Agent Monday: How Fast Do Agents Respond to Clients?

Speed skaterHappy Agent Monday! Almost spring time. Take THAT little mound of dirty snow left in the parking lot! Last week I talked a bit about how fast editors respond to agents. This week I’d like to chat about how quickly a writer can expect their own agent to respond to a manuscript when they submit it to that agent. A hot second? A day? A week? A month? Several months? The answer is YES. Here’s why.

Okay, I don’t know about you, but I am only one person with one set of eyes, and two hands, and I have a list of clients. Unfortunately there is no organized scheduling of when my clients submit manuscripts or revisions of manuscripts to me. They finish them and hit send.

That means that in a given week, I can suddenly have 6 full-length novels ping into my inbox for a careful review and response. And they can arrive on top of a stack of already received manuscripts from clients. So, the clock starts ticking in a writer’s mind… They expect a quick turnaround. A month at the most, right? Isn’t that what other writer’s get from THEIR agents? Well… not exactly.

Some agents might hand these off to readers, who will respond to the writer with comments – in that case, the agent may not even see the manuscript. Me? I always read my client manuscripts myself. That takes time. Perhaps some projects don’t require a lot of time, and can be quickly handled and answered. If that’s the case, I might be able to flip it back to the writer ahead of other projects in my queue. This can happen with a quick polish where the changes have been tracked, or with a very clean manuscript that needs just a read, or with a shorter manuscript, like a picture book or chapter book that is in great shape. Other projects DO require time and thoughtful comments. Tick tock, right?

And since the agent is only human (gasp – WHAT???), other things should be factored into the writer’s expectations. Things like: did I submit it just before the Christmas holidays? If so, while the agent might be doing work during that time, should it be expected and counted as work time? Hm. Perhaps consider those two weeks off. How about if the agent is off at conferences within this time period? Perhaps spending a few days at BEA and then presenting elsewhere. That will set the clock back a bit (by the way, you DO want your agent doing these things, since it ups their visibility and contacts with editors). And while your manuscript is there with her, it is 99% likely that other manuscripts ahead of yours are also being pitched, and authors are calling, and editors are emailing, and film rights people are demanding attention, and fires are being put out.

So, message to writers: Don’t expect a month turnaround. Expect your agent to do her best.

What do I do when client manuscripts come in to me? Well, I always acknowledge receipt and let them know I’ll get to it as soon as I can. Next I log it into a spread sheet, so I know exactly what came in when, and what is still pending. And I let that list nag at me. I’m one of those people who hates having things unfinished – so I am ALWAYS aware of what I still need to do. I then typically take those projects on one by one. The exception? A quick turnaround project. If I have a tiny bit of time where I can’t even begin to get into a novel, but I can finish up on responding to something shorter, then, yup, I’ll get it back to the writer ahead of others.

My clients are a prolific bunch. So that leads to another exception: multiple projects spilling in from the same client. Okay, so if you do send me a novel in need of heavy revision, and it’s logged in, then two weeks later, you send me a shorter project, or one that is nearer to completion and that I see is nearly market ready, I will take that one and work with you to get it out into the world. What does that mean for the other novel that is tick tocking away in my spreadsheet? It means I stop the clock on that one till the other is complete.

That’s important for writers to know. I will go back to the original project, but I also do represent other writers. I’m moving all of your careers forward in every way I can, which means that I can’t drop everyone else for weeks or months while I’m working on everything that’s come in from you.

Okay, don’t get me wrong. I LOVE a prolific client. But it’s a step by step business. It’s okay to check in on projects and to see where things stand. Your agent-writer communication is important. And it’s also important to know that the “well, my agent ALWAYS gets back to me in a month” comment from other writers needs to be taken with a vat of salt. If you find yourself waiting more than a month, I say look at the real situation at hand. Is a month realistic for your project, given the form it’s in? Is your agent responding personally to your submissions while others get “reader’s reports” perhaps? Is the timing a factor? (Holidays, conferences, etc.?) Is the agent already amid another project from you, and therefore dealing with that one first? Or have you since sent one (or more than one) project that is a hotter property or a quicker turnaround, and therefore keeping her currently busy? Just how busy is your agent?

