STATUS: This week is all about royalty statements reviews. Getting reconciliation to prints, following up with questions, fixing errors spotted. The usual.
What’s playing on the XM or iPod right now? OPPORTUNITIES by Pet Shop Boys
I’m sure that those of you who have struggled to find an agent as of late won’t believe me but writers are a hot commodity at the moment.
More so then I’ve seen in my whole career.
For the last six months, any project Sara or I have wanted, we’ve had to fight for. In other words, when we offered rep, the author already had, bare minimum, five other agent offers on the table in addition to ours.
Ack. What is up? Talk about stiff competition. Every time I see the sale on Deal Lunch for one of those projects we wanted, I can’t help but groan aloud. Grin.
I thought it was just me but then an agent friend emailed me this morning to literally to say the same thing and had I noticed the increased competition for any project. We ended up in round robin email groan fest on the topic with another agent for most of the morning.
But seriously, I’ve noticed it. In 8 years it hasn’t been as tough as I’ve seen these last 6 months.
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Blog: Pub Rants (Login to Add to MyJacketFlap)
JacketFlap tags: offering representation, agents, new clients, Add a tag
Blog: Pub Rants (Login to Add to MyJacketFlap)
JacketFlap tags: editors, deals, agents, publishers, agenting, new clients, Add a tag
STATUS: Back at the hotel for 30 minutes before I need to run out again.
What’s playing on the iPod right now? COME BACK TO ME by David Cook
I mentioned in our November newsletter a couple of weeks ago that Sara and I just absolutely loved a submission that came our way, offered rep, but alas the author went with another agent (as there were many agents interested).
I heard today that the project sold at auction for some money--with tons of houses bidding on it.
Ack. Hate that. But you know what? We tried for it; we were in the game. We loved it. Obviously lots of people agreed.
And for all of you, this is good news. This means Publishers are willing to step up to the plate for projects—something I was rather worried about as of late.
But truthfully, I wish editors hadn’t told me about it. Ignorance can be bliss…
LOL!
Blog: Pub Rants (Login to Add to MyJacketFlap)
JacketFlap tags: research, agents, submission, new clients, Beginning writer mistakes, Add a tag
STATUS: For a Monday, it was actually fairly quiet. Only one major issue to solve.
What’s playing on the iPod right now? RASBERRY BERET by Prince
I thought this a pertinent and timely entry in light of a lot of recent discussions I’ve seen in the comment section of agent blogs lately.
Megan’s debut hits shelves this week—all done with nary a networked connection.
I think every aspiring writer hears this message at least once: You don't have a hope of getting published unless you've got connections. I saw it pop up on message boards and websites as I was preparing GIVE UP THE GHOST for submission to agents, and couldn't help feeling nervous. After all, I'd never talked to an editor or an agent in my life. I didn't even live in the same country as most of them! And my close writer friends were currently unagented, so I didn't have a referral, either.
But I'd also read posts by authors talking about getting picked out of the slush pile, and agents mentioning their excitement at finding a gem in their inboxes, and that gave me hope. So instead of digging into my savings to fly off to every conference I could manage, I simply wrote a query letter, revised it, and started sending it out.
Three and a half years later, I have an agent, a publishing deal, and a book that just hit the shelves. I met Kristin in person for the first time this past May, two and a half years after we started working together.
I know now that there's nothing to worry about--people receive offers of representation and book deals without any prior connections all the time. I did, many of my writer friends did, and I've happily told this to writers who've said they're afraid they won't be able to find an agent or get published because they don't know anyone.
Unfortunately, I realized offering my experience isn't enough. Why should anyone believe me over those claiming that it's impossible? Maybe my case was just the exception.
Which is why, last month, I set out to collect solid data. 270 fiction authors from a variety of genres filled out a poll asking them about their experiences selling their first published novel. With the results now in, I say with assurance that the idea that you need connections to get published is nothing more than a myth.
62% of the agented authors who responded got the agent who sold their first book through cold querying--no prior meeting, no referral.
72% of the authors sold their first book to an editor they had no connection to (either by cold querying themselves, or submitting via their agent).
You can find my full discussion of the poll results here.
