The wonderful world of book bloggers and how I evaluate blogs as an agent

Don’t y’all just love book blogs? I do! I add books to my to-be-read list based on what bloggers say. I forward links to my clients when one of their novels is reviewed. I read blog comments to see what’s hot. Book blogs drive buzz and sales and excitement and they help promote reading (which is always a great thing). I grew up a reader, but back then (think dinosaur age), books were recommended by teachers, librarians and occasionally by friends. Today, I can compare notes with other readers via book blogs and be part of a big online world of people who love books.

As an agent, how do I evaluate book blogs and how do I use them?

One of the main ways I leverage book bloggers in my job is by sending out Advanced Reader Copies of my clients’ books. Yes I do this. Is it a conflict of interest? No. I’m not trying to “drive business” – I’m just trying to connect books to reviewers. When submitting, I always follow the blog’s submission guidelines and then it’s up to the blogger to review or not and to be positive or negative. I try to provide opportunities for my clients and their books – I don’t try to censor what becomes of those opportunities. By the way, yes – our publishing houses also send out ARCs for review, but you never know who I know that they don’t.

Another way I use book bloggers is by reading their reviews. I want to know what readers think – particularly about books in genres that I represent (young adult & middle grade, romance and science fiction & fantasy). The reviews and the comments on those reviews help me understand the market from a reader’s perspective.

Do I comment on book blogs? Yes I do. I know this has been a hot topic lately and I’m sure that different agents approach this question in different ways. My personal philosophy is that I never comment in a negative way on any book or on any review. Sure, I’ve read books that I don’t love – no one will ever know what those books are. And, I’ve read reviews with which I disagree. I simply nod my head and move along. When I do love something, though, I tend to reach out to the author or to the blogger with a positive comment. Publishing is thankless more often than not and “nice work” goes a long way.

How do I evaluate a book blog? This is the checklist I use when adding a blog to my hot reading list:

- Do I read the blog and enjoy the writer’s comments and style?
- Are the submissions guidelines posted clearly?
- Is the overall layout of the blog professional and engaging?
- How regularly does the blogger post (I like blogs that post 3-4 times a week. I don’t read anything every day, but I also forget about the ones that only post once a week)
- Is the blogger on twitter? Many times I follow bloggers on twitter and their tweets remind me to read today’s post. I personally like this kind of cross-promotion.
- What is the selection of books reviewed? For me personally, I prefer blogs that review some big names AND some smaller releases. So, a blog that reviews the same 10 books that I’m seeing on the NYTimes Bestseller list is a “meh” for me whereas a blogger who takes chances on some “quieter” titles tends to be more my style. I look for the review list to include books from big press and small press and books from big authors and debut authors.
- For me to actually submit an ARC, I make sure the blogger has some sort of disclaimer clearly listed. This disclaimer should say in a pretty direct way “I receive books from publishing houses and review them fairly and for no compensation.”
- I personally love blogs that host a variety of content – reviews, author interviews, guest blog posts.
- Surprisingly, book giveaways don’t do much for me. I know they are very popular so I would never suggest removing them. It’s just that giveaways sometimes make me feel that commenters are more interested in trying to get free books than they are in initiating discussion.
- Does number of comments matter to me? Sure – I love to see a ton of comments on a blogger’s post. To me that means the community at this blog is active and engaged.

So, if you ARE a book blogger, I hope this helps illuminate how your blog can be evaluated. If you are a writer and/or reader, I hope this helps explain how book bloggers can advance your craft and your career. Network with these people when you can – book blogs have proven to be an innovative and important way to promote literature!

For the record, here are some of the book blogs I adore:

For romance novel reviews:
USA Today’s new Happily Ever After blog
http://books.usatoday.com/happyeverafter/index

Smart Bitches Trashy Books
http://smartbitchestrashybooks.com/

Dear Author
http://dearauthor.com/

Ramblings from this Chick
http://ramblingsfromthischick.blogspot.com/

Romancing Rakes
http://romancingrakes.blogspot.com/

Smexy Books
http://www.smexybooks.com/

For young adult novel reviews:
The Hiding Spot
http://thehidingspot.blogspot.com/

The Story Siren
http://www.thestorysiren.com/

A Book and a Latte
http://bookandlatte.blogspot.com/

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So, do you blog?  What are you doing and what will you start doing to address the points discussed by Sara?

On Friday, Handsome Hansel joins us to give us a mans eye view of the world of romance.

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And for one lucky commenter, Sara is giving away a copy of FIRELIGHT by Kristen Callihan.

BOOK 1 IN THE DARKEST LONDON SERIES

Once the flames are ignited . . .

Miranda Ellis is a woman tormented. Plagued since birth by a strange and powerful gift, she has spent her entire life struggling to control her exceptional abilities. Yet one innocent but irreversible mistake has left her family’s fortune decimated and forced her to wed London’s most nefarious nobleman.

They will burn for eternity . . .