Chances are good that she is VERY busy. I’m working ALL the time on my client’s behalf. So trust in that. Communicate. Being aware of all that she is dealing with can help you to see what is realistic.

Then write more while you are waiting!

 

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.

 

Agent Monday: How Fast do Editors Respond?

MP900341375Happy Agent Monday, folks! Hopefully, like me, you are some place where spring is FINALLY trying to assert itself. And it feels about time. Speaking about time… (See what I did there?) This past weekend I was delighted to be a speaker at the Eastern PA Society of Children’s Book Writers and Illustrators Spring Forward event. Our panel took a bunch of questions from writers, including this one: How long does it take for an editor to respond to a submission from an agent? One day, one week, one month, three months, longer? My answer was: YES. Here’s the long answer:

The truth is that sometimes editors respond in a flash, and other times, well, not so fast. There are a ton of factors at work here, and this likely does not reflect on the clout of your agent at all (since I suspect some writers might be thinking, hey, my agent didn’t hear back from so and so for three months — maybe my agent’s not bad-ass enough).

First of all, it can depend on the submission. Picture book manuscripts can be read at once, while novels will take some time. And an editor will have a pile of novel manuscripts to read through that have been subbed by other agents as well. Some manuscripts are completely timely, and so demand immediate attention, like if something is in the news NOW. And that can prompt a fast read.

Second of all, it can depend greatly on the editor. Some editors are just so swamped, that try as they might, they find themselves putting out fires instead of staying on top of submission piles, even if there is a really tempting manuscript waiting to be read. Sometimes it takes action on that manuscript, like another editor putting in an offer, before that editor puts that read at the top of their priorities. Why is an editor so swamped? Well, they can be working somewhere with limited support staff, and a high volume of responsibilities. It can make a real difference when an editor has assistants to log in submissions, to pre-read for the editor, and to help with their many time-consuming tasks along the way.

And it can depend on how the imprint acquires things. Some tippy top editors can just walk into their publisher and say, “I want this. I want to make an offer,” and they can be quickly given the power to make a certain offer. With other editors, they may need to wait for scheduled acquisitions meetings to present their case for a title they are interested in. And at certain places, no matter how high up an editor is, they first will have other editors give it a read and an opinion before taking it to acquisitions…and each of those editors has their own work load to contend with.

So you can see that you can’t always gauge the interest of an editor or the ability of your agent by the time of response. As someone at this past weekend’s event said, publishing is a business of hurry up and wait. It can move slowly, and it can move very fast. That same, carefully considering imprint can suddenly do a turnaround and have an offer in within a day if they feel they must (like when they know another offer is already on the table and it’s do or die).

What can an agent possibly do to speed this process along?

– Well, she can target her submissions very carefully. I only send to editors who I know are looking for this very type of manuscript, and who have a special interest in the subject matter.

– She can pique the editor’s interest when she pitches, so that the editor will really want to read the submission as quickly as possible. When I pitch to an editor, I really try to put in their mind what makes this particular project exciting and unique. And when I then send the requested manuscript to the editor, I add in a note detailing sales hooks that the editor can use to convince their publisher that this one is really worth an offer.

– The agent can keep on top of things. I always make sure that the editor did, in fact, receive the submission. I check back every few weeks in a pleasant, professional way, to see if they’ve gotten to it yet.

– And the agent can learn from submissions which editors are most responsive and which never reply at all, because, sadly, there are a few outliers to watch out for. If an editor, for whatever reason, never responds to any of my calls or emails, then chances are pretty good I won’t be pitching to them again any time soon. Sometimes I learn that something was going on in that editor’s life at that time which would explain this lack of response as a mere blip — then I’ll make contact with that editor again and give them another chance. But in some cases, I learn this is just par for the course, and I’ll spend my time (and my client’s time) differently in the future.

