Things have been a little slow here at the Rejecter because of Passover/editing book issues, and they're about to get even slower as I log off for Pesach. I'll be back up Saturday night, then down for two days next week, so if you post a comment, it may not get approved for a few days. Feel free to post it anyway, just expect a delay. And if you send a question, it will go in my "to answer" box all the same, so go ahead.
Chag Sameach and Happy Easter to all who celebrate.
Wednesday, April 08, 2009
Tuesday, April 07, 2009
The Boundaries of Young Adult
Hello Rejecter,
I am new to writing and have paged down many months on your blog. I'm not sure if you answer this type of question, but I will ask.
I am at the final chapters of a YA. My question to you is my ms to much for a YA? In brief it takes place in a high school and includes relationships, drugs, sex, kidnapping/torture and murder. It has description to feel the emotions, but not to much depth in the sex and drug portions.
Really, anything goes in YA these days. Basically, don't write smut that has no plot, or PWP as we say in fanfic. (Porn Without Plot or Porn Without Point) And don't be excruciatingly descriptive unless you're being raped and it's an autobiography. Then sit back and wait for the awards to roll in.
Also, do you ever give pro's/con's on query letters?
If by this you mean review them, no.
I am new to writing and have paged down many months on your blog. I'm not sure if you answer this type of question, but I will ask.
I am at the final chapters of a YA. My question to you is my ms to much for a YA? In brief it takes place in a high school and includes relationships, drugs, sex, kidnapping/torture and murder. It has description to feel the emotions, but not to much depth in the sex and drug portions.
Really, anything goes in YA these days. Basically, don't write smut that has no plot, or PWP as we say in fanfic. (Porn Without Plot or Porn Without Point) And don't be excruciatingly descriptive unless you're being raped and it's an autobiography. Then sit back and wait for the awards to roll in.
Also, do you ever give pro's/con's on query letters?
If by this you mean review them, no.
Monday, March 30, 2009
The Rejecter's Rejections
So the editorial situation for my third book is still a mess, and has gotten more complicated, to the point where it's really not appropriate for me to continue posting about it on an anonymous public blog, as a lot of specifics are involved. And curse words.
Today I was back in my hometown to give a speech to students in my high school about my book and the publishing process. This was requested by an English teacher I didn't know, which shocked the hell out of me. I babbled for about 45 minutes and I'm pretty sure I might have said something in there about something related to writing. When I do public speaking it's kind of blur. It's good to go into my 10th reunion this fall with a major accomplishment. I looked in my yearbook when I got there to jog my memory of the names of my teachers, as I am especially terrible at remembering names, and discovered that in my senior profile, I asked people to buy my book (the one I was trying to publish at the time) or "a book by me by another title." Actually the English teacher, the alumni director, and the librarian all got copies from me for free, but the principle is there, which is that I had a dream in high school and I've fulfilled it. I need to come up with some crazier dreams.
Also very satisfying: My mother asked me to clean out my desk while I was home, which was filled with old paper and bank statements that needed to be shredded alongside the very important documents to save, like GRE scores and proof of jury duty service. Included in this desk was a huge stack of rejection letters from various graduate programs in creative writing. I was rejected almost everywhere I applied, and I applied repeatedly: my senior year of college, the year I was in Israel, and the year I was home sick after Israel. I applied to Columbia's MFA program three times (and was waitlisted once, but never got off it). My fiction was apparently "too commercial" as grad professors have admitted off the record. Obvious I did get in somewhere, really a middle tier school looking to expand its program with more students, and even there I was ostracized for writing "popular fiction" and one professor threatened to flunk me if I didn't write about myself. Also I probably burned the bridge of being hired as a professor there by calling the head of the department a sadist to his face.
Number of books under contract 1 year after graduating with my MFA: 5
Anyway, I shredded all of my rejections (and the acceptances to the crappy programs). Let me tell you, it was very satisfying. Especially for Columbia. Three times I paid that application fee, which went up from $85 to $120 the final year. Also Iowa, just because everyone applies to Iowa and no one gets in. Man, they rejected the hell out of me.
So, for those you receiving rejection letters: keep at it. Persistence pays off. And shredding is very theraputic.
Today I was back in my hometown to give a speech to students in my high school about my book and the publishing process. This was requested by an English teacher I didn't know, which shocked the hell out of me. I babbled for about 45 minutes and I'm pretty sure I might have said something in there about something related to writing. When I do public speaking it's kind of blur. It's good to go into my 10th reunion this fall with a major accomplishment. I looked in my yearbook when I got there to jog my memory of the names of my teachers, as I am especially terrible at remembering names, and discovered that in my senior profile, I asked people to buy my book (the one I was trying to publish at the time) or "a book by me by another title." Actually the English teacher, the alumni director, and the librarian all got copies from me for free, but the principle is there, which is that I had a dream in high school and I've fulfilled it. I need to come up with some crazier dreams.
Also very satisfying: My mother asked me to clean out my desk while I was home, which was filled with old paper and bank statements that needed to be shredded alongside the very important documents to save, like GRE scores and proof of jury duty service. Included in this desk was a huge stack of rejection letters from various graduate programs in creative writing. I was rejected almost everywhere I applied, and I applied repeatedly: my senior year of college, the year I was in Israel, and the year I was home sick after Israel. I applied to Columbia's MFA program three times (and was waitlisted once, but never got off it). My fiction was apparently "too commercial" as grad professors have admitted off the record. Obvious I did get in somewhere, really a middle tier school looking to expand its program with more students, and even there I was ostracized for writing "popular fiction" and one professor threatened to flunk me if I didn't write about myself. Also I probably burned the bridge of being hired as a professor there by calling the head of the department a sadist to his face.
Number of books under contract 1 year after graduating with my MFA: 5
Anyway, I shredded all of my rejections (and the acceptances to the crappy programs). Let me tell you, it was very satisfying. Especially for Columbia. Three times I paid that application fee, which went up from $85 to $120 the final year. Also Iowa, just because everyone applies to Iowa and no one gets in. Man, they rejected the hell out of me.
So, for those you receiving rejection letters: keep at it. Persistence pays off. And shredding is very theraputic.
Friday, March 27, 2009
Editorial Demands
General notes: We've been receiving a lot of manuscripts from people about how the car industry failed (in their opinion) or from people who worked as investment bankers and want to talk about all of the wasteful spending they encountered. Not a huge surprise. The mortgage crisis we haven't seen so many books on, but I suppose that's not as interesting to write about, or is simply too complicated to write about except by an expert. And if the last few months have taught us anything, it's that nobody's an expert.
On the home front: I've still been focusing every spare second on revisions for my third book. I had an interesting conversation with my agent (the agent who represents my work, not my boss the agent) about editorial demands on behalf of the publisher and what is realistic, and it turns out that what I was asked to do is way out of the ballpark, but as the book was paid for and is slated for the fall release, I can't do anything but tear up my contract (which I can do, if we fail to reach an agreement on the content of the manuscript) and not get the third book published, so the editor has the advantage. Now I've known editors and spoken to editors and done some editing myself, but I've only been an author working with an editor no two previous books, and it difficult to be on the receiving end of comments that you just plain don't agree with and think would detract from the book.
What you should expect: Generally editors are supposed to tighten the manuscript (or ask you to add more material to clarify the plot), find inconsistencies, and discuss problematic scenes. Some editors do little or no revision because they're overworked and leave it to the copyeditor to find inconsistencies, and I have to say my copyeditor did a fabulous job on the previous book, and found a ton of stuff that was easy to correct (a line or two here and there).
What is not the norm: The editor is not supposed to ask you to dramatically rewrite the book. In theory, the editor buys the book because they like it, and the changes they suggest are to make the book better, but the essential nature of the book was already there when they bought it. Or if they bought multiple books at once (which would be my case), they either read them all when they bought them, or they at least read the chapter-by-chapter summation you provided them with before the contract was signed so they knew what they were getting, at least in theory. If an editor just buys a bunch of books because the first one was successful and doesn't look at the summaries and doesn't even bother to look at the book until two months after you delivered the manuscript but a week before it has to go to the copyeditor's, and discovers they hate the plot, both of you are in trouble. Even though it wasn't your fault as a writer, you're going to be the one to fix it or walk away from your contract and return your advance money. This happens on occasion in publishing, though it is rare. It is, however, a situation you never ever want to get into. If you are selling a multi-book series, my advice is to be absolutely sure the editor has signed off on careful summaries of all the books that haven't been written yet. There is an advange to editors buying books blindly - it means you're more likely to to get your first big break. But it has a disadvantage, too, which I've discovered over the past few weeks, as it's come down to my integrity as a writer versus my career as a writer. Trust me, it is not a good place to be.
