying it. (And it's a lot faster to sample; books take far longer to read.)

I find this pretty depressing, actually. I try not to think about it too much and just continue on.

Jessica,

Thanks for your gracious response. What you're saying is interesting to me. I would never have thought that best-selling doesn't equal big money. And I see what you are saying - we don't know the details of the particular situation.

So, if I'm pointing to a potential problem that doesn't exist in publishing, I hope I will be kindly ignored. But given the current landscape, if I have accidentally landed on something real, I hope I won't be. :)

As an aside, I realized lately that some people can perceive these rants I go on as a personal attack. I can not stress enough that they are not intended that way. I'm talking about an industry, not the people within it. I hope that comes across, and if it doesn't, I'm sorry about that! That's so not my intention.

Thanks for allowing me a voice on your blog.

I must admit I think of the popular book series I read/wanna read when talking about best-sellers. Pretty much I understand this market as based on the books, not based on the author. I know I'm not much help here since I am more of a vivid reader or artist.

"If you get an offer from a smaller press you have the opportunity to find an agent who can use that offer for bigger things."

None of this is obvious to me as an aspiring author. I think there is a disconnect in communication.

When I query an agent, I assume she never wants to hear from me again on that project if she rejects. So, why would I ask her about a Small Press deal? Or even if a Big Press offers and I need an agent? She didn't like it before, so why would she like it now? Aren't we told to find an agent who loves the story as well as the money?

Besides, we're always told how agents are doing this for the money and there's very little money in Small Press. So, how would I know she might want to take it on to get a bigger deal with a bigger press?

Unless you told me.

Which you just did.

Had no idea.

Thanks.

Kimber, I have to agree with you here.

I spent years querying agents, who often asked for partials, others requested a full, only to come back with 'you write well, but I'm not enthusiastic enough about your story...' Then, after a writer friend insisted I directly query publishers, I was offered a contract straight away by a small press.

Very helpful today, just what has been on my mind...thanks.

I'm confused by this line:

"possibly turning that small press deal into a big press, bigger deal"

Are you saying an agent would submit to bigger presses and make the small press wait? Or even turn the small press down all together for the chance of a big press? Or if you publish with the small press, an agent can still submit and make a deal with a big press regardless of first publishing rights?

Could you please explain...

Thanks, PLJ

My understanding has always been that agents aren't interested in negotiating small-press contracts. Which is probably why this writer asked the question about simply paying a fee to an agent for contract help.

I know several writers who were able to secure small-press deals--some after an unsuccessful agent search, some because they knew their book was better suited for a smaller press. Those writers then tried to approach agents, figuring a deal in hand would open some doors. Nope. The advances were simply too small to be worth the agents' time. (And I don't say this with any snark. It's a business reality.)

I think this writer asked an excellent question, and I wonder if a lawyer who specializes in publishing contracts would be the best route in this case--presuming the writer has already queried the heck out of the book.

This is one of those no-perfect answer questions.

To the questioner: If you have your heart set on publishing with this small press and only want an extra pair of eyes on the contract, contact a literary rights attorney.

That said, I have to agree with Jessica. What's your long-time goal, and will a (what sounds like) one-shot deal move you along on the path that will get you to your goal?

I think it becomes a problem only when the author has formally accepted the small press offer. Once you've accepted, it looks very bad for an agent to come in and take it away. But if you get an offer and you say you need to think about it, and then look for an agent, you may be doing yourself a service. I took an offer that a writer had gotten from a small press and sold the book at auction to a very large publisher.

But I think perhaps what is left unsaid here is that it has to be a.) a project that the agent likes and b.) a project that the agent thinks actually has potential outside of the small press. Not all do.

Yes, Jessica, please elaborate on Anon 11:27's question about this line:

"possibly turning that small press deal into a big press, bigger deal"

thanks so much

"When I query an agent, I assume she never wants to hear from me again on that project if she rejects. So, why would I ask her about a Small Press deal? Or even if a Big Press offers and I need an agent? She didn't like it before, so why would she like it now? Aren't we told to find an agent who loves the story as well as the money?"

Kimber An, I think it might depend at what stage the agent rejected an MS.
On a full, I agree, but at the query stage and agent might reconsider ( poor query, bad day, etc.)

Kimber (et al.), I think in this case the author did not query agents, but went straight to the publisher and got the offer. Thus, the agent never rejected the project--the agent's never even seen it. From what I understand, this isn't that uncommon in the academic presses, and happens occasionally in fiction as well (you know, that *one* author who's pulled from the slush pile at some publishing house, where the manuscript sat in a stack to the ceiling...).

That said, I basically agree with what Suzan Harden and Colleen Lindsay said.

PLJ:

I did a quick search of the archives because I assumed that was something I had previously covered. Doesn't look like it. I'll answer briefly here, but I'm also putting your question in my queue for a later post.

Yes, what I'm saying is that the agent could very likely submit to larger presses and make the small press wait, assuming you haven't accepted the offer and have followed the advice of my other posts on how to find an agent when you have a publishing offer in hand.

--jhf

Interesting question and post. Thanks for sharing.

I am an editor at a medium sized press,and any agent or writer who uses my offer to "leverage" someplace else is immediately dismissed and the offer withdrawn. In this case, I think this blog is giving poor advice to writers, especially in these hard times.

Anon 5:32:

There are many ways that business is done and I think suggesting that authors need to take whatever offer they have, no matter what, or fear the consequences is unfair.