So there you have it. The long and short of submissions!  I’ve had quick acceptances and quick rejections. And I’ve had submissions take a long time with an editor, and wind up with a robust offer. It can be all over the place. As an agent, I try to be as efficient as possible on my end, and as a writer, you can do the same.

Waiting can feel like FOREVER, I know. The best antidote? Work on your next book and make the time really pay off.

 

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.

Agent Monday: Springing Forward with Writer’s Resources

Snow March 1 2015Happy Agent Monday, everyone! I was SO happy to flip the calendar to March. But joke’s on me, since, yeah, a lion-like snow and ice storm has swept through. The picture here is what I’m seeing out my window this morning. But let’s be optimistic, shall we? Today I’d like to highlight a few of my favorite writer’s resources that’ll help your writing career take root and grow. So, ready to spring ahead?

1. The SCBWI Blue Boards

You don’t have to be a member of the Society of Children’s Writers and Illustrators to participate in this online message board…but definitely consider joining this organization if you are writing for children through YA — it’s an awesome resource. The Blue Boards is where it’s at if you want to connect with other writer’s for youth, plus literary agents (like me!) and editors sometimes chime in there too. You’ll find camaraderie, answers to questions about craft and the market, and solid advice and true experiences that writers in your field are having right now. Definitely get involved by going here.

2. Publisher’s Marketplace

If you are serious about writing for the top commercial publishers and about getting an agent, then you need to do some serious research. Which deals have recently been made in your genre? Has a deal been made in the past year that is exactly like the book you are about to write? Which agents represent authors in your subject matter? Has the agent you were considering been active with sales? And what’s the latest business news? The inside scoop is all at Publishersmarketplace.com, the site that agents and editors and others in the business all rely on. Yes, there is a cost, but it’s a monthly subscription. That means you can get it for a month or two, do all the research you like and then stop it if you’d like. Or keep it year round and share the subscription cost between several writer friends so you all benefit. It’s smart. Find out more by clicking here.

3. Indiebound.org

Did you know that you could buy books online with discounts and all at an independent bookstore, even if you don’t live right next to one? It’s true!  Nothing is more important to writers than reading reading reading. Well, except for having vibrant bookstores. When you are published, you’ll need there to actually be places where your audience can stumble upon you while browsing, even if they hadn’t heard of you already, right? So, writers, do your thing and support indie bookstores. From the home page you can put in the book you are searching for in that upper right hand search field with the spyglass thingee next to it and click enter. Then you’ll be prompted to enter your zip code so you can shop at the indie nearest you, or pick whichever one you wish. Shop online there and you’ll find discounts, free shipping over certain amounts (within easy reach), plus the option to pick up your order at the store for no charge on orders of any size. There’s even a link on the site for stores that sell ebooks. Make it your first stop when buying books, by clicking here.

4. The Liars Club Facebook Page

Started by a group of authors who, basically, lie for a living, The Liars Club is all about sharing info and building community among authors. I’m a proud Liars Club member, and the group has been supporting writers, promoting literacy and bookstores and libraries, plus sharing kick-ass info for years.  So I highly recommend you like The Liars Club Facebook page by clicking here. The group also hosts a series of free Writer’s Coffeehouses in the Philly area and one is starting up on the West Coast as well. Now’s a good time to like the page, wherever you live, since the group will soon be hosting on this page a series of online virtual Writer’s Coffeehouses featuring interaction with a number of published authors.

5. Agent Monday

Okay, you knew I had to add this one in. If you see this post, you’ve either found it on a search, or perhaps you already do subscribe. If you do subscribe, you’ll see Agent Monday info hot off the presses. And if you check back into the archives on my site, you’ll see I cover a wide range of topics from querying, to marketing, to the inner workings of publishing from an agent and author point of view. So don’t just pop in, subscribe!

I hope these resources will help you and your writing to spring forward! Time for me to chip away the ice and snow and emerge into the world.

