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Sometimes people say "YOU CAN'T GET AN AGENT UNLESS YOU KNOW SOMEBODY!" or "YOU CAN'T GET AN AGENT UNLESS YOU ARE PUBLISHED!" - but we all know both of these are myths.

Newbies with no publication credits get agents (and book deals) all the time. But they aren't REALLY newbies of course... they might be unknown, so far, but they've been working on their craft for years. They are good writers. And, I'd venture to say, they've also been mindful of the agents' time and tried to put their best, most polished work out there, and been sure to follow guidelines so as not to sour good will or burn any bridges.

Let's say for each finished manuscript you want to query, you are given a "chit" of sorts. This chit gives you access to x-amount of an agent's bandwidth/time/patience, provided the agent is taking queries.

Since agents are generally benevolent creatures who really want to help writers, they are happy to accept the chit. However, since agents don't know you from Adam and you don't have "good credit" yet, this chit is for, at most, three minutes worth of time. (If you've been referred or you do have other work, the credit line is likely to be a bit longer - but everyone gets credit). Since you have so little time, you'll definitely want to be sure to have followed directions and submitted a really stellar piece of writing!

If the agent is simply not interested in the book, you'll get your same chit back. Better luck next time, no harm done, try again later with a new manuscript.

If the agent likes the book, they will go ahead and give you more credit on that chit. Depending on how much they like the work, you might get a few hours or even a day of credit.

If they end up liking the book but they don't sign it up, you'll get the chit back, likely WITH the extra credit included. Go ahead and use it again next time. Yay!

If the agent loves the book and you become a client, you get a bag full of chits back. You can use them to ask lots of questions, and your agent will likely encourage you to do so, but do BE AWARE: Middle of the night panicked phone calls at home for no good reason WILL cost more than reasonable questions asked by email in the light of day. That being said, the longer your agent knows you, the more you work together, and the more sane you are in general, the bigger credit line you will get (so when you DO have a legit cause for a panicked phone call, don't worry, you'll get heard!)

BUT.

If your manuscript is riddled with errors, you have clearly never read the submission guidelines, or your work seems like a monkey might have typed it... you might not get your chit back. You can rebuild credit, but it is going to take a while, and you're going to have to submit something different in truly stellar shape next time.

If everything is OK but you pull a weird stunt like re-sending multiple slightly revised versions, or they request the full and you send it but then snatch the manuscript away from them as they're reading it, or they ask for revisions and you say you're on board but then nothing is actually changed... well. Again, you've cashed in your chit. It will take a while to get that line of credit back. It can be done, but it isn't going to happen overnight.

If you reveal yourself to be a class-A jerk by doing something like responding to a civil form rejection (or frankly ANY kind of rejection) with vitriol or threats - you cashed in your chit for good. In fact, you set your chit on fire. No more credit for you ever. (But what do you care, right? You have to know you are burning bridges when you send an email like that.)

Make sense?

PLEASE NOTE: THERE AREN'T REALLY QUERY CHITS. (But man, wouldn't life be easier if there were?)

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You know the old saying.

It isn't just sound egg-maintenance theory. It also applies to many things in the writing life. Including writing & querying series.

Lots of unpublished writers query and say something like: "This is the first book in a series. Books 2 and 3 are complete, I am working on book 4 now!"

This makes me sigh. I read that and see a person who is stuck completely on one story, who is not ready to be flexible and diversify, learn and grow. Not to rain on your parade, but... what if Book 1 is actually fundamentally flawed and you are building a house of sequels on a shoddy foundation? What if it never finds a home? Then all the energy that you spent on sequels is wasted, when you could have been off finding more stories and inventing even more awesome worlds.

The other day a very nice Twitterer inquired during #AskAgent something like (paraphrasing): "I've had book one out on submission for some time... when should I start querying agents book 2?"

Not to be mean, really, but what's the point? Nobody can take on and sell JUST book 2 if it has to be a series. And nobody has picked up book 1. Sooo....

"Well, I'll just self-publish then!"

That's your call, and might be the right path to take. But if you do, don't expect to then query books 3 and 4 and nab an agent to be published traditionally, unless the first two books have been phenomenally successful.

Look, you're an unpublished writer who wants to find an agent for a series, trilogy, duology, sextet, or whatever? (Keep in mind I am ONLY talking about traditional publishing here) - This is what I'd love to see:

A strong book one that stands alone, but where there is series potential. (That means: No huge loose ends in the plot, but perhaps some generally unresolved big picture stuff. Strong, compelling characters that we want to follow.)