There are also, as you know, many ways to make a great deal. More then once I've taken a deal from a smaller or medium size publisher (whatever that means) over the deal from a larger publisher for more money because of what the smaller publisher had to offer (more enthusiasm being the biggest).

It is in the author's best interest to explore all options, not necessarily as leverage, but to build the best career. It's never in anyone's interest to take a deal simply because someone threatens to pull it.

--jhf

Good post!

I don't know about the rest of yas, but this is scary. I wonder how often agents and editors look at things from the aspiring authors' point of view.

We spend many months, or years, toiling away on our novels, researching, revising, Tendonitis, all the while knowing ninety-nine point nine-nine-nine percent of the time when our query shows up it's going to take all of *two seconds* for the agent/editor to go, "What? No (insert trend here)? It'll never sell." And hit the delete button. (God bless agents who respond, regardless.) This can go on for years and many novels. We gradually move up the scale, requests for Partials, then Fulls, Personal Feedback, and then one glorious day we get an offer.

And then stuff like this happens.

I haven't gotten this far, but I can see how an author who has would just sit down and cry. And then grab the deal and run and to heck with the politics. More money? So the heck what? Publication finally after all that heck!

I can only imagine the stress.

As an aspiring author with my eye on NY, every book I write is sent "down the chain". I query the heck out of agents, then submit to mid-sized publishers that don't require agents, then move to small press. By the time I had the small press offer, I took it and ran. I know an agent that will review the contract but it's $250 and the advance I'm getting from the publisher is no where near that (sigh). Yes, I'd love an agent to pick me up "unpublished" and guide my career...but I was under the perhaps misguided impression that once an agent turned it down I wasn't to send it back. It's interesting to find out that it isn't such a hard and fast rule.

Brava, Jessica! Way to stand up for us writer folk.

And I understand small and medium presses are struggling - so I get that part, too - but please don't squeeze the writer. It's not our fault. And we have bills to pay, too.

Besides, isn't it good for small press to maintain good relationships with agents and writers - good for the long haul? Maybe you'll miss out on one, but then an agent might bring you the next.

And thanks for this post. Definitely food for thought.

You act like it's so easy to write a book! Maybe some writers can whip out a book in a few weeks or months, but it's not that easy for most of us.

What if we put our heart and soul into a project that we want to see published? An agent has dozens of books to sell, so they don't spend a fraction of the time that a writer does on their creation--so from the writer's oint of view, that sounds like a waste of time to write book after book trying to please a few picky agents and editors. Why doesn't the AGENT expand THEIR net and work harder to sell their client's books?

Why is it always on the writer's shoulders to keep writing new books until one sticks? Maybe the AGENT is to blame, not the writer! So why shouldn't we try to sell our own books directly and get the best advance possible? I'm game!

Anon 11:59:

I'm confused by your statement. I don't think it's easy to write more books, but if you want a career you'll need to write more books.

You ended by saying, "why shouldn't we try to sell our own books directly and get the best advance possible." You can sell however you want, but the point of this post was to try to get the best advance possible. I think that's exactly what I'm suggesting.

jhf

i really admire your work good blog .

Thank you for clarifying the statement and for adding my question in the queue for a future blog. Your blog is one of the first I check in the morning so I can get a better understanding of the industry.

Thanks again, PLJ

I signed for my first novel with a small press myself, sans agent Agents didn't want the book (a technothriller) when I queried traditionally. I think about 6 (seriously) said something to the effect of "I think this will sell but I'm just not that enthusiastic about it." So I sold it to an indie press that gave me a decent advance (between 5-10K). I thought about going back to agents with a contract in hand, but decided not to because I would no longer know if they were truly "enthusiastic" about my writing or if they just wanted to snag 15% of my modest advance. However, should I be offered another contract, I will be going out to the agents again. Because I think to start out maybe a writer can get by without an agent, but to make it in the long haul I believe an agent is necessary, or at least advantageous.

Congratulations to Paige! Thanks for sharing your journey to today's excitement.

Paige, congratulations on your debut! I have a question about that uncommunicative agent: When you fired her, did you get a list of her submissions? And if not, did that affect how you went about looking for a new agent? I may find myself at a similar crossroads soon, and I've heard that it's hard to find representation for a project that's already made the rounds.

First kiss, car, job, degree, first tumble in the hay, and wedding day. (hey that rhymed)The birth of a child and then watching that child lovingly walk away to the future, all of it as momentous as the day your first book comes out.
My first by-line...wow what a day it was.
Paige...enjoy ! Your life guided you to this moment, it's great is'nt it...congrats!
nn

Congratulations, Paige and Jessica!And thank you for sharing how it happened. Best of luck with the series, too!

Congrtulations, Paige. I loved reading this post. The book sounds fresh (who can resist a bad pun?) and fun.

Thanks so much everyone. It is very exciting.

Sherri -- when I fired my first agent, I didn't get a list of her submissions. I asked for one, but never did get a straight answer. I didn't continue to submit that manuscript so I wasn't too concerned. If your current agent won't give you a list of submissions and you want to continue to work with that manuscript, I suppose I would just be as honest as possible with further submissions. I've heard the same you've heard -- that's it's difficult to find representation for a project that's made the rounds. Just do what you can to make sure you know for certain it has made the rounds.

I wish you much good luck. Never give up.