Warm wishes!

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.

Agent Monday: Memoirs with Meaning

Eyeglasses atop BooksHappy Agent Monday, everyone!  The LAST Monday in February. We’ve nearly made it through this bitterly cold month, and better days are a-coming. Hang in there!  Speaking of tough times and hope, I thought I’d weigh in on memoirs today. What makes them work, what makes them stumble, and what makes me as an agent interested in representing one.

So memoirs are tough. I’ve been looking for one to rep, and in the past few years, I’ve only made an offer of representation on one so far. And two others had merit, but weren’t right for me, so I passed them over to another agent in our firm. It’s not that I’m not getting memoir submissions. I am. And a number of these are even well-written. So what’s the problem?

Well, here’s the thing about memoirs. They need to be well-written, definitely. Simply put, many are not well-written, and the story isn’t spectacular enough to merit a ghost writer. (Publishers sometimes pull in a ghost writer for a high-profile memoir — such as a celebrity’s story.) A well-written memoir should be told in an accessible way, with a clear voice/personality, and revealed in a novel-like style that has a narrative flow.

Memoirs must also be about something remarkable. I get plenty of “I went on a trip” memoirs, or “I broke up with my husband” memoirs. Or “I had a baby” memoirs. While these are remarkable things in your life, they aren’t tales that will draw in someone who doesn’t personally know you. Are there exceptions to the more everyday sort of memoir? Sure. Look at Marley & Me, about, essentially, a boy and his dog. But this was written beautifully in a way that drew in the reader and made an everyday story truly remarkable. Not easy to do.

I also get, sadly, many a memoir where someone has gone through a terrible illness or addiction or abuse, or experienced the death of a loved one. Heart-wrenching, yes. But if that is all there is to the memoir, unfortunately I pass. It’s hard to send a rejection to someone who has gone through so much. But while I may feel sorry for what they’ve gone through, that still doesn’t make their memoir something that will succeed in the commercial marketplace.

Why? What’s missing? Well, in essence, something for the reader. What makes the reader care, feel involved, want to read this? What can the reader get out of this book other than a voyeuristic glimpse into suffering? These are key elements to a successful memoir.

So, a successful memoir needs to be well-written, reveal a remarkable life, AND offer something for the reader….a reason to care, something they can take away with them after they read it, an entertaining journey, and, I’d add, a new way to view their own lives.

Get all of this right, and you’ll have a memoir that transcends the “this is what happened to me” sort of manuscript and have a book that will matter to many. And it will matter to me. Send THAT memoir my way.  You can find my submission guidelines here.

 

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.

 

Agent Monday: How Agents Sell Books

Chihuahua Wearing EyeglassesHappy Agent Monday, world! A few weeks back I asked folks to chime in with questions they’d like to see me answer from the agent’s point of view. I got a lot of great suggestions, and a bunch of those questions were answered here. Today, I’m answering questions sent in by Stacy, who wrote: “Though posts about craft and the market are always helpful, I am very curious about how an agent sells books.”

Stacy went on to list 5 specific questions related to this. I’m sure different agents do things differently. But here’s how I do things…

1. How do you package pieces to sell to an editor?

The first step is to always make sure the manuscript is as perfect as the writer can make it. I work with my author, reading through the pages, sending along notes and edits, until we are satisfied it is tight.

I do the same with the synopsis. I prefer to have a short synopsis, so we usually keep it to two pages, max. And we finalize the author’s bio. These steps can sometimes take close to no time at all (the manuscript comes in clean, and little work is needed), and sometimes it can take months (the author needs time to do a more extensive rewrite before we are ready to submit).

Next I create the pitch. This is one or two lines that capture the heart of the manuscript and hopefully the interest of the editor.

As soon as I first see a manuscript, I’m already starting to think of who would love to see this, which publishing houses would make the best home for it. Now it’s time for me to make a more final list. Over the years, I’ve collecting info on an extensive amount of publishers and editors, and I’ve kept track of who has moved where, and how their tastes have changed. Still, every manuscript is just a little different from one I’ve done before, and so I always research editors with fresh eyes.

