Blogger: Janet Kobobel Grant
You think you’ve got it bad because you don’t have an agent? I’ll tell you someone who is worse off: A person with a bad agent.
You’ve been told an agent is the most effective way to build your publishing career; so how could an agent do so much damage you’d be better off without one?
Because a bad agent is inherently a
lazy,
overworked,
or underqualified agent.
He or she can seriously harm your career by:
- sending your manuscript to the wrong people
- reading and negotiating contracts haphazardly
- letting your work languish, unsubmitted, on his or her desk
- charging you fees to read (or to edit) your work but not placing your work.
Never forget that an agent’s primary job is to place your work. So if your proposal is sent to editors who aren’t interested in your type of project, the submission is a waste of everyone’s time. And editors are aware of which agents really “get” what they tend to buy. Those agents’ submissions go to the top of the stack. Editors also know which agents submit via the fire-hose method–sending all projects to all editors. Those submissions go to the bottom of the stack.
Also central to an agent’s role is negotiating the deal points of a contract with an eye toward how to get the best deal. Now, that isn’t always about obtaining the most money. If your agent strong-arms a publisher into giving you a six-figure deal, even though the agent knows it’s highly unlikely you’ll ever earn that advance back, the agent has failed you. Yes, he or she has put a lot of money into your pocket–but that agent also might well have put you in the position of never getting another contract again. A good agent pushes for the most money that can be reasonably expected to be earned back, which is the kind of win-win deal that keeps everyone happy.
A six-figure advance that doesn’t earn back is viewed as a mistake by the publisher; they’re not interested in giving you another chance. And other publishers will want to know why you’re leaving the first publishing house–especially if they’re aware of the kind of marketing energy that first publisher put behind your title.
One of the hardest jobs for an agent is to negotiate a contract well. For some agents, it’s too much work to read the contract. Instead, they act as a funnel between the publisher and you and simply hand off the document to you to sign.
I read every contract I receive, even if I’ve worked with the publisher for years and I’ve honed our agency’s template as finely as I can. (Every agency has a template with each publishing house that we keep trying to improve.)
Even if I have two authors with contracts I’m working on for the same publishing house, I’ll read every word in each of the contracts. Because, as I’m reading, I’m thinking about what that particular author needs in a contract–sometimes certain rights are important to retain for one author while the other author is highly unlikely to ever exercise that right. One author would want to create an index; while another author would rather have the publisher hire out that job and charge the author. I customize my negotiating for each situation, knowing that I’m highly unlikely to receive everything I ask for during the negotiations.
Because you’re reading agent blogs, I’m sure you know that you should scamper away from any agent who starts talking about charging you a reading fee. That agent isn’t making a living through selling projects but through reading. That results only in you spinning your publishing wheels and spending money.
But the caution flag should be raised if an agent asks you for money to edit your manuscript before he or she will present your project to prospective publishers. We agents receive payment only when you receive payment. (Some agents have second jobs in which they edit for publishing houses, but they keep the two roles completely separate. And most authors aren’t even aware the agents also do editing. The key is in keeping the roles separate.)
Niles on the old TV show “Frasier” describes Frasier’s agent, BeeBee Blazer, as “Lady Macbeth without the sincerity.” While BeeBee is a cardboard character, Niles has a point: You don’t want to have an agent represent you whose manner or work ethic is not a match to yours.
Have any of your writing pals saddled themselves with a bad agent? (No names required in answering this question!)
What do you value most that agents bring to the publishing table?
First, this makes me want to say THANK YOU on many levels, so thank you.
Now, to answer your question of what I value most: This is tough, and I think it varies through different seasons of a writer’s career. At first, just being signed by a great agent represents tremendous AFFIRMATION. I can do this thing; I can write something worth reading and a seasoned pro says so.
Later, as the inevitable rejections trickle in, the agent offers the invaluable gift of HOPE. Hang in there. It wasn’t a match with that publisher. Keep the faith. Don’t give up.
When an offer comes, the agent celebrates, negotiates, advises… way too much to list, but each item crucial.
Over time, there is GUIDANCE and consultation on future projects, always with that undercurrent of HOPE.
I think what rises to the top for me and our peerless agency right now is the sense of COMMUNITY. We’re in this together, and we’re going do something impactful and beautiful and fun — together.
A good agent is a GOOD SHEPHERD. Thanks.
So well expressed, Bill. Every agent would hope to match that description–well, every good agent.
I love that you mentioned the community we’ve built among the Books & uch authors. As you know, we’ve been ver intentional about that. It adds to the fun and divides the sorrow, right?
Awesome, awesome description, Bill. Yes to all you’ve shared.
I think it’s important for authors to do their homework and have a working knowledge of the industry. HOWEVER, all I’ll ever be is a generalist. Agents are specialists. I might know that Editor X is looking for women’s fiction, but my agent should know that Editor X is looking for women’s fiction to come out in time for the anniversary of the Titanic. AND that Agent X has three kids, a dog and a soft spot for books about single mothers. I’m SO grateful there are folks like YOU!