On the home front: I've still been focusing every spare second on revisions for my third book. I had an interesting conversation with my agent (the agent who represents my work, not my boss the agent) about editorial demands on behalf of the publisher and what is realistic, and it turns out that what I was asked to do is way out of the ballpark, but as the book was paid for and is slated for the fall release, I can't do anything but tear up my contract (which I can do, if we fail to reach an agreement on the content of the manuscript) and not get the third book published, so the editor has the advantage. Now I've known editors and spoken to editors and done some editing myself, but I've only been an author working with an editor no two previous books, and it difficult to be on the receiving end of comments that you just plain don't agree with and think would detract from the book.
What you should expect: Generally editors are supposed to tighten the manuscript (or ask you to add more material to clarify the plot), find inconsistencies, and discuss problematic scenes. Some editors do little or no revision because they're overworked and leave it to the copyeditor to find inconsistencies, and I have to say my copyeditor did a fabulous job on the previous book, and found a ton of stuff that was easy to correct (a line or two here and there).
What is not the norm: The editor is not supposed to ask you to dramatically rewrite the book. In theory, the editor buys the book because they like it, and the changes they suggest are to make the book better, but the essential nature of the book was already there when they bought it. Or if they bought multiple books at once (which would be my case), they either read them all when they bought them, or they at least read the chapter-by-chapter summation you provided them with before the contract was signed so they knew what they were getting, at least in theory. If an editor just buys a bunch of books because the first one was successful and doesn't look at the summaries and doesn't even bother to look at the book until two months after you delivered the manuscript but a week before it has to go to the copyeditor's, and discovers they hate the plot, both of you are in trouble. Even though it wasn't your fault as a writer, you're going to be the one to fix it or walk away from your contract and return your advance money. This happens on occasion in publishing, though it is rare. It is, however, a situation you never ever want to get into. If you are selling a multi-book series, my advice is to be absolutely sure the editor has signed off on careful summaries of all the books that haven't been written yet. There is an advange to editors buying books blindly - it means you're more likely to to get your first big break. But it has a disadvantage, too, which I've discovered over the past few weeks, as it's come down to my integrity as a writer versus my career as a writer. Trust me, it is not a good place to be.
Sunday, March 22, 2009
Frustrations
So if you think once you get an agent and a contract it's all fun and games, you are wrong. So wrong.
(1) Today I got yet another review pointing out the various historical mistakes that (a) were supposed to be cleared up by copy-editing, but the corrections we agreed on were never implemented into the final manuscript file by the editor, and/or (b) were historical inaccuracies that were not part of the book and were slapped onto the back cover and all the promotional material by an overworked assistant who hadn't read the book. Every single review has hit on at least one of these mistakes, neither of which were my fault. Of course I don't respond to reviews, because as an author you don't do that, but I have addressed the issue on my website and in interviews, which of course means nothing to the person who is a discerning historian and just picked the book up in a store. Eighth month after publication and I still want to hit myself in the face whenever I see a review mentioning them and therefore downgrading my book.
(2) The cover for another book of mine went unapproved to Amazon for the pre-order. Now technically I have no control over the cover, but it is a confusing cover that makes no sense and is downright misleading, and I will have to stamp my feet and be really annoying to the already overworked production department to get them to change it, and even once they do Amazon will not bring the changes up until months after it's published. If I can get it changed at all.
(3) Amazon.co.uk has a funny additude of putting a book into pre-order again instead of admitting that they are out of stock, claiming the book hasn't been published yet and will not be published until whatever the next shipment date is, even if they've been selling it for six months. This wouldn't be so annoying if it didn't automatically delete pre-existing reviews (most of my reviews are positive so I don't want them deleted, or the negative ones either so people know what they're getting), because the website thinks this is a whole new book. I wrote Amazon.uk about this, to which their response is, "Send us proof of the original publication date," as if they can't check their records to show they've been shipping the same book for 6 months, they're just out of copies. So I send them a screenshot of the Amazon.com page with the ISBN and publication date, and they don't do anything about it anyway.
(4) Amazon does not believe I'm the author when I say, "Hi, I'm the author and you're incorrect about the description of the book; you should fix this." Even if my publishing company insists that I am, in fact, the author.
This isn't really anybody's fault in terms of being mean or evil, but more a combination of people who are overworked, people asked to do a job they aren't given proper information about, or companies with better things to do with their time. The manuscript passes through a bunch of hands before it makes it to yours, and any one of those could make a change and either not tell me or tell me well after it's possible to fix it. So next time you're reviewing a book, consider that a seemingly minor mistake it might not be the author's fault.
If Philip Dick was alive I would feel really bad for him, as the current edition of his books has summaries on the back that either give away the ending or are just plain wrong about anything that occurs in the book. And Philip Dick books often have twists at the end, so this is a really big problem for the reader.
(1) Today I got yet another review pointing out the various historical mistakes that (a) were supposed to be cleared up by copy-editing, but the corrections we agreed on were never implemented into the final manuscript file by the editor, and/or (b) were historical inaccuracies that were not part of the book and were slapped onto the back cover and all the promotional material by an overworked assistant who hadn't read the book. Every single review has hit on at least one of these mistakes, neither of which were my fault. Of course I don't respond to reviews, because as an author you don't do that, but I have addressed the issue on my website and in interviews, which of course means nothing to the person who is a discerning historian and just picked the book up in a store. Eighth month after publication and I still want to hit myself in the face whenever I see a review mentioning them and therefore downgrading my book.
(2) The cover for another book of mine went unapproved to Amazon for the pre-order. Now technically I have no control over the cover, but it is a confusing cover that makes no sense and is downright misleading, and I will have to stamp my feet and be really annoying to the already overworked production department to get them to change it, and even once they do Amazon will not bring the changes up until months after it's published. If I can get it changed at all.
(3) Amazon.co.uk has a funny additude of putting a book into pre-order again instead of admitting that they are out of stock, claiming the book hasn't been published yet and will not be published until whatever the next shipment date is, even if they've been selling it for six months. This wouldn't be so annoying if it didn't automatically delete pre-existing reviews (most of my reviews are positive so I don't want them deleted, or the negative ones either so people know what they're getting), because the website thinks this is a whole new book. I wrote Amazon.uk about this, to which their response is, "Send us proof of the original publication date," as if they can't check their records to show they've been shipping the same book for 6 months, they're just out of copies. So I send them a screenshot of the Amazon.com page with the ISBN and publication date, and they don't do anything about it anyway.
(4) Amazon does not believe I'm the author when I say, "Hi, I'm the author and you're incorrect about the description of the book; you should fix this." Even if my publishing company insists that I am, in fact, the author.
This isn't really anybody's fault in terms of being mean or evil, but more a combination of people who are overworked, people asked to do a job they aren't given proper information about, or companies with better things to do with their time. The manuscript passes through a bunch of hands before it makes it to yours, and any one of those could make a change and either not tell me or tell me well after it's possible to fix it. So next time you're reviewing a book, consider that a seemingly minor mistake it might not be the author's fault.
If Philip Dick was alive I would feel really bad for him, as the current edition of his books has summaries on the back that either give away the ending or are just plain wrong about anything that occurs in the book. And Philip Dick books often have twists at the end, so this is a really big problem for the reader.
Monday, March 16, 2009
Amazon breaks its own bank
I've been very busy with last-minute edits for my third book, so I haven't had a lot of time to post. But here's this, which I found amusing.
Maybe their discounts are getting a little too deep.
Maybe their discounts are getting a little too deep.