How? I go through my own collected data to form an initial list of editors who seem a fit. Then I dig further into recent deals made and new developments, trends, imprints to see who else I should consider. Now I have a solid list of editors in hand.

I pick up the phone and start calling editors. My pitch is in front of me, but I don’t read it. By now I’ve internalized what I want to say. I have this wonderful novel… It’s about… It’s unique because… The author is amazing because… I think it’s right for you because…

The editor says, great! Send it! So I do, along with the bio and synopsis, and in the email that I send to the editor with these attachments, I further detail my pitch, plus outline some markets it would be great for — stuff than I want the editor to keep in mind as she reads, and that can help her to “sell” it to her publisher.

2. How do you analyze an editor’s preferences (how know what ms. will interest which editor)?

This is an ongoing process, ever-changing because editors’ wishes change, editors move to different houses, and imprints are ever-shifting. I call editors and ask them what they are looking for now. I meet with them for coffee and over lunches and at their offices to get to know them and their preferences. I talk with them at conferences. And I keep up with what’s reported online – new deals posted, new interviews with editors, etc. Even when I call an editor to pitch a manuscript, after that pitch is complete, I’ll ask them: have your editorial interests changed lately? What else are you looking for right now? The team of agents at The Jennifer De Chiara Literary Agency is doing all of this constantly, and sharing this info with everyone else in our firm, so there’s a constant flow of information.

3. How do you analyze a publisher’s preferences?

Working frequently with a broad range of publishers, we know what their houses seek. One imprint skews literary, another skews highly commercial, still another is heavy on fantasy, while another is focusing on edgy contemporary. Again, I talk with the editors and do my research.

4. How do you handle rejection as an agent (you loved a manuscript, but the editors didn’t)?

Every rejection is a learning opportunity, in my view. Why did the editor pass? As an agent, I typically get details beyond the “no thanks.” This helps me to refine what to send that editor next time, and it helps my author and I in future rounds of submissions. If a number of editors pass for the same reason, perhaps the manuscript can be edited to correct this issue before it goes out again? Also, I’m reminded again and again that this is at times a highly subjective area. One editor rejects a book because she loves the plot but not the voice, while the very next day an editor rejects that book because she loves the voice but not the plot. And that very same book goes on to be sold at auction in a two book deal! So I never let rejection get me down.

5. What are the houses you work with often, and why?

This varies. Every manuscript is just a little bit different, and I represent a wide range of projects from children’s picture books, middle grade and YA through to adult fiction and memoir. (You can find my submission guidelines here.) I’m always looking for the right fit at a press that creates beautiful books. Often this is at one of the top commercial presses, but sometimes a smaller press that does award-winning titles is just right.

That’s a wrap! Have a great week, everyone, and special thanks to Stacy for all the great questions. If you have any burning questions you’d like to see answered in future posts, leave those in a comment below.

 

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.

Agent Monday: New Lit Agent Victoria Selvaggio!

0011Happy Agent Monday, everyone! Today, I’m excited to introduce you to a new Associate Literary Agent at The Jennifer De Chiara Literary Agency, Victoria A. Selvaggio!  With a strong background in business ownership, Victoria has also served several years as Regional Advisor for SCBWI: Northern Ohio. Vicki’s a writer herself (her most recent publication is in the 2015 Children’s Writer’s and Illustrator’s Market), and she has been a valuable and skilled manuscript reader for the agency. Now she’s excited to read compelling manuscript submissions to shape her own list of clients.

Welcome Victoria! What types of submissions do you want to see?

I am currently looking for all genres (lyrical picture books, middle grade and young adult fiction, new adult, mysteries, suspense, thrillers, paranormal, fantasy, narrative nonfiction, adult fiction), but find I’m drawn to middle grade and young adult. I especially love thrillers and all elements of weird, creepy stuff. If it’s out of the box, and it will make me think and think, long after I’m done reading, send it to me! On the flip side, I yearn for books that make me laugh, cry and wonder about the world.

