The Author-Agent Relationship

As Philadelphia Stories prepares for another fun Push to Publish writing conference coming up on October 12, we asked literary agent Rita Rosenkranz to share her tips on what an author should look for when shopping for an agent. Below is a sampling of her tips. We are happy to report that Ms. Rosenkranz will also be sharing her insights at both the speed date and the “meet the agents” panel discussion at the Push to Publish event.

What should authors look for in an agent?

I advise authors to “know thyself,” because there is a spectrum of agents with different personalities, strengths, level of experience, connections to the film world, etc. Depending on the author’s publishing history and/or ambitions, she might benefit more from a well-established agent, whereas another author will connect better with a hungry, new agent. Do you want a New York-based agent? Some—but not all authors—do. Some authors prefer to have an agent close to where they are based. Will the author be working with the agent or mostly with an assistant or intern? What are the agency’s commission and agency charges (and is there a cap on charges)? I advise authors to review the questions listed on the Association of Authors’ Representatives (AAR) Web site to help determine the best fit.

Finding the right agent can mean different things to different people. What suggestions do you have for writers who want to gain a deeper knowledge of the agents they are pitching?

I think many authors don’t consider the nuances of the agent/author relationship beforehand. More than to simply know they want an agent, authors should identify what matters most to them. Do they want an agent who will simply get them the most money or one who will help them become better writers and who will be available for matters large and small? More than ever, writers can learn about agents thanks to the Web. On many sites authors exchange experiences––offering recommendations, sob stories and everything in-between––undiluted and uncensored. Writer’s Digest, as well as other print and online venues, regularly profiles agents, offering writers a deeper sense of the agent’s personality, taste and approach to the author/agent relationship.

Where you do you find your authors?

I find authors every which way: through queries, conferences, word-of-mouth, and my own active outreach campaign. I read my mail closely and with anticipation. I have found wonderful projects through query letters. Only a fraction of the projects I ask to see end up being right for me. But I sometimes will offer feedback even if I end up turning down the project, and the author presumably benefits from this exchange. Sometimes a writer whose work I’ve turned down will reconnect with me later with a new project that in fact does interest me.

If you fall in love with a project, will you simply take it on, or do you run it through a marketability grid? Do you take on projects you think will sell even if you don’t love them?

If I fall head-over-heels in love with a project, I’m willing to move forward even if the market is small. I’ve handled niche projects and sometimes if it’s a rich niche with a renewable market, one can be rewarded over time. I don’t feel I have to love the project so much as respect its purpose and its market. How wonderful though when I do love it. Those occasions especially help keep me buoyed by my work.

Once a writer signs with an agent, what type and what frequency of contact can she or he expect?

It’s impossible for me to generalize, since writers have different needs and agents handle business differently. I personally want my authors to be in the loop in a real-time way, whether it involves rejections or other matters that can play a part in their wellbeing. At the same time, I’m sensitive to authors’ individual personalities and preferences. While maintaining my basic approach to the relationship, I’ll adapt wherever I can. This might mean not sharing rejections but only letting the author know when there is an offer.

What are your biggest frustrations when working with a client?

It’s easiest for me to do my best work when an author is dependable, respectful of deadlines, proactive in terms of generating publicity for themselves and promotion for their books, thanks to their speaking circuit, podcasts, etc. The more I am preoccupied about these points the less time I will have for higher level efforts, for instance, discussing the author’s next book project. Also, too often I am making excuses for delays in the publishing process—for instance in getting contracts or payment of advances to the author—and it can be frustrating to spend so much time on what should be automatic. I am most thrilled when a project introduces me to a world I hadn’t realized would interest me, and where the author is a well-paired partner to the work.

What is the most important thing for writers to know about agents?

There is great variety among us, in the kinds of writers we’re attracted to, our approach to the author/agent relationship, our editorial sense, our publishing connections, and our stick-with-it-ness, even when a project doesn’t win a publisher’s interest right away. This should give authors hope that within the large and diverse community of agents, there will be a perfect match. I think the most successful writers manage to persevere and show great fortitude no matter what the circumstance. Agents need to demonstrate this too, of course, and the journey together is much more sturdy and rewarding when the agent and author can stay the course through the difficult spots, too.

Rita Rosenkranz founded Rita Rosenkranz Literary Agency in 1990 after a career as an editor with major New York houses. Her non-fiction list includes health, history, parenting, music, how-to, popular science, business, biography, sports, popular reference, cooking, spirituality and general interest titles. Rita works with major publishing houses, as well as regional publishers that handle niche markets. She looks for projects that present familiar subjects freshly or lesser-known subjects presented commercially.

 

Conferences from the Agent’s Point of View by Marie Lamba

*This blog is cross-posted at Marie Lamba's blog. Marie will be teaching an all-day workshop the day before Push to Publish on tips to find an agent.


Conferences from the Agent’s Point of View (Revisited!)

