And sent it to an agent.
And the agent liked it and asked for a submission.
And then the agent calls and offers representation.
You accept.
Regrefully, some while later, you discover you and the agent are not a good match after all.
And it's really no one's fault - no one has been unprofessional.
You just aren't meant to be together.
Hopefully this is a minority situation but there are enough stories told to suggest it's not uncommon.
The question is -- could you have figured that out beforehand? And how would you go about doing that?
I do a workshop about choosing the agent who is right for you, based on a variety of qualities (level of editorial feedback, size of the agency, etc.). At the last conference I attended it got wildly differing responses (the conference in question actually provides anonymous attendee commentary, which I found really interesting as I'd never seen those feedback sheets at previous conferences). Several people really liked it and said it got them thinking. Which is what it's designed to do. Words like "helpful, informative, great" were applied. But at least one person found it "lacking direction" and not useful. I'm not entirely sure why they had that reaction. Maybe they were just having a bad day. Or maybe they had different expectations based on the description I gave for the program.
Expectations. It should be a four letter word. Sometimes I think it's behind many of the situations in the above sceneario, where either the author or the agent doesn't make clear what they want out of the relationship. Or one of them wants things that aren't realistic within the contraints of publishing. And somehow none of this seems to come out in that part of the story that happens between an offer of representation and the acceptance thereof.
Or maybe there are other things that contribute. As an agent, I find my evaluation is based largely, and necessarily, on the manuscript. Which is at it should be since that is what will also be the project to sell. But how much can be assessed from the small amount of correspondence and the one, maybe two, phone calls that occur before representation is offered about the person behind the writing? Or, phrased another way, when you apply for a job, how do you know you're a good fit for the company environment?
What's it look like from the author side? What do you think you need or want to know before you sign up with an agent in order to avoid this potential pitfall?
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Comments
I haven't had the need to seek an agent. But when I do it will be initially for the business side. So, I really don't see why if everything on the business of it works why isn't it overall working? Personality conflicts?
This post thread will be enlightening to watch, I'm thinking.
And for philosophical purposes, please define "everything on the business side working" (because I don't even think my entire client list would agree on that either).
Editorial feedback - would definitely want this in a future agent.
Other obvious things - Are the author and agent hot on the same genre, do they agree on the book's potential, do they communicate well, or is there a steady stream of misunderstandings even before the contract is signed.
I don't even know if it's appropriate to ask, but I'd want to know what the agent sees in my book, what publishers would be a potential fit, what the preferred work style is.
Sandra
It wouldn't have mattered if I could tick all the things on my list of questions in terms of 'business'/publishing and my manuscript and future work... If that connection had been missing I wouldn't have accepted.
Oh, and it's so important to write down all your questions beforehand. It sounds obvious, but the amount of times I hear of people not doing it...
Edited at 2008-07-17 07:04 pm (UTC)
I look for the same things I hope a good agent looks for in me: professionalism and dedication both on a personal and a professional level.
The author told me that the agent in question was concentrating on the 'big list' writers--which, for that agent, might be good business, but doesn't help the newer authors very much. As I consider this author brilliant, I have to think it's a shame that they ever got together (and it also makes me leary of picking cavalierly).
Beyond looking at the client list, I think word of mouth is probably the best way to determine a fit. However, the editorial end of it? I've never really heard anyone talk about that too much. I'll have to listen more closely now...
Thanks for bringing it up (as I am currently participating in the above process.) It's something I need to give more consideration.
Sure some authors have some flexibility (contract terms permitting). But it seems presumptuous for beginning authors to imagine that fresh agents are just dangling on the vine, waiting to be plucked, y'know?
I do like professionalism, but for me, its responses. With my first book, I would get responses weeks or months later from the publisher, which make it more frustrating. I don't send frequent emails and I'm pretty self-sufficient, but when I do have questions or answers, I like reasonable time to response.
For me I want an agent that has a good reputation and sales record within the genre I want to publish in. Fiction agents can be very hard pressed to place a non-fiction book. I don't want to be the manuscript that the agent first presents to the editors within a genre esp. if it is a limited as to the number of.
Who an agent has worked with previously can be very important to me and how the relationship with that editor was. And believe me that sort of thing whispers around the industry as to who will work with whom and which agents proposals tend to sit longer because the editor just dreads dealing with them.
I want an agent that will go to bat for me when needed. They need to be able (or their assistant) to keep up when payments are due. Authors need money too and if the agent doesn't follow up on late payments then the bills don't get paid on time.
I want an agent to do what they say they are going to do. I have heard too many stories about agents who promise big and talk a good game but their follow-through is pretty lame. Conversely I have a problem with authors who talk better than they can produce.