Paige

Thank you for your quick and honest answer, Paige. I'm terrified of starting over, but I'm also dreading handing over this new manuscript. Lots of soul-searching going on here. Thanks again!

Congratulations Paige! Thanks for sharing. I love hearing how authors make the journey to their first sale.

Deb
http://twoendsofthepen.blogspot.com/

Congratulations, and thanks for sharing your history with us.

Congratulations! These kinds of success stories are really what keeps most of us going so thank you so much for sharing this!

Well done, Paige :)

This is great to hear. You read so many stories about how authors lucked out and got published first time 'round. It's good to hear that you stuck with it and made your childhood dream come true.

Congrats on your success, Paige! I feel like your story is sort of similar to mine. I spent the 90s writing really bad romances. I was targeting Harlequin/Silhouette, so I didn't even try to get an agent until I started writing young adult a couple of years ago. Now I have one...and it's a completely different experience. A lot of waiting...and that's excruciating! But I've found a really good agent and we have great brainstorming sessions...I'm so glad I found her! When I think of all of the agents I queried blindly, not researching to find out if they were actually compatible with me, I cringe a little. I lucked out, for sure!

Congratulations, Paige! Thanks for sharing this. I, too, fired my agent due to the same type of issues and also refused to give this agent more of my work. I did receive a list of submissions, but suspect some additions to the list were bogus entries. The warnings signs were there, subtle signs, but enough to cause a pause in me, and I should've listened. Now I look at it as a life lesson and am in search, as you were, for the agent that will be a good match for me. That said, it's encouraging to see that it worked out for you! Love mysteries and look forward to your books!

When you queried new agents, did you tell them about having been agented before (even though nothing was sold)?

And Jessica, does it matter to you if a writer has been agented before when there are no sales from said agent? Even if the work they are submitting to you never fell into the hands of previous agent?

Z.A.

Congratulations!

It must be a wonderful felling.
How do you feel about coming back to romance? Do agents accept an author that write in multiples genres, or will they only work with you in the mystery line?

Congrats, Paige!

I always say that the difference between failure and success as a writer is one more query letter or one more submission.

Great story of your journey to publication. Congratulations!

Again – thanks, everyone.

Sherri -- hang in there. One step at a time.

Way to go, Stephanie!

Z.A. -- When I queried for a new agent, I did not tell them I had been agented before. Since I'd put that manuscript away I just acted like I was starting over. Your situation is a little trickier. I know that agents and editors definitely want to know if your manuscript has been shopped (and where it has been shopped), but I'm not sure of the exact moment to tell them that information. Jessica?

Anon 2 –Some writers have different agents for different genres, some have one for everything. It all depends on the writer, the agent and the genre. But don’t be afraid to have this sort of discussion with your agent.

Good luck!

Paige

Wonderful story, thanks for sharing it.

Thanks for your feedback, Paige. I'm not shopping the same manuscript either. As you did, I put that mss away figuring some day I'll go over it again and see what I can fine tune, or else I'll have a good laugh. I've also taken the road of starting fresh and have started introducing my newest story to the agenting world. BTW, like your web site and your blog.
Z.A.

Thanks for sharing your path to success. I find these perseverance stories soooo much more inspirational than the overnight success ones. Best of luck with your debut!

Way to go!

I'll let the Utah Romance Writers know your book's out today.

You should come sign your baby away at the Park City conference in October!

Lesli

Congratulations, Paige!

What a thrill to learn, via Lesli's post on the URWA listserv, about your debut mystery!

Sharing your publishing journey here was a wonderful read. So I can only presume your mystery will be an even finer read :) I just put your book as Number One on my TBR list!

Alice

Congratulations Paige! Great to see your story. From one of your URWA chapter mates.

Stanalei

Congratulations, Paige! What a great story of perseverance.

Congratulations Paige. This is so great to hear. And you are so right about 'you know' when you meet the right agent.

Your book sounds fabulous!
Mary

I really needed this post today. Thanks and congrats to you, Paige :)

Elaine

Congratulations Paige and thank you for sharing your very inspiring story. Wishing you and your book the very best. Enjoy your big moment!

Congratulations! I'm so glad you shared your story. It is so uplifting to hear about authors journeys.

Congrats, Paige - what an exciting day this must be for you! I started writing "seriously" in 1995. This past November, I found my "perfect" agent and we're readying my YA novel for submission now.

Thanks for sharing your story. I wish you much success as you move forward in your career.

Sincere congratulations! What a great post.

Everyone's comments are so appreciated. Congrats on the success stories. Keep at it -- as Donna said: the difference between failure and success as a writer is one more query letter or one more submission.

Yep, I agree.

Good luck!

Paige

Congrats!

If you need some inspiration, come hang out at my booth this summer! It'll be my first year selling, and some company would be nice.

Congratulations! What an inspiring success story. All the best for the future.

Rachel -- what do you sell, and where's your booth?

Paige

Awesome post, Paige. Very inspirational. A good reminder to never give up, no matter what.

Best wishes for your debut and the rest of the series. I know it will be a smashing success.

That is one story I needed to hear today. All this waiting drives me crazy but its nice to know that perseverance pays off. Congratulations on your debut! Way to go!

Congratulations, Paige, for sticking with it and for finding such a terrific agent! I wish you all good things with your debut novel. Believe me, from one who took that long road to publication, this is the beginning of an entirely new phase in your life. It's a very special time--savor the moment and then get back to work!