A synopsis for book two, and/or an overview of the "series arc" -- that is to say, ideas for future adventures of these people and a vague idea of what might happen in those books. One to a few pages - no need to go overboard. (If you've got really great ideas for Book 2 and just can't wait to put them on paper, go ahead - but no need to show them to an agent at this point.)

Then, to be blunt, you should MOVE ON and write something entirely different for your next project.

Why? Well, if book one is strong enough to support a series and I want to take it on, I can sell it plus probably future books without your having to write all of them in advance.

If book one is NOT strong enough to support a series, it doesn't matter how many books you write -- if we can't sell book one, the other books are dead unless they are able to totally stand alone. And you've wasted years of your life writing them when you could have been pursuing even more amazing projects.

Some series or trilogies are sold as such. But others are sold as a one-book or two-book deal, and the publisher will want to wait to see how the book is received by readers before committing to further books. At the outset, your agent won't be able to guarantee a multi-book offer, it just doesn't always work out that way.

Not everything HAS to be a series, and you don't get a contract for a series just because you feel like it... for a publisher to keep putting books out, there has to be an audience who has demonstrated a keenness for buying them.

Some books take off and become hugely popular with the reading public, and, I promise you, if that is the case, your publisher WILL WANT more books set in the world you've created. But the fact is... some books will probably be smaller, or may not get the attention you hope. This is reality.

The goal is, ideally, to get you on a path where you write amazing stories and invent wonderful characters as a career. When you are looking for an agent, you want to maximize the chance

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I complained the other day on Twitter about Courier font. Here's my problem with Courier: Aside from being rather ugly (to me), it is wide as hell. So using it adds A TON of pages. I have very little time. When I see a manuscript to read/edit that is 400 pages long, I grumble to myself, because it might take me forever.

But when that same manuscript is put into Times New Roman font -- HOLY CALIBRI! -- it is only 315 pages! Highly manageable!

Obviously the number of words and the order they are in has remained the same. I recognize the fact that I will read these two manuscripts in approximately the same amount of time whichever font they are in. I know that if I cut the ms down to 4 point font and removed the spaces, I could probably fit it onto a set of index cards and that wouldn't make it faster to read either.  I KNOW. But so what, it's my alternate reality, let me live in it.

ANYWAY. This tweet caused a bit of a furor. Authors everywhere chimed in, agonizing that this or that teacher or book told them they must ALWAYS use Courier font, and now I'll hate their manuscript, etc etc.

Dudes.

You are overthinking it.

My first encounter with your work is in an email. I assume that you (like most people) are using one of the generic email fonts, either sans serif or serif, and either way, it's no biggie. I don't expect emails to be double-spaced (though if they are, I won't get mad or anything) -- it's an email. I know formatting often gets lost.

If I request a manuscript, I just want it to be basically readable, like at school: Your info on the first page. (Where on the first page? Don't care.) 12-point-ish legible font. (I prefer a serif font such as TNR because it is easier to read for long periods of time than san serif like Arial, but I am not going to get mad about it). Pages numbered. (Which corner? Don't care). Double spaced.

I truly cannot imagine a world in which the choice of font, provided it is fairly generic, normal and readable, would impact my enjoyment of a great manuscript. If for some reason I am mortally offended by your choice of font, it is the work of a moment for me to change it myself.

Hound of the Baskervilles, isn't there enough to worry about without adding to the list?

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Q: HELP. I am scared my agent is about to drop me. WHAT DO I DO?

I gave basically this answer to somebody on a message board recently but realized that I get a variation on this question all the time. So let's tackle it here.

The fact that you are asking a stranger about this is a bad sign, to be honest. To me, it means you don't have a good enough relationship with your agent to have a frank conversation with her.

Either:

A) You are right, she is not jazzed about your book anymore (or your next book, or whatever it is) -- in which case you need to TALK TO HER and find out what the problem is, and if she has lost faith in your book you need to find out why and discuss the possibility of revisions, or tell her the other awesome idea you have up your sleeve, or part ways with her, or SOMETHING. But nothing will get accomplished if you don't talk to her. You sound like you are stuck in a rut right now, and something needs to change for you to move forward. Or...

B) You are being a neurotic stressball (common in the writer community) and you need to TALK TO HER and realize that she still adores your work and is waiting until after the holidays, or is swamped and not being the communicator she should be, or SOMETHING, but again, you can't find that out unless you talk to her. She is probably not psychic and will not know you are upset unless you tell her.