Wednesday, March 11, 2009
College Credit
Dear Rejecter,
I have a yes-but question about writing credits. As I understand it, getting published in your college's newspaper never counts as a writing credit. The but is this: But what if your column gets syndicated? A few of the pieces I wrote were syndicated on the website uwire.com. (This is their about page.) Their kind of like the AP wire for college newspapers.
I write fantasy novels so it's not as if a bunch of Anthropology columns are terribly relevant anyway, but I was curious.
College newspapers totally count if you don't say they're college newspapers. The thing that makes it not meaningful is if you've talking about journalism and you've written a novel. It does prove you know how to write, but it doesn't prove you know how to write fiction. You wouldn't believe the people we get who have 20 years' experience working for the AP and can't put together a plot to save their lives.
If you've been published in a college literary journal with a pretentious name, just list the name, not the part about it being a college literary journal. Literary journals prove you can write fiction.
I have a yes-but question about writing credits. As I understand it, getting published in your college's newspaper never counts as a writing credit. The but is this: But what if your column gets syndicated? A few of the pieces I wrote were syndicated on the website uwire.com. (This is their about page.) Their kind of like the AP wire for college newspapers.
I write fantasy novels so it's not as if a bunch of Anthropology columns are terribly relevant anyway, but I was curious.
College newspapers totally count if you don't say they're college newspapers. The thing that makes it not meaningful is if you've talking about journalism and you've written a novel. It does prove you know how to write, but it doesn't prove you know how to write fiction. You wouldn't believe the people we get who have 20 years' experience working for the AP and can't put together a plot to save their lives.
If you've been published in a college literary journal with a pretentious name, just list the name, not the part about it being a college literary journal. Literary journals prove you can write fiction.
Monday, March 02, 2009
Kindle 2: Escape to Royalty Mountain
I can't afford the new Kindle, and therefore haven't seen it and can't comment on it, but I can post a funny cartoon someone else made about it.
Note: 300th post!
Note: 300th post!
Essay Collections
Hello Rejecter,
I often hear that nonfiction is more marketable than fiction. Is that true for all forms nonfiction? My question relates specifically to essays. The Caged Virgin, by Ayaan Hirsi Ali, was and is highly acclaimed. It's no secret that she's an excellent writer with a compelling story. That leads me to wonder if the success of The Caged Virgin was an exception rather than the rule. Are publishers generally receptive to essay collections?
It's hard to say which is more marketable because fiction and non-fiction have different markets. Though many agents deal with both, editors tend to focus on one or the other. If you're asking yourself, "Should I write a fiction or non-fiction book?" the answer is, "Write the book you want to write, then submit it for publication. When it's rejected, write another book and try again."
As for essay collections, this can be a tricky situation. Generally agents are not incredibly receptive to essay collections written by people who have not had any of their essays published, much like short story collections. And then it depends where they were published, and what kind of essays they are, but generally boils down to, "Do we think anyone would buy and read this?" Because I can't remember the last essay collection I bought and read, and I read a wide variety of things. My dad bought me a copy of "Best Science Writing of 2001" or something like that, and I think I read two of the essays, and that was a "best of" collection. So, don't bank on it.
If people have successful essay collection publishing stories they are welcome to share them in the comments section.
I often hear that nonfiction is more marketable than fiction. Is that true for all forms nonfiction? My question relates specifically to essays. The Caged Virgin, by Ayaan Hirsi Ali, was and is highly acclaimed. It's no secret that she's an excellent writer with a compelling story. That leads me to wonder if the success of The Caged Virgin was an exception rather than the rule. Are publishers generally receptive to essay collections?
It's hard to say which is more marketable because fiction and non-fiction have different markets. Though many agents deal with both, editors tend to focus on one or the other. If you're asking yourself, "Should I write a fiction or non-fiction book?" the answer is, "Write the book you want to write, then submit it for publication. When it's rejected, write another book and try again."
As for essay collections, this can be a tricky situation. Generally agents are not incredibly receptive to essay collections written by people who have not had any of their essays published, much like short story collections. And then it depends where they were published, and what kind of essays they are, but generally boils down to, "Do we think anyone would buy and read this?" Because I can't remember the last essay collection I bought and read, and I read a wide variety of things. My dad bought me a copy of "Best Science Writing of 2001" or something like that, and I think I read two of the essays, and that was a "best of" collection. So, don't bank on it.
If people have successful essay collection publishing stories they are welcome to share them in the comments section.
Wednesday, February 25, 2009
Thanking Agents
Dear Rejecter,
Several agents have requested my full ms, and one of them recently sent me a very kind no. She clearly gave the book a thoughtful, thorough read and her letter to me included encouraging and constructive feedback. I'd like to send her a thank-you note, acknowledging her time and encouragement. Is this appropriate? Or would an agent just think it was weird to receive a thank-you for what was, after all, a no?
If the agent went through all that trouble, you can do it, but it is a pointless exercise for the most part. We do occasionally get thank you's, oddly enough for queries, and they're pointless and we just throw them out. But for what she did, it wouldn't hurt, certainly, if you send something else to that agent sometime in the near future.
In all other situations I would not recommend the waste of paper and postage.
Several agents have requested my full ms, and one of them recently sent me a very kind no. She clearly gave the book a thoughtful, thorough read and her letter to me included encouraging and constructive feedback. I'd like to send her a thank-you note, acknowledging her time and encouragement. Is this appropriate? Or would an agent just think it was weird to receive a thank-you for what was, after all, a no?
If the agent went through all that trouble, you can do it, but it is a pointless exercise for the most part. We do occasionally get thank you's, oddly enough for queries, and they're pointless and we just throw them out. But for what she did, it wouldn't hurt, certainly, if you send something else to that agent sometime in the near future.
In all other situations I would not recommend the waste of paper and postage.
Thursday, February 19, 2009
In These Harsh Economic Times...
Dear Rejector:
The following is gleaned from the latest issue of Publisher's Weekly:
“With bookstore sales falling the last four months of 2008, total sales for the year fell 0.5%, to $16.93 billion.”
“Bookstore sales were off 4.7% in December, an improvement over the 13.0% and 5.6% declines posted in November and October.”
“Sales for the 81 publishers that report their revenue to the Association of American Publishers fell 2.4%, to $10.6 billion, in 2008. . . The 13% decline in the adult hardcover segment was the result of a 5.3% drop in gross sales plus a steep 10.8% increase in returns.”
As you know, Houghton Mifflin has stopped accepting new submissions and Borders is on the ropes.
How is the downturn in book sales affecting literary agencies? Are agents taking on fewer new clients? Are agencies relying more on their existing best selling authors? Are colleagues of yours in fear of losing their jobs? How should unpublished authors trying to break in view all of this? Should we follow in Hemingway's and Poe's footsteps and just do ourselves in? Worse -- get a real job?
Yes, chicken little was right. The sky is falling. Soon people will be burning books for fuel and attaching spikes to their cars. Me, I plan to camp out at Walmart. I think I could last pretty long in a Walmart in some kind of massive global socio-economic destruction. They have food and clothing and camping equipment and generators. I would be fine.
Despite the corporate doom-and-gloom, publishing is actually a fairly stable industry in that people always want/need books. It's either for school or escapism, and it's rather cheap escapism, as most mass market paperbacks are now cheaper than a movie ticket and the book will last you longer. And not all publishing companies are doing badly. Yes, I don't know an editor who isn't under a little extra stress (or a lot of extra stress because half her department was cut and merged with another imprint), but most companies are in the black or near the black, and the ones doing well are being tight-lipped about it, hoping no one will figure out their secret. (Hint! It's probably cheating the authors with low advances and bottom-level royalties!)
The one company that is actually gaining in this crisis is Amazon, despite the rising cost of postage and increasingly slow speed of mail, along with the bankruptcy of DHL (bad for Barnes and Noble). Their used book seller program is probably generating them insane profits, allowing them to slash prices on new books, which then increases buying and gets them more profits. My book was recently reduced by about $1.50 on Amazon and is now selling about twice as many copies. I don't care about the sticker price, as my contract stipulates that I get my royalties based on the established retail price (the price set by the book company), so whatever the stores sell it at, I still get the same $1.12 or whatever it is per copy. Also, another way Amazon is able to offer great deals is that while bookstores have earn 50% of the retail price (the rest going to the publishing company), Amazon earns 55%, meaning it makes more on each book and can afford to keep the prices down to attract customers. Also Amazon sells a lot of other stuff, which just generally keeps the company afloat. I recently bought $35 headphones through a used seller for $4.00 AFTER shipping. And they were new in box.