We at BOOK'em Mysteries in South Pasadena CA take great pleasure in selling your book! The cover is an absolute knock out and a joy to see on the shelf.
If you visit California please come by to sign your books, it would be an honor to meet you.

Careful, Jessica - you're selling yourself again! ;)

In my experience there are many people in this world with a negative view of life. Those folks will try to pick a fight with whomever, and there is no reasoning with them. They pop up on message boards and inevitably post as Anonymous (there are legitimate reasons to post as 'anonymous', BTW, but lots of people hide behind anonymity, too) so they can incite a quarrel.

Those kind of folks are better off leaving a business where optimism and a cool head are necessary. Publishing is a hard knocks business, where you have to be tough and thick-skinned to survive. If you're looking for a fight, or if you're easily offended, then you're better off out of it.

And yes, we're all selling ourselves in this business as well as our product, whether that product is the books we write or the services we provide. Ignore the anonymous trolls looking for a fight; I'm sure they'll find it somewhere!

When I first began the query process, I dreamed of the call from an agent offering representation.

Nowadays, I dream about getting that call and then emailing the six agents reviewing my manuscript to tell them that I've been offered representation and see how they respond.

Perhaps the dream will one day encompass editors, too. Give it time.

Delilah: That dream recently came true for me. I had an offer of representation and had to let the other agents know about it. It was a wild ride for a while, but I feel I landed exactly where I should be. Good for you for aiming high.

We all need to sell ourselves. That's the nature of the business.

Dear Anonymous: Deal With It.

I shake my head when I read comments about how awful the agents are to the poor writers. I mean, have you ever gone on a job interview for a job you really wanted and didn't get it? If you're older than about fifteen, I assume it's happened to you a lot. It has to me. So what do you do? Whine about how hard it is to get a job, or go and look for another? If all you do is whine, I can guarantee you'll never get a job, let alone an agent.

I thought conferences were about lack of sleep, manic races to all varieties of transportation devices, and the search for luggage. I should have known there was an undercurrent of higher relevance ;-)

Great post, Jessica! And Linda Banche, your comment was right on.

First thing my agent did when she offered was tell me why she thought she was the right agent for me. She pitched to me just as she pitches books to editors. The Nonny is flat-out wrong.

When I got a deal offered to me on my book and contacted several agents for possible representation, I had two that it came down to. One, I had a very good conversation with. I liked her a lot, she was enthusiastic about the story and even thought it could sell to a bigger publisher. She was from a very reputable agency, had several clients in my genre, had editorial contacts that she knew my story would appeal to. Honestly, she gave me no reason to say no. The "sell" as it were, was great. I had every confidence she would be a great agent for me.

The other, I was equally confident in. I knew he would be good. I had been in contact with him through his blog. I knew he was savvy and would enjoy working with him as well. He was at the top of my list. He was the automatic yes vote if he offered. He offered. I was ecstatic, but still hemmed and hawed a bit between the two. The other had more experience working in this genre, established and proven with editors. I knew I couldn't really lose with either, but in the end, the top of my list won out. I felt really bad saying no to the other agent. I know it's a business and it happens all of the time, but still. She had done everything right.

The same can and does happen with authors. You can do everything right with your novel, but it still may not be the thing for an agent, for a variety of reasons. It's just the way things fall out some times.

Good post. Thank you. .

Agents are so in demand, that I think it's hard sometimes for writers to remember they are people - people who are dealing with the hard realities of life just like we are.

I believe you work very hard, Jessica, and try to do the absolute best for your clients and your agency.

I also imagine you're a pretty good saleswoman. You 'sold' me this morning. :)

I think this is a good example of a commenter having a negative experience with a less-than-professional agent and then lumping you in with her, instead of taking you at face value and respecting you as a unique individual.

Hopefully, the commenter will have more positive experiences in the future to help clarify the situation.

I can understand where this business can get discouraging, but bitterness toward those who only want success for you is not going to help you succeed.

Amen to that!

The thought that we don't sell ourselves to authors is ridiculous and only comes from someone who has never met with an agent at a conference or been offered representation.

But that's a tiny fraction of authors. You offer representation to less than 1% of the authors who query you (and that's a small fraction of authors out there). Probably fewer authors than that attend conferences, let alone manage to meet an agent there.

To the average author, agents look like they're standing on pedestals waiting to be worshiped. An author has to be extremely lucky to even get the time of day from an agent.

I agree whole-heartedly with Remus Shepherd. Of course there are a tiny fraction of books that incite an agent's attention and then they are more than ready to sweet talk the writer into signing.

But more often than not, agents respond months and months after a query and even when they are interested, they ask for a rewrite before offering to sign you.

Once upon a time I did have two agent offers for a ms and the one who "sold" herself best to me won. Then she promplty put me on the back burner and later dumped me all together after only a handful of subs for the ms.

Lesson learned: some agents like the chaos and "chase" of signing what they deem a sought after client, but that ferver doesn't necessarily translate when it gets down to the nitty gritty of being dedicated to sell the thing.

Gotta love those anonymous commenters and their amazing insight. lol

We all should be selling ourselves all the time - by putting out the best work we're capable of,educating ourselves, researching the market, and dealing with other people in the business in a polite and respectful manner.

I am so thankful for my agent. He sells himself constantly by letting me know what the status of submissions are, mediating any teensy potholes in the editing process and checking in to see if I'm on track with my WIP.

And that's not counting the contract negotiations!