Can connections help you out? Of course! But if you don't have them, don't sweat it. I'm a Canadian author who signed with a Denver agent who sold to a New York editor without my having any prior connection to either of them, and that novel can be found right now in stores across both countries. If I can do it (along with more than a hundred other authors who answered the poll), there's no reason you can't, too.
Blog: Pub Rants (Login to Add to MyJacketFlap)
JacketFlap tags: submission, requesting material, new clients, Add a tag
STATUS: It’s really too late to be blogging but there you have it.
What’s playing on the iPod right now? SHE’S LEAVING ME BECAUSE SHE REALLY WANTS TO by Lyle Lovett
Now I have to say that I really don’t consider 10 days as snoozing but the reality is that another agent was faster. It really is as simple as that.
And what most of my blog readers know (or are learning), every situation is different. Perhaps we were not the dream agent for this particular person and another agent was. I know so many wonderful agents; it wouldn’t surprise me if I actually knew who ended up landing this project (Now I don’t because the writer didn’t offer that info and we didn’t ask.)
Do I think a writer is obligated to tell other parties that have partials that an offer of representation has been made?
Nope. Not if we only have a partial. Now I’d love it if they did, but we don’t expect it.
When we request a full, however, we always ask in our request letter that the writer keep us apprised of any other interest. There’s nothing worse than spending a weekend reading a full, getting excited about it, then finding out on Monday that the project is no longer available. Ack. I could have spent those 8 hours on a different manuscript.
But it’s not like we are going to send out the agent police after the writer if they don’t inform us of an offer. It is the writer’s prerogative after all. But boy, I really do think it’s helpful when a writer does give us that heads up.
Despite best efforts to read in a timely fashion, I always feel like I’m 2 or 3 weeks behind on my reading than where I should be.
Blog: Pub Rants (Login to Add to MyJacketFlap)
JacketFlap tags: submission, requesting material, new clients, Add a tag
STATUS: Just a note to let you know that on Friday, I’m off to New York for my month-long corporate rental and Book Expo. I’ll be giving y’all the inside scoop on everything I hear from editors.
What’s playing on the iPod right now? ARE YOU GONNA GO MY WAY by Lenny Kravitz
Sara and I went to lunch today as it was 80 degrees and just lovely. We popped over to Green Salad Company to get some leafy lunches and then sat outside soaking up the sunshine. We try to have lunch together at least once a month so we can touch base on both work related things but just personal stuff too. Reconnect so we aren’t always about work.
Today Sara suffered her first disappointment on this lovely road to agenting. A project she was really excited about and interested in taking on landed an agent before she could request the full. Ack. I hate that feeling.
So we were talking about the timeline over lunch.
On May 1, we received the query regarding the project. On May 2, Sara responded asking for sample pages. The author didn’t actually upload to our database until four days later on May 6. Today is May 12 and yesterday (so May 11) Sara read the sample pages. Today she eagerly opened the email program to send off a request for a full but noticed that the author had emailed us.
Yep, that email was to tell us that the writer had already accepted representation. Sara was hugely bummed. Now maybe the manuscript wouldn’t have lived up to her expectation upon reading the full but she doesn’t think so. She really liked the voice and the writing.
So from query to asking for full—10 days. Ain’t that fast enough? Guess not!
Blog: Pub Rants (Login to Add to MyJacketFlap)
JacketFlap tags: editors, agents, submission, agenting, new clients, Add a tag
STATUS: I totally forgot to blog last night.
What’s playing on the iPod right now? LONG HOT SUMMER by Style Council
It sometimes happens that a writer lands an agent, goes on submit, but then the agent gives up after just a short time or a few submissions.
Personally, I can’t figure out what the agent was thinking. Why bother taking on someone if you don’t think you can commit for the long haul? Besides, every agent I know has a story of getting 30+ rejections and finally selling the book. It only takes one! Such a cliché but often true. I’ve even heard of agents taking up to 2 years and 5 years to sell a project.
But that’s an aside. Let’s say this has happened to you (as awful as that would be). Here’s the info you need to be an animal about getting from that former agent. Bug that person with emails and phone calls (politely of course—I always advocate being professional and polite) but do annoy them until you get the exact names of the editors who saw the work and the imprints/houses. And if you can get the responses, that’s even better!