Will the publishing companies go bankrupt? I doubt it. They may decrease in size, merge imprints, merge companies, or just shift around their lists, but they will survive and then thrive when the economy picks up again. People need books and POD technology is not yet economically viable to produce those public domain classics; you need a real company to do that. When the cost of POD goes down significantly, we will probably see a real restructuring of the industry, but not before.
What does this mean to literary agents? Well, advances are lower and it's certainly a bad time to become a literary agent, but my boss doesn't seem worried at all. If anything, she's rejecting more because we're seeing more queries as people who've been laid off submit books now that they have the time to write them. A ton of queries in her inbox can put her in a rejecting mood if she's just gotten some contracts out for rights in Indonesia and the Korean translation of the newest bestseller on her list just came in. This doesn't affect my work. Actually, it puts you guys at an advantage, as I'm not prone to be busy with another area of the business and reject queries because I'm busy, as my primary (but not only) job is to read queries. So, I'll put the normal amount of maybe's in the pile until she says there's too many, and then I might get a bit more discriminating, but usually not by much.
What does this mean to you? It could be good news, despite what I just said about my boss. (She really is a nice person, and takes on new authors all the time, but a large query pile can be staggering) Even if money is coming in from old backlisted items and current bestsellers, a good agent is always on the look out for new things, and probably on the lookout for more things with the knowledge that the advance is going to be lower for each book. In other words, agents have an incentive to actively look for new clients.
Either way, if you've written a good book, submit it. Just don't expect a big check to come if sells.
The following is gleaned from the latest issue of Publisher's Weekly:
“With bookstore sales falling the last four months of 2008, total sales for the year fell 0.5%, to $16.93 billion.”
“Bookstore sales were off 4.7% in December, an improvement over the 13.0% and 5.6% declines posted in November and October.”
“Sales for the 81 publishers that report their revenue to the Association of American Publishers fell 2.4%, to $10.6 billion, in 2008. . . The 13% decline in the adult hardcover segment was the result of a 5.3% drop in gross sales plus a steep 10.8% increase in returns.”
As you know, Houghton Mifflin has stopped accepting new submissions and Borders is on the ropes.
How is the downturn in book sales affecting literary agencies? Are agents taking on fewer new clients? Are agencies relying more on their existing best selling authors? Are colleagues of yours in fear of losing their jobs? How should unpublished authors trying to break in view all of this? Should we follow in Hemingway's and Poe's footsteps and just do ourselves in? Worse -- get a real job?
Yes, chicken little was right. The sky is falling. Soon people will be burning books for fuel and attaching spikes to their cars. Me, I plan to camp out at Walmart. I think I could last pretty long in a Walmart in some kind of massive global socio-economic destruction. They have food and clothing and camping equipment and generators. I would be fine.
Despite the corporate doom-and-gloom, publishing is actually a fairly stable industry in that people always want/need books. It's either for school or escapism, and it's rather cheap escapism, as most mass market paperbacks are now cheaper than a movie ticket and the book will last you longer. And not all publishing companies are doing badly. Yes, I don't know an editor who isn't under a little extra stress (or a lot of extra stress because half her department was cut and merged with another imprint), but most companies are in the black or near the black, and the ones doing well are being tight-lipped about it, hoping no one will figure out their secret. (Hint! It's probably cheating the authors with low advances and bottom-level royalties!)
The one company that is actually gaining in this crisis is Amazon, despite the rising cost of postage and increasingly slow speed of mail, along with the bankruptcy of DHL (bad for Barnes and Noble). Their used book seller program is probably generating them insane profits, allowing them to slash prices on new books, which then increases buying and gets them more profits. My book was recently reduced by about $1.50 on Amazon and is now selling about twice as many copies. I don't care about the sticker price, as my contract stipulates that I get my royalties based on the established retail price (the price set by the book company), so whatever the stores sell it at, I still get the same $1.12 or whatever it is per copy. Also, another way Amazon is able to offer great deals is that while bookstores have earn 50% of the retail price (the rest going to the publishing company), Amazon earns 55%, meaning it makes more on each book and can afford to keep the prices down to attract customers. Also Amazon sells a lot of other stuff, which just generally keeps the company afloat. I recently bought $35 headphones through a used seller for $4.00 AFTER shipping. And they were new in box.
Will the publishing companies go bankrupt? I doubt it. They may decrease in size, merge imprints, merge companies, or just shift around their lists, but they will survive and then thrive when the economy picks up again. People need books and POD technology is not yet economically viable to produce those public domain classics; you need a real company to do that. When the cost of POD goes down significantly, we will probably see a real restructuring of the industry, but not before.
What does this mean to literary agents? Well, advances are lower and it's certainly a bad time to become a literary agent, but my boss doesn't seem worried at all. If anything, she's rejecting more because we're seeing more queries as people who've been laid off submit books now that they have the time to write them. A ton of queries in her inbox can put her in a rejecting mood if she's just gotten some contracts out for rights in Indonesia and the Korean translation of the newest bestseller on her list just came in. This doesn't affect my work. Actually, it puts you guys at an advantage, as I'm not prone to be busy with another area of the business and reject queries because I'm busy, as my primary (but not only) job is to read queries. So, I'll put the normal amount of maybe's in the pile until she says there's too many, and then I might get a bit more discriminating, but usually not by much.
What does this mean to you? It could be good news, despite what I just said about my boss. (She really is a nice person, and takes on new authors all the time, but a large query pile can be staggering) Even if money is coming in from old backlisted items and current bestsellers, a good agent is always on the look out for new things, and probably on the lookout for more things with the knowledge that the advance is going to be lower for each book. In other words, agents have an incentive to actively look for new clients.
Either way, if you've written a good book, submit it. Just don't expect a big check to come if sells.
Poetry Credits
Dear Rejecter,
If I'm querying an agent with a novel, and that agent doesn't represent poetry, but my only previous pub credits are poetry, is it appropriate to mention those credits at all? I'm thinking it could go one of three ways:
1. Say that I have previously published poetry, and it has appeared in journals X, Y, and Z
2. Say that my work has appeared in journals X, Y, and Z, but don't mention that said work is poetry
3. Don't mention the credits at all
What's the prudent course here? Is there another option that hasn't occurred to me?
So there's not one answer to your question, unfortunately. Some agents don't think much about poetry credits, but I'm not sure it would really be a negative unless it's not perfectly clear in your query that you're submitting a novel, not a poetry collection (because sometimes it isn't clear). So, I would go with 1 or 3. Either way it probably won't make a difference, but I'm leaning on 1. The importance is that there's a clear distinction between what you've had published and what you are submitting.
If I'm querying an agent with a novel, and that agent doesn't represent poetry, but my only previous pub credits are poetry, is it appropriate to mention those credits at all? I'm thinking it could go one of three ways:
1. Say that I have previously published poetry, and it has appeared in journals X, Y, and Z
2. Say that my work has appeared in journals X, Y, and Z, but don't mention that said work is poetry
3. Don't mention the credits at all
What's the prudent course here? Is there another option that hasn't occurred to me?
So there's not one answer to your question, unfortunately. Some agents don't think much about poetry credits, but I'm not sure it would really be a negative unless it's not perfectly clear in your query that you're submitting a novel, not a poetry collection (because sometimes it isn't clear). So, I would go with 1 or 3. Either way it probably won't make a difference, but I'm leaning on 1. The importance is that there's a clear distinction between what you've had published and what you are submitting.