LOL...I love a good rant to start off the day. I can't think of an agent who works harder at selling herself than Jessica. From writing this blog to the regular columns in Romantic Times magazine, to attending conferences all over the country where she sits on panels and does workshops, to her stellar representation of her clients. It's all about going above and beyond what the job actually requires.

This is not a business for sissies, whether you're an agent, an editor or a writer. It's hard work, it's rewarding as hell, but the competition to stand out from the crowd never ends.

To Remus & the Anon: I appreciate that you guys feel that way, but I think what we all have to keep in mind is perspective.

Agents don't *ask* us to think of them that way--authors/writers think that way when they're discouraged and feel that they're being treated unfairly.

Intrinsically, the system is set up to be fair. Just because only a few make the cut doesn't mean it's the judges' fault or that they want us to treat them as gods. It just means they're doing their jobs. Like everyone else :).

Getting published is like being accepted into the Olympics. Not all athletes are going to make it, and that doesn't make it unfair. It is what it is :). If it were easy, it wouldn't be The Olympics!

i think, on a daily basis, or where ever there is interaction in getting an agent or in any business for that matter, both sides always has to sell themselves. No matter what each side thinks what ace they have or power the hold, you gotta sell yourself.

This is a heartening post, to think that an agent may actually want to work with someone like me. I've worked hard, joined critique groups, attended conferences and workshops, and revised again and again. I also devoted countless hours to ensure that my small press published book, which I sold with no agent, gained critical attention and traction in the marketplace.

I had been skeptical about working with an agent but thanks to this blog and others have learned what an agent can do and how I should communicate with a prospective agent to make sure we have a positive and productive relationship. So thanks, Jessica. And if I'm able to take the next step in my career, you'll be part of the reason.

I've never had anyone who didn't try to sell me on signing up with them. They're all salespeople.

One quibble: I would expect more negative posts to be anonymous. That doesn't mean anonymous critical posters are negative. My guess is many of the more accomplished professionals who disagree with you are going to do it anonymously, because there's nothing it in for us to put our professional name out in a public venue like this. Getting into a public squabble with an agent on a bulletin board is not a good use of a writer's brand name.

--And yes, this post is a bit of a rant, but after a while I get tired (as do many of the readers who honestly post, learn, and give constructive opinions) of the anonymous who feel they know so much more than the rest of us.--

This isn't uncommon. An agent's hot passion can cool very quickly if they don't have immediate success. I've had a number of agents and they were all a mixed bag. They all praised me out of the box, a Hollywood agent declaring I was a "genuis." Mostly, they were good people and good agents, but they were businesspeople and a certain point I moved from a high to low business priority.


--Once upon a time I did have two agent offers for a ms and the one who "sold" herself best to me won. Then she promplty put me on the back burner and later dumped me all together after only a handful of subs for the ms. --

Is this really a serious problem? I mean does the typical writer want to be schmoozed, or do they run out and scream, "I finally have an agent who likes my book?" I think the latter. And if you have more than one agent interested in representing you, be grateful Mr. Grisham.

Great post!

And amen on being fed up with the "anonymous" know-it-alls.

Whenever there's a power imbalance in a relationship, the party with less power will usually, eventually, get angry. It's human nature. Hence, the anger some writers feel toward agents.

The truth is, when querying, it's easy to feel as if a writer has no power, and the agent, all of the power.

(On that note, it's a big reason why "no means no" agent rejections, although understandable as a time saver, further stir the power-imbalance pot.)

That said, I just want to say how grateful I am for the *constructive* anon commentors.

It didn't escape my notice that many such anons were the more established, already agented writers, and as a writer working with an agent (for the first time) on revisions, I've found those insider views and experiences (on all topics) to be positively *golden* -- like sign posts along the way.

Love your blog, Jessica! Thanks for the generosity you exhibit in helping writers not only navigate the road to publication, but succeed along the way.

As they say, knowledge is power!

May I ask if the blog doesn't like Anon comments why do they let them on the blog?

Yes, anon comments are sometimes negative, simply because this is a super hard business, with a super steep learning curve, and the balance of power does not tip in favor of the writer. If someone does have a legitimate grip they obviously don't want to be branded a "complainer or whiner" on a blog. I've read other Anon comments about problems with agents or editors and been relieved that I wasn't the only one. But this isn't my blog, it's Bookends.

Why not just banish Anon comments all together, rather than being surprised by it? Truly, I don't get it. :)

Has anyone noticed that we don't know who most of the bloggers with "names" really are?
I write anonymously b/c every time I try to use the name I chose, I'm told my password is wrong. It's the password I chose! So I gave up and write anonymously.

I actually think that the poters wuth names are more fame than the anons. This is because the ones with names are essentially Internet Billboards, advertising themselves to their respective industries. Anons, on the other hand, are speaking freely,m enencumbered by the facade of pretentious politeness put up by the chest-puffing account holders whose only goal is to promote. You don't know what they reall think. they're jsut typing what they think will endear themselves to the industry.

it's also worth noting that most of the named posters are current aspirants who will fall away within a couple of years after they realize they're not going to make it in the publishing business. No longer with a purpose, their accounts are left to fester in obscurity, or in some cases are re-tooled for some new pursuit.

We anons, however, will always be here. We post anon precisely because we've already BEEN in it for the long haul, and will continue to be.

So in that sense the anons offer truer advice than the so-called "Internet Billboards" which most publishing blog posters fall into.