Why?
Because if a new agent is going to take you on, it’s imperative to have that info. (And just about every agent I know has taken on at least one client who has been previously submitted so it happens.)
Here are a couple of reasons why we need the info:
1. If I have the submit list in hand while contemplating offering representation, I can clearly see if I think the former agent sent the work to the right editors or not. If they haven’t, heck, I’ve got a clear field and can probably sell the work by getting the project into the right hands.
2. Having the info allows me to weigh my decision on whether I think there are enough viable other places to take it to.
3. The editor list lets me see if an editor has left publishing or has moved to another house and suddenly, I’ve got a clear shot at that imprint again. It’s musical chairs in publishing.
4. The editor list allows me to pinpoint an editor who has already seen it (maybe a year or more ago) and I can sway him or her to look at it again if we’ve done a big enough revision on it that I can pitch it like new.
5. Some editors are notoriously bad at never responding and if that’s the case and I see that on the list (and the responses you have—or lack thereof), I can target a different editor at that imprint and it’s like submitting fresh.
6. There’s nothing worse than not knowing that a project you took on was previously shopped and you, the agent, now have egg on your face when an editor writes and tells you that they’ve seen it before and it was NO then and it’s still NO now. Ouch. That pisses me off and so if you have the editor list, then you can give it to me before this can happen.
Not to mention, it’s your right to know who has seen your manuscript, who turned it down, and what they said about it so even if you are parting ways, get that info. Most agents (I hope) are good people and happy to give you that info as a matter of course but if the agent isn’t doing it, be wonderfully annoying and politely make it clear that you will continue your inquiry until they do. They may just send it your way to make you go away!
Blog: Pub Rants (Login to Add to MyJacketFlap)
JacketFlap tags: agents, new clients, passing on sample pages, Add a tag
STATUS: I can’t believe it’s 6 pm and I’m now starting what was on my actual TO DO list for the day. It’s just been one of those.
What’s playing on the iPod right now? GRAPE FRUIT- JUICY FRUIT by Jimmy Buffett
If you are a debut author, agents sell your first novel based on a complete manuscript. There are certainly some rare exceptions where a novel might sell on a partial but usually because the author has some kind of strong background in the arena (say as an established screenwriter or prestigious short story credits) that gives the publisher assurance that the writer can pull it off.
Once published and established, lots of authors simply submit a synopsis and the first three chapters to sell the next project.
But for debut authors, why do agents need fulls?
For one very basic reason, I’ve read several requested full manuscripts that were excellent for about 150 pages and then went totally south. And in such a way that I believed the revision to be so large, I wasn’t willing to commit to it with the author.
This happens. Often.
I have to know that a brand new author can carry the novel to a satisfying conclusion. That all the elements will fall into place in a masterful way. Usually a novel’s climax happens two-thirds of the way in the work (not in the first 150 pages), so a full becomes crucial so as to evaluate it.
Just lately, I’ve read two full manuscripts all the way till their conclusions—only to ultimately pass on offering representation. This is rather rare. I can usually tell 100 to 150 pages in whether something is going to work for me or not.
So what was up with these two? I loved certain aspects of the novels. For one, I loved the writing but the story just wasn’t being compelling for me. I read all the way to the end in the hopes that I could finally put my finger on what was bothering me so I could have something useful to say to the writer. I actually never was able to articulate it. Despite really strong writing, I just didn’t feel passionately about it.
For the other, I read to the end because I wanted to see how the work ended and whether the conclusion would give me insight into whether this author could revise enough to make it worth offering an editorial letter with an eye to revising.
As you can imagine, fully editing a manuscript and writing up an editorial letter is really time consuming so I have to be convinced that it might be worth my time. If the ending really wows me, that can be the clincher. Unfortunately for this title, the ending didn’t sway me and I passed altogether. I did write up some of my concerns in my one-page response but it certainly wasn’t a whole editorial letter. (Just FYI—a good editorial letter on my part can easily take 2 hours to write.) If I’m not won over, I won’t commit to the time needed to create it.