Saturday, February 14, 2009
Rockstar Agents
Rejecter, my question is this: say there's a real swanky high powered agent who doesn't accept queries (Binky Urban or the like), however you've actually got something that fits with his/her interests. Say also it's backed with the endorsement of someone equally high powered from the artist's end, someone along the lines of a Cormac McCarthy. What would be the protocol of just sending a note about the situation versus a full fledged query? The easy answer, but not always applicable, might be just have the super-author gives the agent a heads up. But in reality, an author like that can't really be expected to run administrative errands for an unknown, especially if they already did you the enormous favor of reading the manuscript in question. So, what do you think: totally out of bounds, a small but potentially fruitful risk, or no big deal-go for it?
If the agent does not accent queries, do not send queries unless you have a recommendation from someone knows the agent personally (a client, a friend, another agent). Or just do it, and probably get rejected, but who knows? But generally, go with first thing I said. Also, there's no reason for extra fuss over a "swanky high powered agent." Yes, a couple agents have made names for themselves with super deals or by continually getting their clients into the New Yorker, but the agent you want is a good agent who cares about your work the most and can do the most for your manuscript. Of course, you may not get a choice on who that is if only one person takes you on, but you are looking for someone who is (a) good at their job and (a) a fan of your work. There are good agents and bad agents (and scam agents). Good agents have the right connections (for you); bad agents have few or no sales, or are out of the loop, or don't know enough editors. The best agent for you may be someone you've never heard of and isn't even listed on the first major agent listing page. So just query widely, to everyone who accepts in your genre and is either an AAR member or from an established agency but just hasn't been in business long enough to qualify for the AAR.
If the agent does not accent queries, do not send queries unless you have a recommendation from someone knows the agent personally (a client, a friend, another agent). Or just do it, and probably get rejected, but who knows? But generally, go with first thing I said. Also, there's no reason for extra fuss over a "swanky high powered agent." Yes, a couple agents have made names for themselves with super deals or by continually getting their clients into the New Yorker, but the agent you want is a good agent who cares about your work the most and can do the most for your manuscript. Of course, you may not get a choice on who that is if only one person takes you on, but you are looking for someone who is (a) good at their job and (a) a fan of your work. There are good agents and bad agents (and scam agents). Good agents have the right connections (for you); bad agents have few or no sales, or are out of the loop, or don't know enough editors. The best agent for you may be someone you've never heard of and isn't even listed on the first major agent listing page. So just query widely, to everyone who accepts in your genre and is either an AAR member or from an established agency but just hasn't been in business long enough to qualify for the AAR.
Thursday, February 05, 2009
Literary vs. Commercial Fiction Round 247
So at this point in the life of the blog I am seriously tempted to just write "go away" to people who send in the usual "why is there so much trash in the marketplace while my literary opus isn't published?" email. I decided to make an exception for this one.
Hello Ms. Rejecter,
The dynamic for agents is to find that compelling work that is salable, not an easy task I'm sure. For me some books that are considered page turners are often so empty and the characters so thin I don't care what they do and the plot so mundanely crime-ridden or romance-ridden or horror-ridden that I don't care what happens. I could give many examples of such profitable books with their suspense page turners in different genres that the only reasonable thing is for the characters to self-destruct. Good luck to those writers. I do not envy or begrudge them anything, for life is too short for that. Maybe these books are a kind of therapy in their escapism for readers and agents are part of the therapy business. However, maybe there is kind of writing that tries to sustain us by illuminating the real world.
Now, the dilemma is, do the vagaries of the the marketplace where escapism literature is easily identified and dominate reduce the marketplace need for compelling stories that deal more authentically with the real world?
First, a confession. I had to look "vagaries" up. I don't know everything. It turns out it means "an extravagant or erratic notion or action" or something like that, which I feel really further obscures the meaning of the sentence than if I hadn't looked it up, but fine. Learn something new every day.
Now, there's the standard argument as to why the market is what it is:
(1) People buy books they want to read.
(2) Publishing companies watch sales and take stock of what was bought.
(3) Editors are encouraged to buy new and exciting things in genres that people are actually buying and reading, plus a little "more of the same" to be on the safe side. The company doesn't want to go under or anything.
In other words, if the public for some reason completely stopped buying books about vampires (in a wildly unlikely alternate universe), editors would be less interested in publishing books about vampires, knowing they wouldn't sell. Eventually there would be no new books about vampires aside from a couple companies hoping to buck the trend, because people don't like to publish books that they know won't sell. Publishing is a business, people. A slightly more altruistic business than, say, investment banking, but nonetheless a business.
From browsing the shelves by yourself, using whatever definition of "literary fiction" you want to use, you will probably come to the conclusion that most people don't buy literary fiction, as most things on the shelves aren't literary fiction. And, by the way, it has always been this way. There has been no time in history where people have only read "great literature."
Now, the dilemma is, do the vagaries of the the marketplace where escapism literature is easily identified and dominate reduce the marketplace need for compelling stories that deal more authentically with the real world?
I want to spend a moment for the good of mankind taking apart this sentence.
I'm going to assume that "escapism literature" means "genre fiction" so we don't spend all day discussing. Normally I would just assume that the latter half of the sentence refers to "literary fiction" and just direct you to the explanation above, which is that the buyers dictate the market, not the other way around, but hold on a second. What are "compelling stories that deal more authentically with the real world?" Because generally in publishing, stories that take place in the "real world" are stories that could possibly happen somewhere at sometime, even if they didn't, and if they actually did it's called "non-fiction." So, that eliminates alternate histories, stories that contain ghosts, stories that contain whimsical creatures who are just metaphors for things, and actually most things that are on the shelves, except maybe romance fiction, because people do occasionally have sex with improbably hot guys. Also thrillers happen in real life, but they usually end up with the protagonist dying in a ditch somewhere or never finding out who was chasing him because that's what happens to most spies.
Your given definition of the literature you want to see more of, if interpreted strictly, would knock out most "great literature." You know, like:
All of Greek literature
All of Arthurian literature
Most Shakespeare
1984
Beloved (though I don't know how "great" it is, in my opinion)
The Old Man and the Sea
And a ton of others I'm thinking of right now because I have to get to work
So, you might want to rethink that.
Hello Ms. Rejecter,
The dynamic for agents is to find that compelling work that is salable, not an easy task I'm sure. For me some books that are considered page turners are often so empty and the characters so thin I don't care what they do and the plot so mundanely crime-ridden or romance-ridden or horror-ridden that I don't care what happens. I could give many examples of such profitable books with their suspense page turners in different genres that the only reasonable thing is for the characters to self-destruct. Good luck to those writers. I do not envy or begrudge them anything, for life is too short for that. Maybe these books are a kind of therapy in their escapism for readers and agents are part of the therapy business. However, maybe there is kind of writing that tries to sustain us by illuminating the real world.
Now, the dilemma is, do the vagaries of the the marketplace where escapism literature is easily identified and dominate reduce the marketplace need for compelling stories that deal more authentically with the real world?
First, a confession. I had to look "vagaries" up. I don't know everything. It turns out it means "an extravagant or erratic notion or action" or something like that, which I feel really further obscures the meaning of the sentence than if I hadn't looked it up, but fine. Learn something new every day.
Now, there's the standard argument as to why the market is what it is:
(1) People buy books they want to read.
(2) Publishing companies watch sales and take stock of what was bought.
(3) Editors are encouraged to buy new and exciting things in genres that people are actually buying and reading, plus a little "more of the same" to be on the safe side. The company doesn't want to go under or anything.
In other words, if the public for some reason completely stopped buying books about vampires (in a wildly unlikely alternate universe), editors would be less interested in publishing books about vampires, knowing they wouldn't sell. Eventually there would be no new books about vampires aside from a couple companies hoping to buck the trend, because people don't like to publish books that they know won't sell. Publishing is a business, people. A slightly more altruistic business than, say, investment banking, but nonetheless a business.
From browsing the shelves by yourself, using whatever definition of "literary fiction" you want to use, you will probably come to the conclusion that most people don't buy literary fiction, as most things on the shelves aren't literary fiction. And, by the way, it has always been this way. There has been no time in history where people have only read "great literature."
Now, the dilemma is, do the vagaries of the the marketplace where escapism literature is easily identified and dominate reduce the marketplace need for compelling stories that deal more authentically with the real world?
I want to spend a moment for the good of mankind taking apart this sentence.