I've been in the game so long that I trust my own longevity to outlast any Internet "account." I do't even bother to create them any more because I will be arouond longer than they will. But anon--anon is good forever, with no hassle of signing up, retaining login info, receiving junk mail, etc.

Anon is REAL.

When Blogger goes under or gets bought or merged or just falls out of favor, all the Billboard names will be no good, in fact--icons of a failed venture--while the anons will still rertain their identities.

"Whenever there's a power imbalance in a relationship..."

Another newb misconception debunked:

There is a "power imbalance" between agent and writer, but it's not the one you think. The greater power is definitely with the writer, PROVIDED that the writer produces commercially in-demand material. For those writers, it's the agents who compete.

For newbie writers, yeah, agents have more power, but it's not much in the way of real power, since agents want to sell books, and that means repping bestsellers, not newbs.

Jessica, I enjoyed this post and appreciate the thoughts about an author choosing the best agent for them. I would agree that both the author and the agent need to sell themselves.

A follow-up question, out of curiosity: Have you or other agents you are aware of ever offered un-solicited representation? That is, have you ever approached an author before they approached you, simply because you found out about their book and had interest in it, and then sold yourself/your agency to get the deal?

I could guess that this may happen at conferences, etc., but with social media increasingly being used by both authors and agents, it makes me wonder if these types of connections are starting to take place more often.

It can ocassionally happen, Daron, especially if the writer is selling on their own through Amazon or otherwise making a name for themselves on some kind of platform, but I wouldn't sit around and wait for it to happen.

This post made me so, so happy. Thank you! Recently I became concerned because an opportunity I had with a publisher never once made me feel like they needed to sell themselves to me. As a result, I doubted their ability to really promote my book. I decided not to go with them, but I've doubted myself. It's hard to walk away from a publishing opportunity when you want so much to see your book in print.

Your post, Jessica, proves to me I was right. That the RIGHT agent/publisher will want to reassure me that they are the right fit for me and my book.

And if I've totally misunderstood and you really think I was still nuts for passing on a contract ... shhh ... don't tell me. Let me live in happy ignorance a little longer.

Daron, another reason an agent may approach a writer is if s/he has a short story that appears in a prestigious literary journal.

I've read posts from writers going off on agents. This is a new one for me. To assert that agents don't need to 'sell' themselves to their clients or publishers is simply ignorance on the part of the accuser. I suspect anyone making that point simply doesn't understand sales. Most likely they have never worked in sales. If they did, they would understand one of the key tenets of salesmanship is this: you sell yourself before you sell your product. Agents are in sales. Of course there is much more to that but every day in every way an agent sells himself: to his clients, potential clients, editors, publishers, whatever. Anyone under the impression this is not so simply doesn't understand the process and the business.

Seems to me agents like the thrill of the chase--and once they land you, they're no longer interested unless a few editors are immediately ready to sign you up.
Books are not candy, people--they must be savored over time to be appreciated.

Enjoyed the Anon comments--maybe we have the most to lose cuz our names *are* well known, at least in our biz...

This is a great post! And very true. So often you hear from authors that their agents don't listen, but the turn to that is agents know what they're doing. Very nice to know that you respect the clients enough to listen, hopefully you'll continue to have clients that return the favor.
This is true to other areas of life and business as well. No one wants someone around who doesn't respect you or others.
~K

Great post ad very appropriate since I'm shopping for an agent now! Thanks so much for sharing your insight.

I think what some inexperienced authors forget is that an author and a good agent are a team. A team is always stronger when it works together and each member recognizes that the other has something important to offer.

Think of it like a good marriage - united we stand, divided we fall. Compromise is the key in all things, because there is always room for improvement.

I know I need an agent who is experienced and knowledgeable in the field - one with contacts, experience in the trends, courage to take on a fresh voice and concept, one who can help me navigate contracts and direct me in making a wise decision.

It's why any writer who is serious about succeeding would want a good agent. I don't need someone who can just submit my work when I tell them - hell, I can do that on my own and get the rejection quite nicely as well.

A person with success is normally surrounded by smart people who helped them achieve that goal. I plan on getting a smart agent to help me become a successful writer. I don't think any writer worth their salt would deny having a ringer on your side always makes your team stronger.

Which is, of course, why I submitted my story to you ;-)

Tactfully, and respectfully stated. It really hit home for me when you said that your reputation is on the line as much as the authors. Most of us are just fumbling blindly in the dark, hoping that someone will hand us a flashlight so we can see the path we need to follow. I didn't realize that where we shine that light reflects upon its owner as well.

Thanks for the education.

I think this can be helped along enormously by the way the two parties communicate with one another.

Communicatios is often impaired by how one person dealt with the person who came immediately before.

Just because the last aspiring author an agent talked to was a lazy researcher, for example, it doesn't mean I am too.

And just because one agent ridiculed someone's last name, doesn't mean the next one will.

I think it's hard for people to let go and accept each individual at face value. But, if they can, I think it leads to more effective communication, which makes the respect obvious.

What's the use in talking to someone who obviously has no respect and, therefore, will not listen?

I can see how an agent with excellent communication skills would come in mightily handy.

I've never understood why anyone would hire someone presumably for their expertise and then not listen to them. Doesn't make a particle of sense. The author/agent team has to have mutual respect and a willingness to listen.

I'm only a month into my agent/author experience, but so far I have nothing but the greatest respect for my agent. I have no doubt she has my best interest at heart, so why wouldn't I listen to her suggestions and take her advice seriously? Some people are just know-it-alls and are hard to work with. As the saying goes, "it's their way or the highway."