Had I not had the full for either, I would have definitely passed. Now I passed anyway with these two fulls but I was looking for a reason to be swayed the other direction. That wouldn’t have happened without the complete work. And I can name two current clients who I asked to revise a full novel significantly before I offered representation. Similar circumstance to the above but in these two instances, I swayed to the side of accepting rather than rejecting.
STATUS: I’ve been working on queries tonight. Honestly, that’s what I’ve been reading for the past hour. I’m going to need another 2 hours at least to complete what’s in my inbox but haven’t you ever notice that sometimes it’s the thought of starting the task that keeps you from diving in? Once started, it never seems as bad…
What’s playing on the iPod right now? IT HAD TO BE YOU by Harry Connick, Jr.
Writers often want to know if agents ever recommend other agents for a project they might be passing on.
The answer is an unequivocal yes. Just this week I played matchmaker for a well-established author who had amicably parted with her agent of many years (like 18—it was a long time). She was going in a new direction and hadn’t felt supported so it was time to move on.
One of my authors actually sent her my way so of course I read her sample pages with alacrity.
And it was obvious by page four that she was a fabulous author but I was so not the right agent for her. The genre she was working in was a bit of a stretch for me but sometimes that can be invigorating. I like to take on projects that stretch the boundaries but this was just a mis-fit.
So, I asked her permission to share her query with several agent friends who I thought would be a good fit. Of those agents who responded with a “yes, would love for her to contact me,” I compiled a list and sent to her.
And today I found out she signed with a very dear friend of mine. So fun! I’m thrilled that she kept me in the loop and as she was so lovely to work with, I had begun to wonder if I was a bit daft to not be snatching up this talent. Still, I find that it rarely works out when agents take on projects that aren’t a good fit but they try anyway.
So yes, agents do recommend other agents. I must admit that this doesn’t happen as often for projects I pass on from unpublished authors but it does occasionally happen there as well.
Blog: Pub Rants (Login to Add to MyJacketFlap)
JacketFlap tags: submission, client books, new clients, Add a tag
STATUS: Today was about working out the glitches in the new software. But I think we are finally done with that.
What’s playing on the iPod right now? CHICKENMAN by Indigo Girls
This weekend I was working on editing for current clients. I know this has been a question that I’ve received a couple of times at conferences. Do all agents edit their client manuscripts and how does that work?
Well, I can’t speak to all agents but this is how it works at my agency. This answer has several components and I actually only have time to handle one aspect of it in today’s entry. Tomorrow I’ll try and go into a bit more depth.
Let’s say I take on a brand new client who has never been published. When I read their full manuscript that I’ve offered representation for, I will usually do an edit with the client before it goes on submission.
Sometimes the manuscript is in great shape and just needs a few tweaks here and there. Sometimes it needs a bit more work (in plot or character—never in voice or in the quality of the writing) and I have that revision conversation while I’m offering representation so the client can have a good idea of what might be involved if they sign with me.
Seems only fair to know the scope…
Now, there are different approaches to editing as well. I have to be honest and say I’m not much of a line editor. I’m more of a big picture kind of gal, and I concentrate my edits on fixing plot issues, building character development, or just forcing the author to dig deeper into the writing and pull out all the stops their talent allows.
I do all my editing electronically in track changes in Word, so the manuscript can be sent by email. I add my comments directly into the scenes so the author can know and understand what I was thinking the moment I thought a revision point needed to be done.
Now, it’s always the author’s call if my editorial note is on target or not. I’ve been told that I will often highlight the problem but not necessarily the best solution and the author comes up with a better way to handle whatever I’ve pointed out.
And that’s just fine with me. It is the author’s work after all and he/she will always have final say.
I also edit obvious grammar and punctuation issues.
STATUS: It’s suppose to snow later today so I’m working a bit from home, then walking Chutney early while on my way to the office.
What’s playing on the iPod right now? HEY THERE DELILAH by Plain White T’s
Considering I just finished attending the Northern Colorado Writers Conference (and a big shout out to Kerrie who single-handedly pulled off a terrific, well-organized conference up there), I found Jessica’s comments on Conferences over there at Bookends to be pretty spot-on.
I strongly recommend any conference organizer to hop over there and take some notes.
But Kerrie of NCW and I got into another great conversation over the weekend when I was in Fort Collins and I’d love it if conference organizers can add this to their list as well.