If you haven't had a conversation about your fears with her, ask yourself why. Is it because she is hiding from you? Or because you are avoiding saying what is on your mind? In my opinion, not communicating what you need and expecting somebody else to just magically know it it is not just passive, it's passive aggressive, and it is a sure way to sabotage yourself.

If you have the conversation you might both end up pumped, re-energized and ready to do another round, or see what happens next.

But if by chance she does end up dropping you (OR vice versa)... it won't be the end of the world. In fact, you might find it a blessing in disguise. Even if you really like somebody as a person, you don't want them as an agent if they aren't excited about your work. And you certainly don't want to work with somebody you don't trust enough to talk to.

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From Twitter: "[I] stopped reading a blog after the 2nd sentence, "being an agent is less about art and more about money." @literaticat tell me it's not true"

Actually I think that is accurate.

The statement isn't "being an agent is NOT about art and ONLY about money." That would not be true. After all, most agents probably become agents at least in part because they love books and reading and thinking about books and talking about books. So art comes into it.

I can't speak for anyone else, but I take on projects that I love...but I have to also that I think that I can sell them, otherwise it isn't worth my time. Seriously. Taking on a new project is a major commitment of time, energy and mental bandwidth, and I don't get paid unless I sell the thing. So from a purely self-interested standpoint, certainly, money matters.

And it SHOULD.

You aren't getting an agent to be a critique partner (though some give great critiques). You aren't getting an agent to be your editor (though some are great at editing.) You aren't getting an agent because they are a great writer (though many are.) You aren't getting an agent just so they'll hang around praising you all day and telling you how rad you are (though my clients ARE rad, for the record!)

You are getting an agent to handle business for you. To sell your projects well and make sure you get paid. To negotiate for you. To be a bully on your behalf. To support you and your career in many ways, but particularly in all matters business related.

So, less about art, more about money? 

Unashamedly so.

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There's a piece in The Millions today that got under my skin a bit: "Shutting the Drawer: What Happens When a Book Doesn't Sell?"

First of all, I don't think the author of this essay needs to have to have the funeral service for her book quite yet. Nine months is a long-ish time, but it isn't actually a LONG time. Particularly if there are warm responses from editors - why not tweak the book and try another round, for crying out loud? Sheesh. But whatever, that is between her and her agent.

This goes out to the rest of you.

Thing is... and I am not sure there is a gentle way to say this, but... just because you want to be published, doesn't mean you automatically get to be. Not even if you are super smart. Not even if you are super smart and SPECIAL. Not even if you have lots of published friends or an MFA or a great agent or whatever.

Maybe your book hasn't sold because you just haven't found the right editor yet. Or MAYBE your book hasn't sold because it just isn't good enough. So REVISE, or write another, better, book.

Sometimes books don't sell. Sometimes they take a long time to sell. I've sold books after YEARS of trying. A recent agency book was sold after 4 years of submission and 45+ editor rejections, and now has starred reviews and is going places. It happens, it really does.

Sometimes you have to revise them before they sell... or revise them again. Sometimes you have to take a break and come back later with fresh eyes. Sometimes you have to shelve it and then cannibalize that book for parts. Sometimes you have to shelve it and move on. Sometimes you have to shelve it and move on... more than once.

I've said it before: first books are very often like first pancakes. Sort of a mess. A shame to waste food, but if they are not in servable condition, you have to throw them away. Or better yet, eat them yourself while you cook better ones.

The good news is, those ugly books aren't a waste. You'll be a better writer because you wrote them. The only way to learn to be a writer is to WRITE. The only way to learn to write novels is to write some novels. That doesn't mean they should all be published - but it also doesn't mean that they weren't worth writing. I have never heard of somebody becoming a WORSE writer with practice.

If the book that doesn't sell is the book that taught you how to be a better writer, it was worth spending time, blood, sweat & tears on.

Now keep going!

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I read this blog post from Authoress Anon with interest yesterday... particularly the comments section. It seems that everyone wants an "editorial agent" who is really hands-on. And most agents I know describe themselves as "editorial agents."

It made me think about myself -  am I an "editorial agent"?  I don't think I am. I am not an editor, I am a SELLER. I want editors to edit. But I do give advice, when needed. I certainly comment on most everything my clients give me, and suggest tweaks, etc. That is editorial...

Hm.  SO WHAT AM I?

The only analogy I can come up with is a real estate analogy.