You, Jessica, have always appeared to be a very understanding and compromising person. If an author is being exceedingly difficult, maybe they need to move on.

The bottom line is, if you - as an agent - are not on board 100+% w/a project, how are you going to sell it? As you said, your reputation depends on your pitching projects that you're totally excited about. What author would want anything less?

This is exactly why I think the publishing world will always need agents. Authors need someone, a publishing expert, to be honest with them about their work and career. (Totally not the point of your post, but it's what came to mind.)

This is such an important post. As an author, it's easy to get caught up in a project--face it, our minds our often bursting with ideas that, once implemented, don't always work as well on paper as they did in that stew we think of as our brains. I've proposed a few things where I'm sure my agent thought I was nuts, but I've learned to trust her instincts AND her experience.

That's what it all comes down to--trust. I write, but I have to trust my agent to be honest with me and to do her best job for me. It's not always easy--another thing that seems universal to writers is that we're all control freaks (I know that's why I love writing--the chance to think I'm in control of SOMETHING!) and turning control over to another person isn't easy, which takes me back to trust. I'll do my job and trust my agent to do hers. So far, it appears to be working.

I think C.J. summed it up nicely when she said: "I don't need someone who can just submit my work when I tell them - hell, I can do that on my own and get the rejection quite nicely as well."

We absolutely need agents to tell us the truth and to listen that truth :). How else are we going to be successful?

Another great post, Jessica.

I completely agree. Mutual respect is so important. Both the writer and the agent have skill sets that are extremely valuable and should be treated as such.

I also thought your point about how agents need to maintain their reputation was well-spoken. I actually hadn't thought of it that way, but seems obvious now. :)

I can tell you'd be a great agent to work with. Lots of open, honest communication. :)

You sort of said this, but it's worth reiterating.

We aren't just hiring an agent for expertise and knowledge, we're also hiring an agent's reputation!

So it should be a no-brainer to respect an agent's opinion on what she can and can't (or will and won't) sell.

If you want freedom to write something outside of your agent's comfort zone, then be prepared to either sell it yourself, or work with more than one agent. (And make sure your agent is comfortable with that too.)

I just want to say that I love your blog! It has helped me tremendously in my process current process of searching for a literary agent. When I needed information on query letters I went to your blog. When I needed information on a synopsis I returned to your blog. Thank you!

What you say is true, and can be said for any relationship in life. Communication and professionalism is very important. A lack of respect can cause a lot of problems in a personal or business relationship. I hope that once I am fortunate enough to obtain an agent that we have a good working relationship.

"I’ve spent years working with authors, publishers, other agents, and editors. I’ve spent years learning the ins and outs of this industry and making connections to keep on top of what’s happening, and certainly I hope that you have respect for that."

This more than anything, is what an agent brings to the table.

Do you find that the "lack of respect" you encounter is more from a first time author basis, or previously published authors? I know for me, if I were to land an agent for my novel, I'd take what they say VERY seriously. Last time I checked, they were the pro right?

I hire an agent for her skills and experience, to help guide my career down this dark path. If I don't listen and respect that person I am working against myself.

I am a proud person but I respect others because I in turn expect to be respected...

It blows me away that there are Authors out there who act this way. The relationship should work for all parties involved, if it doesn't why bother.

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That above comment is laced with offensive profanity!

One agent has had my (requested) full for almost four months, and another for almost five months.

I'm not holding my breath. I've written them off completely. It's still disappointing though, that even after a polite status check or two they can't be bothered to say, "Hey, no, I don't want it!"

When this happens to me I tell every writer I know so they can be steered clear of the annoyance.

Of the three agents I have approached, one specified ten days, the second sixty, and the last ninety.

At least they announce upfront how long you might expect to wait. Still frustratingly slow and I cannot think of any other business that treats potential clients so cavalierly.

I see the need for that extra time. It takes a while to read the manuscripts of the clients you are contracted with and then to make edits on top of that plus find time to read unsolicited manuscripts! My head is spinning!

On the flip side of that, I think writers tend to be impatient personalities so this just adds to our pain.

At least once you have an agent, you know your work has interested a professional. That has to give you a boost, knowing your work isn't total trash.

Are you talking about an author's actual agent? Or an agent an author's trying to land?
If I'm reading it correctly, it's the former. That's insane. My brother and I work with a manager for our screenplays. If we have to wait more than a weekend for him to read a new manuscript, we're all over him to get it done. And we haven't made him a dime.
4 weeks! That's outrageous. Lose myself in another work? It took me eight weeks to write the first draft of my novel. You're telling me if I sign with a literary agent, it could take them half that time just to read my next book? I mean, I understand if I'm just submiting a requested manuscript before an offer's on the table. But once an agent signs a writer, they take 4 WEEKS to read 400 pages? Sorry, but what does an agent do again but work with and submit their clients' manuscripts?
With advances dropping to next to nothing, you guys need to pull it together. If you're busy, change your process or decrease the # of clients you hold. There are an increasing number of ways to make money from writing. I mean, in four weeks, I could have my manuscript edited, published by different online services, and create a website and marketing campaign.
Or I could wait for an agent to... um, read the book. Gee, thanks... and writers are impatient! That's not impatience; that's a reaction to BS.
Maybe a writer won't make that much money from self-publishing... but from what I read, it's a fat chance I'll get much money from the agent/publisher machine.