When agents attend conferences and participate in pitch session, our basic hope is to potentially find a new client in the mix. It doesn’t happen too often but I have found two of my clients from conferences so I’m always optimistic. After all, what are pitch sessions for if not to hook up a writer with an agent?
Now for a pitch session to work, the writer needs to have a completed full manuscript. Why? Because if an agent likes the sound of the project, she’ll ask for sample pages (probably the first 30 or 50 pages). If the agent likes what she reads, she’ll want to request the full novel (and that can happen just a couple of weeks after sample pages are requested so a writer needs to be ready).
If there is no full manuscript, therein lies the problem.
As a writer, you always want to put your absolutely best writing foot forward—so you shouldn’t need to rush or send in a novel prematurely just because an agent requested it and the full wasn’t ready.
It’s a good way of getting a rather prompt rejection and then that avenue is closed (as you only get one shot at an agent) until you either do a significant revision and resubmit (but an agent is always going to be slightly hesitant about a resubmit—see my previous blog post on Love The Second Time Around) or you have a new novel to shop. Which can take a year or more to prepare.
But most new writers don’t realize this. They see “pitch session with Agent” and sign right up because who wouldn’t want to talk with an agent, right?
But ultimately, a writer can’t pitch a project that doesn’t exist or is unfinished because there is nothing for me to see at this point in time. Out of my 12 appointments at NCW, I only requested sample pages from 4 participants as all the others either had just started a project, were in the middle, or had only an idea for a novel.
I hate to say it but that made these pitch sessions a waste of my time because I ONLY want to talk to authors who have project ready to be read. Sorry if that sounds heartless but it is the truth. Writers with “ideas” for a great novel are a dime a dozen. It’s that one in a hundred writer who actually has the perseverance and stamina to sit down and write the entire thing (which is a huge achievement all in itself since the majority of aspiring writers never even make it that far).
Not to mention, how many great writers did I miss who did have a completed novel because my pitch slots were full? Ack.
So here’s what I’d like to add to Jessica’s list. I know it makes more work for the conference organizers but it would make a HUGE difference in the power of the pitch sessions.
Please don’t allow just anyone to sign up for a pitch with an agent. All interested writers should submit a mini application to pitch that includes the following:
1. Title of project
2. Genre
3. Word count
4. Is the manuscript complete? Yes or No.
5. previous publications if any
6. Why is this agent the right fit for your project?
If the writer checkmarked NO for number 4, then the pitch session is denied. If the manuscript is finished, then the conference organizer can check the project next to the agent’s bio (which should include a list of what they are currently looking for) and make sure it is a match. Then sign the writer up for the pitch.
Most conferences right now assume that writers will do their homework (because heck, that would only be to their advantage) and sign up with the appropriate agent.
I find that this is rarely true. In fact, I’ve even had authors pitch me projects my agency clearly doesn’t represent and when I ask why, they will often say that the other agent slots were full and they just wanted to practice the agent pitch.
Argh! I’m always polite but I don’t want to be somebody’s practice session! I only want to hear about projects that might get me a new client whose project I can sell!
Calling all conference organizers! I beseech you to take this extra step. All agents will thank you.
Blog: OUPblog (Login to Add to MyJacketFlap)
JacketFlap tags: discusses, judgment, Health, spiritual, A-Featured, Medical Mondays, klitzman, psychiatry, clinical, patients, affect, Add a tag
Robert L. Klitzman, MD, Associate Professor of Clinical Psychiatry, discusses a chapter in his book, When Doctors Become Patients, about how spiritual choices may affect a clinician’s relationship and or judgment with patients here. To read an excerpt from the book click here.
Blog: OUPblog (Login to Add to MyJacketFlap)
JacketFlap tags: blog, Health, oxford, A-Featured, Medical Mondays, depression, medical, fibromyalgia, depressed, patients, hurt, endogenous, Add a tag
Earlier today we posted an excerpt from Fibromyalgia: An Essential Guide for Patients and Their Families by Daniel J. Wallace, M.D. and Janice Brock Wallace. In this second excerpt, we look at the correspondence between depression and fibromyalgia. Are sufferers more likely to be depressed? Are depressed people more like to have fibromyalgia?