Good point, Sarah. Over time, we build strong relationships with editors, and we’re the ones who receive emails when an editor is looking for a specific type of project. Or sometimes I’ll just be talking to an editor, and both of us will realize I have a project that’s just what the editor’s yearning to find.
Unfortunately, since agents are now pretty much the gatekeepers outside the desks of the editors, writers are often willing to take the first one who’ll accept them, much as the invitation on Friday to the prom on Saturday looks pretty good when you thought you’d be sitting at home. But the analogy ends there, because the prom is over at midnight, but the author-agent relationship is long-term.
Thanks for bringing a dose of reality into the subject.
I don’t know . . . I had a last minute date to senior prom that felt like it went on a looooooong time!
That’s a great analogy, Richard. I’m sure writers feel between a rock and a hard place when an agent offers representation, but that agent isn’t the one the writer’s been hoping for. Holding out for someone who might never “ask you out” is tough. But that’s where going to writers conferences can make such a difference. You can present your projects to editors, move your career forward in several ways, and meet a variety of agents.
I need to send this post to my mother, who seems to believe that any agent will do and that I should just sign with the first one who offers!
There’s nothing like seeing a writing career torpedoed to make one realize the importance of getting the right agent.
I value a good agent’s background, experience, and most of all wisdom.
Thank you for this information-packed post!
I value the marketing and contract knowledge an agent has, along with editing skills. I hope to have a solid relationship with my agent where we can bounce ideas off each other and discuss contracts and publishing options openly.
I’m praying to be a good compliment (and blessing) to such an agent!
I have several friends who have gone through three agents, before they’ve made a sale. And others who have gone through three agents making sales with each one. In each case I don’t think the first two agents were bad–they were working just fine for other people. I think the FIT was bad, possibly. More likely the fit was a little off and the writer was learning how to work with agents.
I think we have a hope that our agents will answer us right away, read our manuscripts the night we send them in, and get them to the editors the following day. I wonder if writers don’t finally learn after two agents to let the third agent do his thing and stop being so giddy and thinking they are going to sell immediately.
I also know some writers who have had bad agents. Agents who didn’t send out proposals in a timely manner, agents who couldn’t remember the client’s name, even. Agents who went to conferences where they could meet their clients face to face for the first time and who couldn’t even set aside fifteen minutes for them to sit and chat.
I guess what I would value most in agent would be a good reputation with editors. Lots of contacts in the publishing companies. So for unpublished writers, who have to often sign with newer agents, the thing to do would be to find a new agent in an established agency. So she’d at least have the agency reputation behind her.
Sally, believe me, we agents feel the pressure to read proposals right away and zip them out to editors. But we do have to put that task onto our priority list and work our way through the list.
It can take awhile for writers to figure out how to work best with their agent, and sometimes that causes the first agent relationship not to work. And sometimes it turns out the relationship simply isn’t a good fit. It happens, and we all hate it.
I would hope that authors would understand that agents usually have specific assignments they must fulfill at a conference. Our time isn’t ours to control; we’re doing the bidding of the conference planners. The agents in our agency try very hard to squeeze in time with our clients, but if you have 15 clients at a conference, just think about trying to find 15 minutes for each of them…It very well might not happen. That’s also why our agency plans a get-together for all of our clients attending the conference. That way we’re guaranteed face time, even though it might not be individual time.
And, Sally, that’s a very good point regarding finding a new agent who is connected to an agency. That way the agent can build off of the agency’s reputation while he establishes his own.
Thanks for your thoughts!
I love when agents do posts like this because that means new writers are more likely to get information they might not have been aware of. Finding the right agent is a big deal and the more information we have, the better! Thanks so much for being honest and doing this post.
You’re welcome, Cindy. It’s always hard for someone within a profession to talk about the downside, but someone’s gotta do it!
Thanks for helpful information, Janet!
I’ve known two people who got saddled with poor agents. The biggest issue being that they didn’t shop the author’s work very much and definitely were unsuccessful in placing their manuscript. I think the point you made about the agent that specifically targets a publishing house with a particular client’s work versus a bulk mailing of all the projects is SOOO important.
It’s great to get an inside glimpse from an agent’s point of view.
Michelle, the easy way to be an agent is to submit the project to all the editors. But it’s also the lest effective. Not to mention the damage the agent does to her reputation.
What an eye-opener. Thank you, Janet!
I dodged this bullet a year ago. I was new, and I mean fetal-new to the publishing world and submitted a query to an agent based on a recommendation from a website geared toward new writers. I was so excited about the agent’s offer I almost signed – but a friend suggested P&E before I made the leap. Thank God she did! After research and a whopping dose of common sense – I passed. Both agent and website are now defunct. Close call.
Kathryn, you might explain what P&E is, for those not in the know.
I’m always surprised by how many individuals think agenting is an easy way to make a living. They dive in, gather up a list of clients…and then discover this is hard work! Only the best organized, best connected, best multi-taskers with a bent toward mediation (and counseling!) succeed.