I've got agents reading fulls now. SO GLAD I read this post in case one of them offers. This issue will absolutely be my first inquiry. I thought four weeks was a long time for an unrepresented author to wait. Wow, I can't get over it... no wonder publishing's dying.

One thing I've learned is that things almost always take longer than you think they're going to--and that works for both agents and authors.

When I'm writing or doing revisions things always take longer than I think they will.

I like Jessica's advice: lose yourself in another project.

This is probably obvious but I'll add it anyway: Check in with your agent if you have a question. Sometimes that anxiety isn't about the time, it's about communication.
Hopefully you and your agent will settle into a mode of communication that you are both comfortable with.

Anon 10:44,

Not sure if you're new to this blog, or any other agent blogs, but the reading times Jessica quotes are fairly standard across the board, even for agented writers. And trust me, they're reasonable.

As for what an agent does for her clients, it's a whole lot more than reading and responding to my work. (A little research on this blog and others will fill it all in for you.)And she doesn't see a penny from her labors unless and until I do. That's a lot of unpaid hours.

Just something to keep in mind while you're waiting for all those agents to get back to you. . .

This is another great argument for going with a newer agent with fewer clients. I LOVE my agent.

It took me a week to work through minor revisions and, during that time, if I had any question as to what she was looking for, I emailed her. She usually got back to me within an hour. When I sent the manuscript back, she reread and copy edited the entire thing in a week and we went on submission the following week.

I too was a little confused on whether this was unagented person getting revision requests from a potential agent or not. But my question is, I thought after the first novel, the one you submit to get an agent, the rest of the novels are supposed to be done on spec--proposal packet only, ie, chapters, synopses, etc.

So if you are waiting over a month to hear back from revision requests from your agent, are you supposed to be working on a proposal packet or a novel in the meantime?

Rosemary is right. Anon, screenwriting reading time is much faster than novel reading time.

And "managers" (a category that can charge any amount, unlike agents) usually only have a handful of clients so they can hand hold. But you're paying for it, which is why you're better off getting a real agent instead. Managers often attach themselves as producers which is dead weight when trying to sell your script. Only a few working screenwriters have managers.

I don't know. A month to not only read but thoroughly edit a book seems very reasonable to me.

What's the big rush once a book is being edited? I would want someone to take as much time as they need to do their best.

In terms of deciding on representation, that seems alittle different to me. It doesn't seem like such detailed, meticulous work. Yes, it's a big decision, but Anon 9:44 - I agree. That would feel bad to me to wait 4-5 months. So exciting to send a full, and then just not hear back. Painful. But that's a different place altogether than having someone who has already offered representation take their time.

Long waits can drive you nuts. One very respected agent held onto my full for over six months, but every time I prodded they'd ask for more time. So I was convinced they were interested. Finally I withdrew it from submission when another agent expressed interest and only then did they say they liked the idea but wasn't sure they could sell it. NOW they tell me that? What a waste of time!
The other agent didn't work out but it was such a relief to pull that ms. from their consideration. I wouldn't want that kind of agent anyway.

I'm now waiting on other agents who seem to think the grass is greener cuz they spend all their time going to conferences, etc. while my REQUESTED FULL ms. languishes in a pile. Why do agents keep looking for new clients when they don't have time to service the ones the have?
Is it greed or disorganization or laziness? In any case, it turns writers off and they'll keep searching until they find one who treats them and their time with respect and consideration.

So basically we are all on a "Month-to-Month" lease.

Good to know.

Why not create an "unofficial" industry standard? One month turn-around for a partial (up to 50 pgs) and 2-3 months max for a full. If the agent doesn't respond by then, they're not that interested or too busy to do a good job of representation anyway. Then the writer is free to market or accept other offers. Seems fair to all concerned, and takes the writer out of waiting limbo. Any opinions?

I had to chuckle a little when I read through these comments. In my ‘day job’, I work for a large corporation. At the end of August, I moved my desk by 1 cubicle. As part of the work order submitted (because God forbid we move ourselves) they neglected to move my phone. It’s been almost 8 weeks and they’re still ‘working on it’. Same thing with new software—6+ week service level agreements are not uncommon. I’m talking about software I could download myself in 2 minutes if I knew I wouldn’t be escorted out the door for doing so. Target dates are pushed out or missed all the time. The cogs move slowly in big machines. Traditional publishing is a big machine.


As I reread this post and think about my own experiences, I wonder if we writers would mind so much if we could truly assume the agent was still interested. If I had an agent proactively tell me they were taking so long to respond because they were mulling it over, I’d be a lot happier about the wait. But when an agent sits on a requested full ms for nine months and I get nothing but silence, I wonder what’s going on. Did they lose interest? Are they mulling it over? Are they about to go out of business? Did I offend them so severely I’m undeserving of any response at all?

Of course, this is my imagination running wild (and aren’t writers good at that?). I could conjure up all sorts of scenarios for their non-response, but for my sanity I like to either (a) give them the benefit of the doubt if the agent is truly someone I think I’d like to work with, or (b) assume not interested and move on (this might mean withdrawing my submission from consideration)

Bypassing the agent, self-publishing or e publishing might be the quick fix (like downloading my own software). It’s tempting and it could be satisfying, but is it the right thing for your career? Maybe it is, maybe it isn’t. But when I’m stuck in a waiting pattern, I remind myself that ultimately it’s still my choice.