Do I Hurt Because I’m Depressed Or Am I Depressed Because I Hurt?
Is fibromyalgia a manifestation of depression or the reverse? Well-designed studies have addressed this issue, but many used different methods, populations, ethnic groupings, referral sources, and geographical distributions. (more…)
Folks!
Read...set...QUERY!
If a manuscript catches the interest of one agent, it likely will garner interests of several other agents, too. I think the rise in multiple offers is due to writers being able to query many agents simultaneously. It also helps that writers can notify agents with partials and fulls of any offer of representation. :)
This is somehow encouraging news to a unrepresented writer such as myself. I know it's no fun for you, so sorry for that... but for me... yippee!!
Possibly it's because writers are taking their cue from the publishers, who are influenced by the economy. Knowing that the publishers are taking on fewer projects, means our writing has to be better than ever to get noticed.
To me, it's a win-win situation. Better books to read. And huge motivation to become the best writer I can be.
Well then. When I'm ready to query (hopefully by summer)I'll include you in my list. I can only hope I'm lucky enough to have agents fighting over me. :)
On the other side of this, it makes me want to take that little bit of extra time to make sure I'm ready. I'm sure the lack of authors is not due to a lack of queries on your table.
Interesting. Is that good or bad that things are getting more competitive?
It's nice to hear something that positive. Thanks
Makes sense. My theory: As things tighten, everyone focuses on the “sure things.” There is much more agreement about this group, since its members probably have stronger objective credentials (platform, track record, recommendations, etc).
At the same time, writers now know more about the industry. They know to query widely. And they know that weighing options is acceptable.
Top universities face this same issue every April – they go from big-bad rejecter to heavy recruiter once the acceptance letters are mailed.
Surely this really means that some writers are hot commodities at the moment. :)
That's actually very inspiring to read.
As a writer who is working in the first-draft trenches and unrepresented this is very encouraging to read. Gives me some hope for my future.
That's good to know. If only your agency took inspirational, I would have queried you by now.
I do agree with the person above who belives writers are striving more to give agents a better product. A better product generates more interest.
Gee, I haven't sent any queries out yet, but I am on the market for an agent. Feel free to contact me with an offer of representation before I'm off the market too. LOL!
It's posts like this that make me wish I was an optimist. If I were an optimist, I'd think, look at that. You see? It's possible. But I'm not an optimist. I'm a pessimist, and the post is absolutely crushing. Maybe they (the abstract they) are hot commodities, but the form rejections haven't slowed down in my inbox.
Some days are just harder than others.
I think this is great, and am antsy to get to querying.
I was actually being poached at this year's PPWC (and it was nice to see you there!). I'm not going to say who because that's not really polite, but it's nice to see authors being fought over. Now if the editors will just start fighting over our projects, we'll ALL be much happier. :)
I lay all the credit at early blogging agents like you and at the stiletto heels of the Late Great Miss Snark ... she started off the move to educate us idiots about how to write a great query ... and it taught us a lot about writing in general.
Aren't you proud?? We listened!
Five? Five? Seriously? Now I'm kind of depressed. I've been hoping to get just one person interested. If the people getting picked up are getting that kind of interest, it makes me wonder if I'm just nowhere near good enough. :/ I mean, I've had a little interest, but nowhere even close to having five offers.
Wow, that's encouraging news. It'll be a while yet before I'm querying, but still... : )
An arguement could be made that this simply shows the lack of diversity in what the industry is looking to publish.
Is it because there are less quality submissions that the same amount of agents are fighting over, or are there the same amount of quality submissions that more agents are fighting over?
It seems that there are more and more agents these days, with writers becoming part time agents and editors leaving their desks to become agents.
I follow Publishers Lunch deals, and it seems like there are more deals lately too, which is a good sign. So maybe there are more quality books and more agents and more interest from publishing companies? One can only hope...
kfran
I'm betting it's the same reason most agents say they are seeing so many more queries than in the past: the majority are now on the web and accept queries via email.
Querying used to be a tedious and somewhat expensive process of researching submission guidelines, printing various components, assembling contents, and mailing packets. I'm betting the average writer did their querying in quantities of five or ten at a time, and waited for responses before going through the process again.