I am curious about one thing -- what would you do in a situation where (hypothetically) the agent who called to offer representation was a newer agent either (1) recently crossed from the editorial fold, (2) recently left a big agency to go out on their own, or (3) new agent at an agency with a good reputation. I ask because every agent has to start at the beginning when it comes to clients lists and sales histories, which may not at that point be relevant to their ability to sell and build careers.
I look for several things in an agent. First, of course, is interest in my work--not just the particular manuscript in question but my work in general. This breaks down into several things, including the agent's interest in my chosen genres (fantasy, SF, mystery, thriller, literary humor, even horror), his/her interest in helping me develop as a writer and helping me increase my reputation (not at all the same thing, though one hopes they're related), and interest in keeping pace with my workflow (some agents prefer clients to only do a book a year so they can concentrate on each one fully. I'd prefer one who could handle three books a year, since that's more in keeping with my writing speed).
Another big question for me would be attitude toward contracts and advances. I know there are plenty of agents who are cutthroat about getting the most possible on every deal. I'm not good at the money side--one of many reasons for needing an agent--but I believe it's better to take a little less than the absolute maximum that could be wrung in order to maintain a stronger working relationship. I tend to think that leaving the editors happy with their purchase, and feeling they got a good deal, makes them more eager to promote the project and more eager to work together again in future. The best deal, IMHO, is one that leaves everyone happy--and I would want an agent that agreed with that.
Another factor for me is accessibility. Not just "can I reach my agent when I need to?" and "Does my agent communicate with me regularly, even if it's just to say 'no news yet'?" but also the general question of being approachable and understandable. I'd want an agent I can talk to, one whose comments I can understand and digest without additional clarification, someone I feel understands what I'm trying to do with my work and agrees with it. Someone who is on the same page as I am about writing in general, and my writing in particular.
I think the best way to know some of those first elements is by looking at the agent's current client list, bio, want list, etc. But for many of the latter questions the only way is to talk to the agent, preferably in person but at least by email or phone, so that you can get a sense of them--and they can get a sense of you. If both parties are happy with the prospect of working together after a few conversations, cool. Otherwise it's best for everyone to demur and find someone else.
The business issues are first. In that vein I'd be looking at the agent's sales, the nature and reputation of the agency for which she works, the nature and reputation of the clients she represents, etc.
The rest of what might make a relationship click is very touchy-feely. I've tried to get a feel for an agent's personality/practices/thinking through the lens of their online presence (though this necessarily limits the field of potential agents -- as not all are online -- and also assumes that an online persona is somewhat indicative of the real-life persona). In particular, I look for enthusiasm for their work (as opposed to some agents who give a kind of world-weary so-it-goesism), professionalism that avoids stodginess, intelligence, a willingness to endure and even smile at the foibles of this business (does the agent mercilessly mock a newbie's mistake, take umbrage at minor slights, etc. If so, not for me), and a sense of humor (just not a silly one, which annoys me after while :-)).
FWIW.
Edited at 2008-07-17 07:44 pm (UTC)
I think you hit the nail on the head here that it's a lot like applying for a job, and what many job seekers forget is that the interview is supposed to go both ways.
In other words, if you call me up about potentially repping me, it's incumbent on you to also interview you back. Whatever it is that's important to me, I should be asking. Anything that's not clear, I should be asking. If the communication at the interview has been two-way, it should be clear to both parties whether it will be a good fit or not.
As an agent, you can probably encourage writers to do that only by stating outright that you encourage and expect them to do so. You'll never be able to psychically know what each individual author needs to hear before making a decision, but you can expressly tell them to ask lots of questions and make sure they don't get off the phone until they have a good sense of who you are.
The one that really made my decision easy was: "What do you expect from me?"
The agent I signed with had very concrete expectations: a book a year would be good/every nine months would be better. Anti-heroes made a book a harder sell. Stuff like that.
I was somewhat confident in my ability to tell a story, but I was looking for someone who could set out some hard and fast boundaries for me. There were other considerations, too, but that was the heaviest stone on the scale.
And it's been great.
Edited at 2008-07-17 08:04 pm (UTC)
It would be nice if we could be friends, but I value efficiency more. A lot more.
I'm a control freak enough that there is no way I wouldn't read all my contracts etc before I signed them. At the same time, I need somebody who can handle the business end for me, since I want two careers, writer and something else.
After the preliminary search for the cold hard facts on these websites, agent blogs do come in handy. Even if you are being neutral as an online, professional presence, I would have to say that personality does come through in your word choice, sentence structure, tone, etc.. You also tell us what you're looking for. Your advice columns tell us what your expectations and hopes are in your clients. From there, I think it is up to us to look at ourselves and see if we can live up to that and if we can work right along. In that respect, it is possible to guess at what a working relationship would be like.