What are some of your favorite reads?

Some of my “older” favorites: THE GIVING TREE written and illustrated by Shel Silverstein. CHARLOTTE’S WEB by author E. B. White and illustrated by Garth Williams. THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE by C. S. Lewis. PET SEMATARY by Stephen King. THE TALISMAN by Stephen King and Peter Straub. And I could go on and on!

How should writers submit to you?

Please email a query to vselvaggio@windstream.net and put “Query” in the subject line of your email. For queries regarding children’s and adult fiction, please send the first twenty pages in the body of your email, along with a one-paragraph bio and a one-paragraph synopsis.

For queries regarding a non-fiction book, please attach the entire proposal as a Word document (the proposal should include a sample chapter), along with a one-paragraph bio and a one-paragraph synopsis of your book in the body of your email.

Thanks, Victoria, for stopping by and sharing your wish list here with us! For more info about our agency, visit the agency website by clicking here. And follow my website, marielamba.com, to catch every new Agent Monday post!

Agent Monday: Some Quick Answers to Your Questions

SnowflakeHappy Agent Monday, gang! Storm’s coming, Harry!!! Lots of snow on the way here. So, while I still have electricity and hot coffee in hand, let’s tackle some of your questions — quickly!

Last week, I’d asked readers for  questions they’d like to see me answer in future posts. Thanks to everyone who chimed in!  Some responses are worthy of their own posts (keep your eyes peeled for these in the near future), while others can be quickly answered in a short and sweet manner. So here goes…

Q.: How important would you say it is for a person to read their manuscript out loud before calling it finished?

A.: I’d say it’s critical. OF COURSE it’s critical for picture books, which are designed to be read aloud. But for any level of writing, the author simply must read their prose aloud. And listen to themselves. As an author myself, I always read my writing aloud as part of my revision process. It helps me to pick out when phrases are overused, or punctuation needs to be changed, or when pacing is off. And it helps to listen to dialogue – is it ringing true?

Q.: Does a historical setting automatically categorize a manuscript as being historical fiction? Is it acceptable to have a historical setting even if that history is not integral to the plot?

A.: Historical setting in a novel DOES make it historical fiction. If the setting doesn’t influence the thought of the characters, their actions and their challenges/life in some way, then why not set it in present day? It doesn’t need to be a moment for the history books, but it does need to belong in its time period. The exception? A time travel piece, which would make it fantasy or science fiction vs. historical. Even then, though your main character isn’t of that time, the time period would influence that character’s adventures, and the people surrounding him would be of that time.

Q. When an agent asks to see more manuscripts (picture book), is it advantageous to send in manuscripts that are consistent style-wise vs. showing a breadth of style?

A. First of all, it’s great that you have so many manuscripts completed that you have choices! Speaking from my own point of view, what I’d most want to see is your very best work – whatever the style. Unless the agent asked for more of a “type” of book from you, that would be your best rule of thumb.

Q. Have you ever rejected a manuscript because you were not “connecting” to the material, narrative arc, and/or the main character? What did that mean to you personally?

A. That happens often. What this means to me is that I’m just not personally excited by what the author is trying to do for some reason, or that I’m not finding myself feeling drawn in. This can be for many reasons, such as I like the idea of the plot, but find I’m not liking the main character. Or I like the character, but I find the plotting too obvious or too hard to believe. Or I don’t “get” why the main character is so upset or reacting the way she is. In short, something is stopping me from relating to things or feeling invested in the story. I have to really want to root for my authors and their writings – and you really want an agent who will do that. So keep querying and writing and polishing until you DO find someone who “gets” you.

So that’s it! Some quick answers to quick questions. Now it’s time for me to quickly use all the electricity I can while I still have it (makes mega-pot of coffee). Stay safe and warm, everyone!

 

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.