Now we have web sites like QueryTracker and Publishers Marketplace that aggregate current submission guidelines and web site URLs to make research easy, and a query letter is often just a matter of copy-pasting the right ingredients. It wouldn't surprise me if many writers send out queries in batches of 20-30 at a time, or even more.
So while the bad part is that you're all buried under piles of electronic slush, when that one needle does show up in your haystack the odds are good that it's in all the other haystacks as well.
As a writer, as much as I appreciate the ease and affordability of e-queries and QueryTracker, in some ways I miss the old days. Sure, it was a pain to put together query packets, but it meant that a query represented a real commitment to writing and getting published. Nowadays I suspect a lot of queries are from folks who are out of work and figure, "Hey, what the hell, I'll write a book and see if someone wants to buy!"
I suspect this also explains why several agents have mentioned the recent frequency of partial- and full-requests that go unanswered for months or years at a time. It's so easy to send a query now, I bet a lot more people do it before they've finished (or maybe even started) the book itself.
I feel this states that agents have narrowed what they will accept due to the overwhelming amount of queries they receive as compared to a few years ago.
This has caused a higher demand for work that fits into a set of standards. It requires everyone writing to raise the bar higher to become one of the few writers who is going to be sought after by numerous agents.
This may have always been the case, but it is being magnified now as all agents are looking for more 'sure' things.
Call me a skeptic, but I don't think it has anything to do with the writing or book. I think that it's the "grass is always greener on the other side" thing. If one agent likes something and makes an offer, then the others are suddenly alerted, thinking they are going to be left out, and they scramble to read that ms, but they are reading with rose colored glasses, knowing it might be out of their reach. Nobody wants to be the one person missing out.
I had an agent who'd only read a partial of my book offer to rep it thirty seconds after I notified him of another agent offer. I thought it was unprofessinal and bizaare.
(The agent that "won", btw, never sold the book.)
Question: How many of these "hot properties" are *new*, unpublished writers, *without* "previously established platform" (i.e., popular blogs, millions of Twitter followers, etc.?)
This is heartening news only if it's *new* writers and not less risky, "proven" writers who are getting all the attention.
That is nice to know from an authors view. But don't worry, you have great cients and I'm sure you'll have many more to come...
Dawn Chartier
www.dawnchartier.com
I think we can all agree that taste is subjective. And I believe most agents are good at what they do, or else they’d be in another line of work. Since agents are receiving thousands upon thousands of queries, and they obviously must have different subjective tastes, why are they all fighting for the same books? I just can’t accept the “needle in the haystack” theory. Because accounting for taste, everyone’s needles would be different. It has to come from what the publishing houses are buying. So to rise from slush, it seems that you must write a book that publishing is already looking for. I don’t see this as particularly encouraging as a writer, nor does it excite or stimulate me as a reader. Maybe I'm being too cynical or too sour-grapey for this generally upbeat blog, but it seems a logical conclusion based on the facts at hand. Maybe Kristin or some other insiders can refute this and cheer us up!
Hummmm...I imagine the YA, fantasy, romance genre is hotter than usual. This is good news for one slice of the giant writer-hood pie out there.
Kristen, I received your April newsletter today and read about your participation on an "ebook panel" and the many resulting changes in publishing business models, etc because of the new technology...
You mentioned to your readers about four or so excellent resourcces (PW, PM & Shelf Awareness, etc) to become informed RE the latest happenings in the tumultuous publishing industry..
I would like to mention two other excellent free resources...
I find this industry fascinating and full of intrigue (especially now) and, If I may, I would like to mention my two writers blogs that search & research the entire trade resources for the latest happenings:
Writers Welcome Blog (est Oct,2008) http://alturl.com/4z88
Writers Thought for Today Blog (est Nov, 2009) Http://alturl.com/tnap
Please take a look at some of the posts and I think you will agree...
Thanks for any time you give me,
John R. Austin
WOOT! Time to start querying...
Thanks for the great post.
Wow... I had no idea things had become THAT competitive. Is it just in the genres, though? Or do you think it's that way for literary and mainstream fiction, too?
May this trend continue for at least another year, because by then I'll have a project ready to go.