If your manuscript is a house you are trying to sell, I am the agent, and editors are prospective buyers.

I will certainly give you advice on things to clean up to help me show it to its best advantage (repaint that garage door! bake some cookies!) I will "stage" the house. I will create an awesome listing that helps turn potential negatives into positives.

Cramped? No, "Cozy."

Sinkhole? Try "Seasonal pond."

No closets?  "Classic style."

Needs work?  "Great potential."

Falling apart? "Handyman's dream!"

I will take potential buyers on a tour and make them see what their lives could be like here. Sure it'll take a bit of elbow grease, but the attention they pay and the touches they give it are what will make a house a home. Won't they be the envy of the neighborhood when they show off this beauty?  Don't they love it? Now let's negotiate.

Yay!

However... I am not an architect. I am not a general contractor. I am not even a handyman. I didn't build the house, and I can't just go in and fix the house myself.

I can point out the problems that might keep you from selling it, but the house has to have good bones to begin with, and you have to do the hard work. It is YOUR house.

This analogy falls apart once the book is sold, because of course, it is STILL your book and you have to do the hard work. But at this point, you'll have not just one, but a group of experts to help you get it to that next level. Which, in this now completely broken analogy, would presumably be a spread in Better Homes and Gardens.

OK, OK, I'll shut up now. Anyway... I'll pose the same question to readers of this blog. What do you think? What kind of agent are YOU looking for? (Or if you are agented, what kind of agent do you have?)

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Q: People say when you're researching agents, you should look at the acknowledgements of  books like yours to find out who reps them. But yesterday I saw you tweet that sometimes books are "too similar" and you reject them for that reason. What gives?

Yes. You should find an agent who reps the type of books you write, has similar taste to yours, and seems to "get it." This probably means doing research about some of your favorite writers and finding out who reps them.

But also yes, when you get right down to it, an agents list can really only have so many of one type of book before it starts getting boring and repetitive. And as far as specific plots and such, one will do.  As @earthwards on twitter said, "Think complementary, not competing!" Some for examples:

1) If you look on my sidebar you will see that I have two mermaid books. They are very different. One is contemporary and has to do with the world of Northern California surfing. One is romantic and historical and very much a fantasy-land story. They are not competing with one another. But I also don't need any MORE mermaid stories.

2) Or, to use a made-up example, maybe I have a funny and heartfelt contemporary YA about an Arab-American girl struggling to fit in and get out from under her controlling family. I have tried but so far haven't been able to sell it. I don't need another story about an Arab-American girl struggling to fit in, no matter how good it is, because I haven't been able to sell the one I've already got.

3) Or, let's say I do take on two similar folks.  Illustrator A draws super-cute retro characters with a high-action, cartoony feel. I love his work. I've repped him for two years. He's busy, but always looking for more illustration work.

Illustrator B draws super-cute retro characters with a high-action, cartoony feel. I love her work. I say, what the hell, it is like A's work... but I like it! I'll rep it. She's new, and building her resume.

Editor calls. "I need a cool illustrator who does super-cute retro illustrations with a high-action, cartoony feel. Can you send me samples from your best illustrator who fits the bill?"  But I have two people like that. Who do I send? What if I pick one and the other one finds out they didn't even get considered because I didn't show their work? What if I send both but one of them finds out that they didn't get the job because my other illustrator did? Ew. Not good.

4) OR, Author A writes a comedic paranormal about zombie tapdancers. I love it! So I take it on. I shop it a bunch of places, it gets a whole lot of rejections, and finally I sell it.
Author B writes a comedic paranormal, about zombie ballerinas. I love it! So what the hey, I take it on. Oh but... where do I shop it? I can't sell it to the same publisher that just bought A's book. Nor can I send it to any of the editors who passed on A. I am sure I could find more folks with some footwork, but then what if I sell the book, and the two are published at the same time, by different publishers?

Now Book A and Book B are directly competing with one another. Of course ALL books are competing with one another... but there is no way that these two authors in this scenario will not feel like they are each other's biggest competition.  Every book review will mention the fact that there is another Zombie Dancing book, every publisher will look at the numbers next to each other, and one of them will probably do better than the other. Recriminations fly. Zombie Tapdancer feels like his publisher didn't do enough to sell the book. Zombie Ballerina is angry about all the goodreads reviews that call her a copycat.

I'm the agent, who is meant to take the author's side... but... they are BOTH my author. Awkward. There is really only room for one comedic paranormal Zombie Dancer on the list.

Get it?