I'm going to assume that "escapism literature" means "genre fiction" so we don't spend all day discussing. Normally I would just assume that the latter half of the sentence refers to "literary fiction" and just direct you to the explanation above, which is that the buyers dictate the market, not the other way around, but hold on a second. What are "compelling stories that deal more authentically with the real world?" Because generally in publishing, stories that take place in the "real world" are stories that could possibly happen somewhere at sometime, even if they didn't, and if they actually did it's called "non-fiction." So, that eliminates alternate histories, stories that contain ghosts, stories that contain whimsical creatures who are just metaphors for things, and actually most things that are on the shelves, except maybe romance fiction, because people do occasionally have sex with improbably hot guys. Also thrillers happen in real life, but they usually end up with the protagonist dying in a ditch somewhere or never finding out who was chasing him because that's what happens to most spies.
Your given definition of the literature you want to see more of, if interpreted strictly, would knock out most "great literature." You know, like:
All of Greek literature
All of Arthurian literature
Most Shakespeare
1984
Beloved (though I don't know how "great" it is, in my opinion)
The Old Man and the Sea
And a ton of others I'm thinking of right now because I have to get to work
So, you might want to rethink that.
Tuesday, February 03, 2009
Non-Fiction Proposals and Unfinished Manuscripts
Hi Rejecter,
I've been querying my memoir to agents - and one has asked to see it. Now, everything I've read, and published memoirists, have told me that NF doesn't have to be complete to sell. I have 130 pages written. Based on my query, an agent emailed me yesterday and said, "I'd like to see [name of book]. Please send it to me in XXX format."
So, now what do I do? As I write to you, I am cleaning up the chapters (spelling, grammar, transitions) + planning to email to her with the note that this is my "working manuscript." Or should I just hold off, polish it completely + make sure I have a full book before sending it? Or can I send what I have and say this is a partial? My initial instinct was to email her back yesterday and say, "this is a work in progress, I'll send what I have," but I also don't want to waste her time with explanatory emails.
It's true; sometimes non-fiction is sold to a publisher based only on a thorough proposal and sometimes non-fiction is sold when it's a finish piece. The traditional reason that a proposal is submitted is so that the author has the money to go do the research required to write the book, which may involve things like taking time off work or travel or acquiring rights to photos or just, you know, income to justify their time. That's the only reason an editor would put cash up front to a writer, and they would only do it with a VERY thorough proposal unless you're a celebrity, and even then you should have your ghostwriter already chosen.
In your case, you have a right to say "I have the proposal ready but not the book" but obviously you have to be upfront about that. If the book's not done because you just haven't gotten around to writing it all, you have less of an argument for not having written it all and you should finish before you submit. If you need the advance money first (or just want it first), you have to make it clear to the agent that the book isn't done. This should be in the query letter, and if it's not, immediately after the first positive response.
For anyone considering writing a proposal and then going ahead with only a couple chapters, let me give you some advice: getting published is a hugely stressful ordeal. Some people (most people) find it even more stressful if they've been paid up-front for an unseen product. However detailed the proposal was, the fact of the matter is that the editor still has not seen the entire product. The editor probably won't back out of the deal after paying the advance based on the remaining chapters being not what he/she expected, but if the editor isn't happy with the final product, he/she will either spend a lot of time editing it or the company will kind of shove it aside and not put huge publicity money into it. So, if you can possibly avoid that stress by writing the book ahead, do so.
I've been querying my memoir to agents - and one has asked to see it. Now, everything I've read, and published memoirists, have told me that NF doesn't have to be complete to sell. I have 130 pages written. Based on my query, an agent emailed me yesterday and said, "I'd like to see [name of book]. Please send it to me in XXX format."
So, now what do I do? As I write to you, I am cleaning up the chapters (spelling, grammar, transitions) + planning to email to her with the note that this is my "working manuscript." Or should I just hold off, polish it completely + make sure I have a full book before sending it? Or can I send what I have and say this is a partial? My initial instinct was to email her back yesterday and say, "this is a work in progress, I'll send what I have," but I also don't want to waste her time with explanatory emails.
It's true; sometimes non-fiction is sold to a publisher based only on a thorough proposal and sometimes non-fiction is sold when it's a finish piece. The traditional reason that a proposal is submitted is so that the author has the money to go do the research required to write the book, which may involve things like taking time off work or travel or acquiring rights to photos or just, you know, income to justify their time. That's the only reason an editor would put cash up front to a writer, and they would only do it with a VERY thorough proposal unless you're a celebrity, and even then you should have your ghostwriter already chosen.
In your case, you have a right to say "I have the proposal ready but not the book" but obviously you have to be upfront about that. If the book's not done because you just haven't gotten around to writing it all, you have less of an argument for not having written it all and you should finish before you submit. If you need the advance money first (or just want it first), you have to make it clear to the agent that the book isn't done. This should be in the query letter, and if it's not, immediately after the first positive response.
For anyone considering writing a proposal and then going ahead with only a couple chapters, let me give you some advice: getting published is a hugely stressful ordeal. Some people (most people) find it even more stressful if they've been paid up-front for an unseen product. However detailed the proposal was, the fact of the matter is that the editor still has not seen the entire product. The editor probably won't back out of the deal after paying the advance based on the remaining chapters being not what he/she expected, but if the editor isn't happy with the final product, he/she will either spend a lot of time editing it or the company will kind of shove it aside and not put huge publicity money into it. So, if you can possibly avoid that stress by writing the book ahead, do so.
Monday, February 02, 2009
Multiple Agents and Submissions
Dear Rejecter,
I have a manuscript (full) out with an agent who is due to get back to me soon. Last week my dream agent, to my immense surprise, requested a partial. I’m ecstatic to say the least, but also realistic. Naturally, I sent the partial right away.
According to the letter, it will take a month for my dream agent to get back to me. It wasn’t an exclusive, so I didn’t feel the need to reveal that another agent (a junior agent) has the full. Should I have? Or should I just wait and see what happens with the junior agent, because she might end up passing on it anyway?
While some people do mention in their letters that other people are looking at their work, it's no longer obligatory unless you granted an exclusive, which you didn't. In the old days it was the appropriate thing to do, but today we're just assuming that everyone is mass querying and that we are competing with someone for a manuscript if it's really good. Telling the agent (the second one) that someone else is looking at it is polite, but not necessary. In other words, you don't have to email her and go out of your way to say it (the fewer emails you bother an agent with, the better), but you can mention it in passing in some other correspondence if you have a chance. It may spur them on, or it may do nothing. Either way, not a big deal, no reason to split hairs.
Other agents might not feel this way, but certainly it doesn't really make a difference at my office when we get a letter with something like "other agents have expressed interest."
Don't wait on one agent over another unless you're in the very final stage of deciding between agents and you just need more time to think. Publishing is slow enough as it is. There's no reason here to make it any slower.
I have a manuscript (full) out with an agent who is due to get back to me soon. Last week my dream agent, to my immense surprise, requested a partial. I’m ecstatic to say the least, but also realistic. Naturally, I sent the partial right away.
According to the letter, it will take a month for my dream agent to get back to me. It wasn’t an exclusive, so I didn’t feel the need to reveal that another agent (a junior agent) has the full. Should I have? Or should I just wait and see what happens with the junior agent, because she might end up passing on it anyway?
While some people do mention in their letters that other people are looking at their work, it's no longer obligatory unless you granted an exclusive, which you didn't. In the old days it was the appropriate thing to do, but today we're just assuming that everyone is mass querying and that we are competing with someone for a manuscript if it's really good. Telling the agent (the second one) that someone else is looking at it is polite, but not necessary. In other words, you don't have to email her and go out of your way to say it (the fewer emails you bother an agent with, the better), but you can mention it in passing in some other correspondence if you have a chance. It may spur them on, or it may do nothing. Either way, not a big deal, no reason to split hairs.
Other agents might not feel this way, but certainly it doesn't really make a difference at my office when we get a letter with something like "other agents have expressed interest."
Don't wait on one agent over another unless you're in the very final stage of deciding between agents and you just need more time to think. Publishing is slow enough as it is. There's no reason here to make it any slower.