Last week I shared some things I learned as an author about meeting agents and editors at writer’s conferences. So, BAM! Let’s switch pitch table sides. Now, as Associate Agent at Jennifer DeChiara Literary Agency, I really am on the other side, taking pitches, sitting on the panels, and walking around conferences to meet writers and hear what they have to say. So here are some thoughts, and some tips.First of all, like I said in last week’s post, the important thing to remember is that agents and editors are people. And most are pretty nice, too. Take the folks at the great Push to Publish conference which I’d attended (in 2012). (NB: this Oct. 2013 I’ll be the Push to Publish pre-conference presenter where folks can spend the day with me – registration info here.) I wish I had time to hang out with these agents and editor and swap stories about our clients and our projects. But that’s one thing many conferences are tight on: time.So as an agent, I arrive with a schedule in hand. For some conferences, I may have just been whisked over from an airport, and have barely arrived before I’m “on.” I love to meet my fellow agents and editors. But above all, I want to meet you writers! But time is short. So I meet with you during pitches, or chat with you during registration, or swap ideas with you during panel talks. Longer conferences are great because there are more chances for real exchange. Exchange of biz cards, yes, but also exchange of conversation and ideas. There can be time during a cocktail party or in line for breakfast, or just hanging out in the hotel lounge after the main events are over.

But there are often many of you and few of us agents, so when we do get time with you, it’s important to use it well. I’ve done pitch sessions that have run anywhere from 5 minutes to 15. If a writer comes to me and is especially nervous, I understand. Sometimes however, this wastes our valuable time together as we spend our minutes more on getting focused than on talking about a book. In these cases, I think it’s best for the writer to have their pitch written out. If you just admit right up front that you are really nervous and ask if it’s okay to read your pitch, I for one will smile and say of course. Then you can take a deep breath, read the pitch, and then our conversation can begin from there. And I bet you’ll feel better after that.

Some writers are naturals with pitches and with chatting. And for me, it really is a chat. As if we are sitting together for a moment at a coffee shop, talking shop. These writers smile, and introduce themselves and shake hands. They then sit and say something to the effect of, “I’m here to tell you about my new memoir called ‘About All That.’” And then they say their brief, focused pitch. These authors allow me to then respond with my reaction to the pitch. They listen to any questions I may have and answer them as well as they can. And they ask me questions like what do I think about this sort of book in the marketplace? They listen and allow us to interact, with note-taking happening after our allotted time. This is all time well spent.

Sometimes writers squander their pitch time because they come to me unfocused. They haven’t thought ahead about the market of their novel (is it YA or mid grade?), or come up with a succinct way to describe the novel to me. So we spend our time together learning about the author, her approach to writing, what she wanted to achieve, the many ways she approached creating this book. Everything but what the book is actually about. And because of that, I can’t give any viable feedback or know if this novel is something I want to look at.

Sometimes writers come into the pitch with only one goal: sell! I’m not naive. I KNOW that is the goal. But I think this sort of over-focused writer can miss out on great opportunities that lead to the sell. It’s not just about getting that jazzed reaction from the agent and the green light and that book deal. Seriously. It’s about coming into it ready to learn and pick up cues and adapt and make connections. And all of these things can lead you to the sell, so don’t be short-sighted.

Here’s an example of what I mean. A writer comes up to me very confidant with a pitch. She’s ready to sell it, and is sure a smart agent will snap it up. So I hear the pitch. I may be interested, but I’m confused about something so I ask a question. Over confident writer immediately deflates, convinced they’ve failed. Or withdraws, upset (yes, I’ve seen tears in response to questions). Or grows hostile, convinced I’m ridiculous to say no (which I haven’t even said yet) and that there is nothing more I can do for them and so they should just move on to wow the next person. Every single one of these writers is simply blowing it. Why? Because as long as we have minutes together we can be learning from each other.

I can learn more about the novel in response to my questions. If my concerns are addressed, then maybe I will be interested. The writer can spend time building a relationship with me. Maybe this book won’t fly, but another book might in the future. Why burn bridges? The writer can also be paying attention to my reaction to this pitch. Even if I’m not the agent for you, did I become interested in certain things? Did I become puzzled? Did I express concerns about certain aspects? Then perhaps you can tweak your pitch and your queries to future agents based on this, and be more successful at your next pitch appointment. Ask me, “what do you think?” And if I say I’m not interested, ask me, “do you have any advice that I can use?”

When it comes down to it, I’m looking to work with pros. Even a debut author can be a pro. People who are open to discussion about their books, who are open to suggestions, who are folks I’d consider working with. If you are overly emotional, then I can’t picture you handling changes from an editor or meeting deadlines. If you are hostile or a prima donna, I’m never going to want to work with you. There are many talented people, and even if you are a major talent, if you are sending up flares that you are a difficult person, then I’m not interested.

When I go to conferences, I’m there to meet you, chat with you, and swap ideas. I’m hopeful that I will be finding my next client sitting right across from me. Someone who is professional and interesting and ready to work hard. I meet tons of fascinating people at every one of these conferences. Not all of them end up as my clients, of course. But many of them end up as people who I hope to hear from and interact with again.

I encourage you to remember that a pitch is more than a sell. Conferences are a place to meet people, to make contacts and to learn. Get questions answered. Try out different pitches for your novel at different conferences and learn bit by bit which parts are most effective and which are not working so well. Remember all of this can lead to a sell. I always enjoy meeting people who are passionate about their writing. It’s energizing and exciting.

Enjoy the process, and best of luck!