Of course – P&E or Preditors & Editors is a good first stop for new writers researching potential agents and/or publishers. It is by no means the only resource available, but it is a an easy to follow, quick glimpse of recommendations and warnings regarding authentic writing professionals versus those not so above board. http://pred-ed.com/
Thank you, Kathryn, for explaining P&E. It sounds like a good resource. Thank you, Janet, for suggesting that Kathryn give details.
Here’s a question for you. What percentage of the agents out there would you say are less than desirable? This may be hard to say, but give it your best ballpark guess.
That is a very tough question, Beth. If I think “less desirable” that, to me, means the writer is better off avoiding because the outcome is unlikely to be beneficial. So I’m not going to count the mediocre agents in that group.
And please know, I’m unlikely to be aware of many of the least desirables because they don’t tend to congregate with other agents. They’re more like loners in the industry. I’d say I know six.
Thank you, Janet, for this excellent post. You mentioned one of my worst fears: that an agent might agree to represent my manuscript, but then not submit it. The thought of having my novel “languish” on an agent’s desk has crossed my mind. I’m fairly patient and I try to be reasonable in my expectations. This can work against me at times. Since I am new to publishing, I wouldn’t be sure how long to wait before ending the relationship. How can one tell whether or not an agent is working on getting a publisher for one’s manuscript? Is it typical for an agent to send updates to a writer, such as, “I’ve just submitted the book to Tor Publishing for consideration”?
I am trying to educate myself as much as possible by studying agency websites, agent bios (where available), taking Writer’s Digest tutorials, following agents on Twitter and reading agent blogs.
Thank you for all that you and the other agents at Books and Such do. I’ve said it before but it bears repeating: I am SO grateful to all of you for your ministry of educating writers through the blogs. It amazes me that(good) agents do so much work for clients on the hope that it will eventually pay off, but you all go way above and beyond this by giving away so much invaluable information to those who visit your blogs.
Many blessings! Know that you are in my prayers.
Also, I am praying for safe travel for those of you who will be traveling here to Florida for the Orlando conference in a couple of weeks.
Have a happy Fourth of July!
Christine, thank you for your encouraging comments about agents who blog. It is a significant investment back in the industry that we’ve chosen to make because we want to facilitate as many deserving writers finding their place at the publishing table.
Most agents don’t submit regular reports simply because that could take a lot of time. Periodically asking an agent for an update on projects is a perfectly good question. Every three months is probably a good time period because that would give the agent an opportunity to do more submitting of your projects.
I try to let my clients know whenever we receive a turndown; so the client is being kep abreast of any news. I definitely let a client know if an editor is expressing interest in a project. And once the project goes to committee, I stay in regular communication with the client.
But if you’re hearing nothing, don’t hesitate to ask.
Thank you, Janet, for giving me the three month time frame to email for updates. It helps a lot to have a concrete idea of what is reasonable. 🙂
Great tips! Thank you, Janet!
Thank you Janet.
When I read this,I envisioned a used car dealer banging his fist on a Lada, promising me a fabulous car at the best price ever. Then the bumper falling onto the ground.
I have done a tonne (hey, I’m Canadian) of research on agents, agencies, sharks and have seen quite a few comments on P&E about people’s bad experiences. Which are really sad to read.
I’m thankful that not only is your agency floating at the top of the cream, you have the integrity to teach us “fetal-new” (great phrase Kathryn!!) writers how to navigate the mine fields.
Ha, I love that used car salesman analogy. I’ve found that type of agent promises: quick sales, lots of money, and much success. If an agent declares you a genius writer, even if you are, take a closer look. A bumper might be about to hit the ground.
Jennifer, I laughed out loud at the bumper falling to the ground. Thanks for great image! 🙂
I was inspired by the great Herb Tarlek.
I read about an agent that was so terrible, she
was practically considered an outlaw. I realize
most agents are above that, but thank you for
reminding us that we need to be cautious while
searching. I hadn’t thought about all the angles
you mentioned.
Some agents actually are running scams, especially by charging for their services rather than working on a commission.
Great post, Janet. Thank you.
I recently received two offers of representation and am in the difficult position of deciding which, if either, is a good fit for me. I’ve Googled and researched them so much I feel like a Cyber-stalker. I’ve talked with them. I’ve e-mailed and talked with their clients. I’ve made pros and cons lists. Now I just have to make a decision.
And review the contracts…which is a whole different matter. Could you perhaps do a post on what to look for in an agency contract? The two I’ve received are very different. One is one page; the other is five pages. How much flexibility is there is making changes and additions?
Thank you.
Congratulations Kay!
Kay, that’s a great idea for a blog post. I’ll do that.
In terms of how much negotiation can you do on an agent’s contract, not much. I’d suggest you ask why certain clauses are in the contract. Then you can ask for some adjustments. And you can explain why you’re concerned. But every exception an agent agrees to is an exception they have to remember for the life of the contract. Our agency represents 250 clients–and we’re handling the finances of clients who have left us after we placed projects for them. Making sure we remain within each exception is a big job. That’s one of the reasons agents aren’t enthusiastic about making changes.
Great post! Hmmmmmmm, just so happens I’m looking for an agent just like this. 🙂