Friday, January 30, 2009
Maiden Names
I'm back from a brief vacation/visit to relatives. I normally don't post on Friday because of the comment approval delays, but here we go.
Dear Rejector,
I'm getting married in a month, but I plan to keep my maiden name as my pen name. When querying (once married), would you advise querying with my legal -- married -- name or with my maiden name? Or with First Maiden Married?
Am I over-thinking this?
Thank you
Yes, you are over-thinking this. The name you use in your query should be the name you want to appear on the check the agency sends you when the book sells - i.e. your legal name. In a case where you have a DBA or multiple legal names, put whichever one you want. I didn't come up with my pen name until the book was about to go from the editor at the publishing house to the copy-editor.
(A DBA is a "Doing Business As" form that allows people to write checks to you in a name different from your own)
Dear Rejector,
I'm getting married in a month, but I plan to keep my maiden name as my pen name. When querying (once married), would you advise querying with my legal -- married -- name or with my maiden name? Or with First Maiden Married?
Am I over-thinking this?
Thank you
Yes, you are over-thinking this. The name you use in your query should be the name you want to appear on the check the agency sends you when the book sells - i.e. your legal name. In a case where you have a DBA or multiple legal names, put whichever one you want. I didn't come up with my pen name until the book was about to go from the editor at the publishing house to the copy-editor.
(A DBA is a "Doing Business As" form that allows people to write checks to you in a name different from your own)
Wednesday, January 21, 2009
Contests and Contracts
Rejecter, enjoying your responses to these questions. Something similar here: I'm waiting a long time for the results of a contest. It says in the rules that should you become the winner, they have the sole exclusive rights to option the winning novel. (But there are several types of winners in this contest, and the rules don't specify which kind of winner.) In the year I've been waiting for the results of this contest, the novel has been requested by a top editor at a top house. Should I become, let's say, one of the winners of this contest, am I somehow able to get out of the exclusive option should the top publisher be interested in acquiring the book? Thanks a lot.
So I'm not completely sure about contest contracts, as I've never seen one in person and they tend to be such limited deals that I have no reason to, but what you should do is call the people running the contest and ask them. Don't pull out of the contest yet, if you're still in the running, as the editor at the publishing house may very well not buy your book and then you'll be high-and-dry. Just inquire as to what you are supposed to do if you get an offer for the novel during what seems like an excessively long (don't use those words) waiting period. Tell them you really care about the contest the most, which is why you're making sure everything is fine on their end and there's no legal misunderstandings.
If you don't have a phone number, email them. If they are a business or a charity, look up their number in a business directory.
So I'm not completely sure about contest contracts, as I've never seen one in person and they tend to be such limited deals that I have no reason to, but what you should do is call the people running the contest and ask them. Don't pull out of the contest yet, if you're still in the running, as the editor at the publishing house may very well not buy your book and then you'll be high-and-dry. Just inquire as to what you are supposed to do if you get an offer for the novel during what seems like an excessively long (don't use those words) waiting period. Tell them you really care about the contest the most, which is why you're making sure everything is fine on their end and there's no legal misunderstandings.
If you don't have a phone number, email them. If they are a business or a charity, look up their number in a business directory.
Tuesday, January 20, 2009
The Waiting Game
I apologize if I don't seem to be answering old emails in the order they were received while I was busy editing my third book. If you sent me a question within the last three months, you will probably get an answer. If it's been more than three months, you can just resend it.
Dear Rejector:
Two agents have requested to see my novel manuscript. One of them asked for a partial -- in this case 100 pages (i.e., half the 100,000-word manuscript). A junior agent at a prestigious NYC house, this individual requires with the initial query letter the first five pages only -- no synopsis. He still asks that no synopsis be sent with the partial. It took him one month to answer my inital query. Querytracker contributors who've dealt with this agent state that he usually takes 2-3 months to respond to manuscript requests. This agent, who is very polite, strikes me as inefficient: by the time he gets around to possibly asking for a complete manuscript (3-4 months?), he may have lost potential clients; furthermore, he's wasted his own time by reading copius partials -- what's the point of asking for 100 pages? One might as well then ask for the full manuscript. Finally, how many agents don't bother with a synopsis, especially if s/he's asked to see 100 pages? Anyway, am I dealing with someone competent in your estimation, or a beginner who is just flopping around?
100 pages is half of a 100k word manuscript? Are you single-spacing and double-siding your manuscript? Because you shouldn't be doing that. It should be on one side and double or 1.5-spaced.
Again, I'll take apart your questions.
(1) Agents ask for what they prefer to read. Some agents don't care about a synopsis and don't ask for one. Some prefer 50 pages. Some 100. Some have to deal with so many submissions they just take the first 5 pages and a summary first. It's all in what their reading preference is. It doesn't make one agent less professional than the other.
(2) As to his answering your initial query, that's about right. Its' hard to go a lot faster than that in the mail, especially if there's some pile-up from the holidays or some emergency in the agent's life or whatever.
(3) In terms of him taking 2-3 months to answer a partial: Also not unusual. No, it doesn't take him that long to read it, just to get to it, and he may spend some time debating about it before responding. Like any normal human being, he may procrastinate on making a decision by putting it back in the pile, and quite a little "need to make a decision" pile builds up. You have no idea what's going on in his end. He hasn't been on vacation (or maybe he has) but an agent's life is not spent just lying around, watching TV and not looking at submissions unless the agent landed Stephen King and doesn't NEED new submissions - in which case, said agent doesn't have a website accepting submissions. Agents have a lot of work: editing the manuscripts they're preparing to send to publishers, working with authors about those edits, contract negotiations, chasing down royalty checks for the author, making sure the press coverage that was promised by the publishing company happens, going to meetings with the other agents and publishers (networking is VERY important in this industry), reading industry news that will determine where they send manuscripts, and reviewing submissions. Then there's the low-level stuff, liking going to Staples for more supplies, stuffing SASEs, photocopying, making sure there are enough copies of the contract for everyone involved (which may be several foreign agencies), sending ARC copies around, and assorted trips to the post office. Potential authors haven't earned them any money yet, so they can't spend much time on them when there's work to be done for their actual clients. In fact, the time spent on submissions is massive considering how many new clients they may actually take on that year (it could be as low as 1 new client or no new clients). In other words, be patient.
Also, if the agent is a member of the AAR, they are not a newbie doofus. You have to be in the industry for 5 years as an active agent to even begin to qualify for it, and then you have to pay a steep fee to be in it, so it's sort of the seal of quality. New agents often work in groups with older agents who are AAR people until they earn their wings, so-to-speak. My agent (my agent, not my boss who is an agent) is not a member of the AAR, or she wasn't when she took me on. She is, however, a member of an agency run by a man with 30 years experience in publishing and AAR membership, so I had no real worries about her inexperience, as she could always go to him if she needed to.
Dear Rejector:
Two agents have requested to see my novel manuscript. One of them asked for a partial -- in this case 100 pages (i.e., half the 100,000-word manuscript). A junior agent at a prestigious NYC house, this individual requires with the initial query letter the first five pages only -- no synopsis. He still asks that no synopsis be sent with the partial. It took him one month to answer my inital query. Querytracker contributors who've dealt with this agent state that he usually takes 2-3 months to respond to manuscript requests. This agent, who is very polite, strikes me as inefficient: by the time he gets around to possibly asking for a complete manuscript (3-4 months?), he may have lost potential clients; furthermore, he's wasted his own time by reading copius partials -- what's the point of asking for 100 pages? One might as well then ask for the full manuscript. Finally, how many agents don't bother with a synopsis, especially if s/he's asked to see 100 pages? Anyway, am I dealing with someone competent in your estimation, or a beginner who is just flopping around?
100 pages is half of a 100k word manuscript? Are you single-spacing and double-siding your manuscript? Because you shouldn't be doing that. It should be on one side and double or 1.5-spaced.
Again, I'll take apart your questions.
(1) Agents ask for what they prefer to read. Some agents don't care about a synopsis and don't ask for one. Some prefer 50 pages. Some 100. Some have to deal with so many submissions they just take the first 5 pages and a summary first. It's all in what their reading preference is. It doesn't make one agent less professional than the other.