Personally, though, it takes me a little while to warm up to someone enough to be myself and to settle into a comfort level where I feel I can truly get along instead of just going along with the rules of the office, so to speak. I'm not sure, in that aspect, if it is possible to know what a relationship with an agent (or with anyone, for that matter), would be like until a little time is spent working alongside them.
I attended a workshop about writing the query letter. It was not only suggested to look at an agent's client list or the acknowledgment section in books you love, but to write authors and ask them about their agents.
Questions: Is the workshop you gave during this past weekend's Craftfest? If so, do you know if it will be one of the ones that Writer's Digest is putting up at their site? Do you know if Mr. Maass' is going to be?
Do I think it's important that a literary agent nurture me or my work? (or do much else beyond selling it.) Not really. That's my job. (and the job of an editor, which I am most certainly ready for.)
The writer/agent relationship seems like any other relationship that can either be great right away, a dismal failure or take time and energy to cultivate. I don't see any other way to avoid the pitfall besides authors taking it upon themselves to learn the publishing business so they have realistic expectations.
With 35 years business experience, I've worked well with the complete spectrum: the good, the bad, and the ugly. I accommodate my own style to make the relationship work and hold fast when the other party wants to do something incredibly stupid.
I'd expect I could continue this practice with an agent.
I can promise that the difficult person won't be me.
I've had two previous agents, one for my children's book and one for my thriller. At the time, I was so thrilled to get them I didn't ask any questions aside from, "Is this a joke?"
What would I ask now?
What attracted you to the manuscript?
How much revision do you think it needs?
(If they say it's perfect just the way it is, alarm bells might go off. Even though I plan on careful editing before submitting, I highly doubt it will be perfect. By the same token, if nothing is right then we have another problem.)
What kind of service do you and your agency offer your clients? (I will have already researched that as much as possible, but I'd like to hear the agent tell me.)
What do you expect from your clients?
Where do you think this book will fit in the market?
I realize agents are very, very busy, but I would like a phone call at some point. I want to hear their voice. I want to get a sense of their personality. I want to see if they have a sense of humor.
What kind of contact do you want from me and how often? If you don't tell me you'd like me to check in every _______ I will assume you don't want me contacting you and I won't be.
What kind of progress reports will I get?
What kind of career can we plan together? I'm in this for the long haul and I want to look down the road to the next project.
What kind of special treats do you like? No one has room for more useless gadgets, but there is always room for consumables. I'd like to send you something you like when you sell my book. Also, so you can share, how many people in the office? Everyone gets to celebrate.
cheers,
Joelle
http://www.joelleanthony.com
Having never worked with an agent before, how am I to know how much communication I will want? It seems to me most first time authors (based solely on posts and stories) think they don't want their hand held but, compared to established authors and agent perspectives, they are like new mothers who have a thousand questions and concerns.
Is it possible for me to know, never having been down that path, how much attention I will want? How can I predict what my preferred communication form will be? I may think I want regular phone calls but later realize I would rather have occasional emails. This could cause problems if the agent is a 'technophobe'.
I know the above may not seem like a huge issue, but it is the example I could think of on only one cup of coffee.
This leads me to the following question as well.
Do agents ever reassign authors to a different agent in the company/house if there is a match issue (post signing)?
It seems to me that, if the answer is yes, this would give an advantage to agent to agents who work in a group versus stand alone agents who may not be able to refer the author to someone else.
Interviewing with agents at conventions feels like a really bad sitcom combo of speed dating and job interview with the additional pressure of 10-minute time limit AND the power differential you mention (one bazillion would-be hungry authors clamoring for one thousand hungry agents) front-and-center.
I suck at it. Yes, I need get over myself and practice. But there has GOT to be a better way.
What I would like from an agent, at this point, is some basic consistency. As an example:
I've heard agents say that we should research agents, including the type of genre they represent. At the same conference, I hear agents say they're trying to "round out their offerings" so please don't give them anything too similar genre-wise to what's already on their client list.
I've seen a list on a website and in the convention brochure say Agent X is looking for N genre, only to have Agent X say, "well, N is okay, but what I really need is Y."
Okay, things change, I get that, but skeet really is not my skillset.
That probably sounds horribly negative, and I don't mean to be. I would HATE to be an agent at a convention. My god! Let the poor people eat and pee in peace, people!
But hiring someone from a shark-filled, incredibly understocked pool before you know all of the skills you need that person to have -- which is essentially what a newbie author does -- is frustrating and unnerving. (And no, I don't mangle metaphors that badly in my fiction. Honest.)