Why Having a Rock Star Agent Matters

The Benefits of Having a Great Agent

I'm sure you've all heard the warning that a bad agent is worse than no agent at all. I've read horror stories (and even heard in person from a best-selling author) about what happens when an agent goes bad and they have to start over and find a new agent. I've also read a lot online saying you don't even need an agent these days, especially if you plan to self-publish. I respectfully disagree. In fact, I went to a talk by a best-selling self-published author, and guess what she had? A top agent from a great literary agency. Another top-earning self-publisher just blogged about recently obtaining an agent for her books. Why? I'll discuss that in a minute. Overall, I agree that having no agent is better than having a bad agent...but having a rock star agent is golden. I know a little bit about this because I have a rock star agent *waves at Jessica* from a great literary agency. So here is how a fabulous agent can benefit both traditional and self-published authors:

1) Editorial relationships. A great agent has a wealth of publishing knowledge and solid relationships with editors, so they know who is be looking for a specific project. For instance, they know if an editor has been dying for a book about killer space monkeys, or conversely, if an editor will stab themselves if they see one more monkey story. Though I try to stay abreast of publishing industry news, I don't have the years of relationships with publishers that my agent does, and I'm so glad she knew exactly where to send my book (which sadly, does not involve killer space monkeys). Some self-publishers are pursuing the hybrid model, which involves having some books published traditionally while they self-publish others, and for any author who wants a traditional publishing deal, a reputable agent has access to publishing houses that don't allow non-agented submissions. 

2) They know books.  This might sound obvious, but it's true. Agents read a ton of queries (after doing my "query critiques for all" giveaway earlier this year, I have even more respect for the massive amount of work they do). They also read a lot of manuscripts and you know, actual books. The bottom line is that agents know books. They know what makes for a great story and can easily spot what works and what doesn't. Every suggestion my agent made for revising my book was spot-on. Her knowledge made my book better, and I'm not saying that just because the book sold to a great publisher...I'm truly satisfied that I created the best book I could.

3) Contract negotiations. Can you say "reversion of rights?" Yes, technically you don't "need" an agent to sign a publishing contract, but have you read one lately? I got a headache after seeing one paragraph. An agent knows their way around the technical language of the contract, and knows where to push for change (e.g. more money, reversion clauses, etc.) They will also likely be more successful in having those changes accepted than if the author negotiated themselves, because part of being a good agent involves killer negotiating skills. Could someone do this themselves if they spent enough time on it? Yes, but personally, I'd rather focus on writing. I have enough trouble negotiating bed time with my kiddos, and am happy to leave legal negotiations in my agent's capable hands.

I'm also including foreign rights in this category, and it's a big reason why some self-published authors either already have or desire an agent, even if they don't want a traditional publishing deal. I can't imagine the time and energy involved in navigating foreign rights contracts, nor do I want to. The agented self-published author I heard speak said that the foreign rights sales alone was the impetus for her to get an agent.

4) Trust. This one is more intangible but just as important (to me, anyway). The author-agent relationship is a business partnership, and if you don't have trust in your business partner, then you're screwed (and yes, that trust goes both ways). For the writer, it's important to feel like you have someone watching out for your best interests. Yes, an agent only makes money if your book sells, but I believe that most agents go into the business for the same reason that writers do--we are all passionate about books. Most agents only take on a book because they love it. They wouldn't devote hours of their time to something they didn't believe in. When you trust that your agent is competent and skilled, it frees you to focus on other things--you know, like writing (well, and marketing, but that's a whole other post).

What have I missed? Any other opinions out there from the agented or unagented?  

Finish Your Book First

I have no ideas for a post today so I'm directing you over to Mary Kole's post about why you need to finish your book before you query.

I know most of you already know this, but like Mary says, there's always newbies who are just starting out on their hunt for information on the publishing world and we all know how hard it is to wait until you're done to get feedback on your first ms!

She also has some great info on exceptions to the rule and info on dummies for those of you who write picture books.

Who Are You Writing For?

YA Author Hannah Moskowitz had a really interesting post last week that I highly suggest you check out. It asks the question what are we, the YA writing community doing to YA? Are we letting our own (mostly adult) loves, insider knowledge, and community closeness dictate what kinds of books for teens get written and published? Have we become so insular that we can't see outside of ourselves to what teens REALLY want to read because we're so focused on the kind of YA that we want to write and read?

It's a fascinating post that touches on things I had never really thought about, but I'm thinking about them now. The first question I asked myself after reading this, was, do I do any of those things? I think, subconsciously, as writers, the more we become involved in the writing community, and examing written works with a writer's eye, the more we begin to think strategically, (as in, well, there's 5 mermaid books coming out next year so I need to do something different) and the more we try to push the envelope (as in, Wow! That book with 4 first person POVs was awesome! I wonder if I could do one with 6!).

I don't think this is necessarily a bad thing, and more than that, I don't think it's something that can be consciously controlled. Creative ideas spark creative ideas in creative people. Greatness inspires dedicated people to push themselves further. But I was struck by a point Hannah made, she said:

"...a teenager who loves vampires wants to read more about vampires. She doesn't give a shit whether it's out or not. So is our perception of a "saturated" market affecting her?"

And I thought, this goes back to the idea that as writers, we should write the stories that call to us, not the ones we think are going to sell, because we don't know. And now she makes that even clearer by pointing out that we may be doing our intended audience a disservice by putting aside the book they want to read just so our peers won't say, "You're writing another vampire book?" Or a contemporary, or an angel book, or whatever. Which is a shame, because peer pressure is one of the worst things about being a teen. And I think Hannah's right. We shouldn't dictate what's "cool" for teens. It's not possible anyway. If we decide "the next big thing" and force it down teens' throats, they will simply stop buying books until they find one that does feature stuff they like.

Partly because of her knowledge of the industry and involvement in the YA community, Hannah, a teen herself, said she worries that she doesn't know what teens want anymore. I had to ask myself if I knew, and then I had to be honest and say, I don't, not in the trendy way, anyway.

I write YA because it's where my heart lives. The stories that come to me almost always feature teens trying to figure out where they fit in life, who they want to be. I remember my teen years and how I felt, what I feared, and what I wanted, very clearly, and I write for that girl. She's my BS detector. She's my emotional guide. I hope that some things about being a teen don't change, and that what I write will resonate. I believe that if you stay true to the character and you're emotionally honest people will connect with your work whether it features the latest "cool" trend or not.

What about you? Have you read Hannah's post? What do you think?

The Process of a Book.

This morning I'm browsing the blogosphere and I came across this great post by Author/Agent Mandy Hubbard.

The Process of a Book: A Primer for Newbies

It'f funny and insightful. GO check it out!

Also, Valerie and I have made it to the top 25 in the line-by-line contest over at Adventures and Children's Publishing! There are some super entries over there! Including two from Angela at the Book Shelf Muse! Also check out the entries in the critique section. Good luck to everyone in the contest!

Have a happy Thursday!