(2) As to his answering your initial query, that's about right. Its' hard to go a lot faster than that in the mail, especially if there's some pile-up from the holidays or some emergency in the agent's life or whatever.
(3) In terms of him taking 2-3 months to answer a partial: Also not unusual. No, it doesn't take him that long to read it, just to get to it, and he may spend some time debating about it before responding. Like any normal human being, he may procrastinate on making a decision by putting it back in the pile, and quite a little "need to make a decision" pile builds up. You have no idea what's going on in his end. He hasn't been on vacation (or maybe he has) but an agent's life is not spent just lying around, watching TV and not looking at submissions unless the agent landed Stephen King and doesn't NEED new submissions - in which case, said agent doesn't have a website accepting submissions. Agents have a lot of work: editing the manuscripts they're preparing to send to publishers, working with authors about those edits, contract negotiations, chasing down royalty checks for the author, making sure the press coverage that was promised by the publishing company happens, going to meetings with the other agents and publishers (networking is VERY important in this industry), reading industry news that will determine where they send manuscripts, and reviewing submissions. Then there's the low-level stuff, liking going to Staples for more supplies, stuffing SASEs, photocopying, making sure there are enough copies of the contract for everyone involved (which may be several foreign agencies), sending ARC copies around, and assorted trips to the post office. Potential authors haven't earned them any money yet, so they can't spend much time on them when there's work to be done for their actual clients. In fact, the time spent on submissions is massive considering how many new clients they may actually take on that year (it could be as low as 1 new client or no new clients). In other words, be patient.
Also, if the agent is a member of the AAR, they are not a newbie doofus. You have to be in the industry for 5 years as an active agent to even begin to qualify for it, and then you have to pay a steep fee to be in it, so it's sort of the seal of quality. New agents often work in groups with older agents who are AAR people until they earn their wings, so-to-speak. My agent (my agent, not my boss who is an agent) is not a member of the AAR, or she wasn't when she took me on. She is, however, a member of an agency run by a man with 30 years experience in publishing and AAR membership, so I had no real worries about her inexperience, as she could always go to him if she needed to.
Monday, January 19, 2009
Second Book Clauses
Dear Rejecter,
I'm an unagented novelist. My first novel was published by a small press earlier this year. My second is nearly complete.
According to our contract, my publisher has first right of refusal for all my subsequent works. However, I want out--because they haven't promoted my book at all. I've sent out hundreds of postcards to bookstores, done all the press releases, organized readings, and mailed review copies all over the country and the world. When I asked my publisher to help a little--pointing out that our contract stipulates that they are responsible for promotion too--the head of the company responded that the contract actually says they're responsible for promotion 'as the budget allows' and they've no funds for promotion this year.
(And not incidentally I've got some good reviews and press from my efforts!)
I'd like to try and sell my second book to a larger publisher; so I'd like to get an agent. My question for you is: how much of a problem will this first right of refusal clause be for an agent? I fear that a potential agent might be put off by that sort of baggage. Should I approach my publisher now, and ask to be released from that clause before I query agents? Or is it something that a new agent would be willing to negotiate for me?
So the short answer is yes, you need an agent.
The long answer is yes, you can get out of your first right of refusal clause (aka the "second book" clause), though how the clause works is complicated and will vary from company to company. I don't know what it says in your clause, but this is how it generally works in a standard publication contract:
"First right of refusal" means the publisher gets first crack at whatever you write next for publication. Meaning, you can't shop it at other houses before they look at it. The publisher can then decide to (a) turn it down, refusing to make an offer, and essentially letting you go whether you want to be let go or not, or (b) make you an offer for the second book. Let's say for the sake of argument it's a $5000 advance.
As long as you haven't said "yes" to the offer, the offer is on the table until they decide to withdraw it. If you're not happy with your 5K or just upset with the company in general, you can say to them, "I'm not happy with your offer and want to shop it at other places."
They then have three options:
(1) To raise the offer to something you agree to in order to keep you at the publisher.
(2) To keep the offer the same, but allow you to shop the book elsewhere with the offer still on the table.
(3) To say, "Screw you, we withdraw our offer, have fun trying to get this published elsewhere."
In other words, if you tell them (and you have to tell them) that you want to take it to other places, you risk losing the original publisher altogether and having no publisher for the second book. In your case this doesn't seem like a major problem, but it can be. For example, after the success of my first book, the publisher made an offer that was downright insulting for books 2 and 3. Since in my case the publisher had done a good job with book 1, my agent and I decided not to risk threatening to walk by shopping at other places and stick with the original publisher, even with the very, very low advance for a sequel to a successful book.
So let's say option (2) happens. Then thing can get downright complicated. You shop the book to the other publishing companies, and they make offers. If they make an offer that's equal to or better than the original publisher's offer, you can accept it and walk from the original publisher (5. If they make a LOWER offer (under 5K), the second book clause is still in effect and you cannot walk from the original publisher for a lower offer. In other words, you can't jump ship just because you don't like people; you generally have to do it because there's a monetary justification. Of course the editor at the publishing house could just agree to let you walk for the smaller offer; a lot of this business is done very informally.
This is why you need an agent. The agent can negotiate this for you and gauge what you should probably do.
I'm an unagented novelist. My first novel was published by a small press earlier this year. My second is nearly complete.
According to our contract, my publisher has first right of refusal for all my subsequent works. However, I want out--because they haven't promoted my book at all. I've sent out hundreds of postcards to bookstores, done all the press releases, organized readings, and mailed review copies all over the country and the world. When I asked my publisher to help a little--pointing out that our contract stipulates that they are responsible for promotion too--the head of the company responded that the contract actually says they're responsible for promotion 'as the budget allows' and they've no funds for promotion this year.
(And not incidentally I've got some good reviews and press from my efforts!)
I'd like to try and sell my second book to a larger publisher; so I'd like to get an agent. My question for you is: how much of a problem will this first right of refusal clause be for an agent? I fear that a potential agent might be put off by that sort of baggage. Should I approach my publisher now, and ask to be released from that clause before I query agents? Or is it something that a new agent would be willing to negotiate for me?
So the short answer is yes, you need an agent.
The long answer is yes, you can get out of your first right of refusal clause (aka the "second book" clause), though how the clause works is complicated and will vary from company to company. I don't know what it says in your clause, but this is how it generally works in a standard publication contract:
"First right of refusal" means the publisher gets first crack at whatever you write next for publication. Meaning, you can't shop it at other houses before they look at it. The publisher can then decide to (a) turn it down, refusing to make an offer, and essentially letting you go whether you want to be let go or not, or (b) make you an offer for the second book. Let's say for the sake of argument it's a $5000 advance.
As long as you haven't said "yes" to the offer, the offer is on the table until they decide to withdraw it. If you're not happy with your 5K or just upset with the company in general, you can say to them, "I'm not happy with your offer and want to shop it at other places."
They then have three options:
(1) To raise the offer to something you agree to in order to keep you at the publisher.
(2) To keep the offer the same, but allow you to shop the book elsewhere with the offer still on the table.
(3) To say, "Screw you, we withdraw our offer, have fun trying to get this published elsewhere."
In other words, if you tell them (and you have to tell them) that you want to take it to other places, you risk losing the original publisher altogether and having no publisher for the second book. In your case this doesn't seem like a major problem, but it can be. For example, after the success of my first book, the publisher made an offer that was downright insulting for books 2 and 3. Since in my case the publisher had done a good job with book 1, my agent and I decided not to risk threatening to walk by shopping at other places and stick with the original publisher, even with the very, very low advance for a sequel to a successful book.
So let's say option (2) happens. Then thing can get downright complicated. You shop the book to the other publishing companies, and they make offers. If they make an offer that's equal to or better than the original publisher's offer, you can accept it and walk from the original publisher (5. If they make a LOWER offer (under 5K), the second book clause is still in effect and you cannot walk from the original publisher for a lower offer. In other words, you can't jump ship just because you don't like people; you generally have to do it because there's a monetary justification. Of course the editor at the publishing house could just agree to let you walk for the smaller offer; a lot of this business is done very informally.
This is why you need an agent. The agent can negotiate this for you and gauge what you should probably do.
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