Lord Benjamin Archer is no ordinary man. Doomed to hide his disfigured face behind masks, Archer knows it’s selfish to take Miranda as his bride. Yet he can’t help being drawn to the flame-haired beauty whose touch sparks a passion he hasn’t felt in a lifetime. When Archer is accused of a series of gruesome murders, he gives in to the beastly nature he has fought so hard to hide from the world. But the curse that haunts him cannot be denied. Now, to save his soul, Miranda will enter a world of dark magic and darker intrigue. For only she can see the man hiding behind the mask.

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Bio: Sara Megibow, Associate Literary Agent
Nelson Literary Agency, LLC

Sara has worked at the Nelson Literary Agency since 2006. As the Associate Literary Agent, Sara is actively acquiring new clients! The Nelson Literary Agency specializes in representing all genres of romance (except inspirational or category), young adult fiction of all subgenres, science fiction/ fantasy and commercial fiction (including women’s fiction and chick lit). Sara is an avid romance reader and a rabid fan girl of super sexy and intelligent stories.

Nelson Literary Agency is a member of AAR, RWA, SFWA and SCBWI. Please visit our website http://http://www.nelsonagency.com/for submission guidelines, FAQs, resources and sample query letters. Sara’s Publisher’s Marketplace site (www.publishersmarketplace.com/members/SaraMegibow) is a great place to find more about her personal tastes, clients and recent sales. You can also cyber stalk Sara on twitter @SaraMegibowHow an agent chooses what books to read.

Audio Books Sales

Happy New Year!

Audio Books and how I manage audio sales for my clients…

Here’s an overview of one of the most important subsidiary rights for a fiction author: Audio Books. Typically I spend 10% of my week reading slush pile and 90% of my week supporting current clients. A huge chunk of that time is spent pitching, negotiating, auditing and promoting subsidiary rights sales. Most agents don’t sell your book into print and then sit back drinking martinis (tempting though it sounds). Instead, there is a whole world of activity going on and many authors never see these details. So, here’s an inside glimpse at how I work audio rights sales.
Late 2011 was marked (at least in my experience) by an increase in pressure from publishing houses to retain audio rights. Audio books are selling well right now – especially driven by an increase in digital downloadable audio sales. Hard copy audio includes the CDs one may buy in a bookstore while digital downloadable audio are those we press “buy” from our e-devices in a similar way we buy ebooks. Authors are finding the audio rights to their books very valuable right now because of this trend.
If our agency retains audio rights, then it’s my job as an agent to shop your book for an audio sale independently. If the publishing house has acquired audio rights (true in the vast majority of my sales in 2011), then my job is to follow up with the publishing house to make sure THEY sell audio rights.
Here are some of my tasks for clients whose audio rights we control. First, I make a list of acquiring editors at various audio publishers (including Audible, Brilliance Audio, etc). I compose an email introducing the book (including the pitch, information on the publisher, the projected print run, early reviews and publicity) and I email the proposal to those editors. Sounds like a book submission, yes? Then, I spend anywhere from one to six months following up and hoping for an offer. Once there is interest, I negotiate the offer and audit the contract. One important aspect of the process is managing the production elements – for example, we try to arrange it so authors have consultation on the voices used and pronunciations in the final product. On the back end, it’s my job to watch sales and audit the royalty statements. Audio rights are one reason my work week fills up so quickly!
If the publishing house retains audio, then once a month I contact them to ask “any audio sales yet? Anything I can do to help?” It’s their job to pitch, but it’s my job to make sure that pitch happens. To reassure you authors out there – audio companies rarely differentiate between books pitched by agents and books pitched by publishers. The one major exception to that rule is Harlequin who has a wonderful relationship with Audible. Many Harlequin novels are picked up by Audible just because they are with that house (of course, this means Harlequin usually retains audio for themselves).
How does the money work? In general (and of course there are a billion variables and exceptions) – an author makes more money if the agent retains audio rights and sells those audio rights independently. Audio companies typically pay an advance and royalties on sales and if your agent sells directly, you keep 85% of those monies (and the agent keeps 15% just like when selling print rights). If the publishing house retains those rights, then they keep a percentage on top of that. Either way, a subsidiary right sale means further income on your book. This is one reason agents spend so much time negotiating these rights. For the record, all this time I spend on audio is similar to the time I spend on film rights and foreign rights.
So, why would we ever sell audio to the publishing house? For one thing, it’s become a deal breaker in many cases. There are now publishing houses that only offer for a book if the deal includes print, electronic AND audio. Authors may ask, “well isn’t it the job of the agent to fight for those rights?” Yes – that’s absolutely true. I’m a good agent though and the majority of my sales in 2011 granted audio to the publishing house. Naturally, there are some benefits to going with the publisher. For example, you all know that authors earn royalties on their books only after the advance is earned out, yes? Well, when the publishing house sells a book to audio themselves, payment is credited toward the advance and the author is that much closer to earning out. So, an audio sale via publisher means you are closer to earning royalties and that’s a very good thing (both from an income perspective and for the profit and loss statement at the publisher). Also, there is some evidence that publishers are willing to pay a higher initial advance when audio is included. An offer for $20,000 for print MIGHT turn in to $25,000 for print and audio.
One important thing to note when selling rights to the publishing house: As the agent, I ask for a contractual reversion of audio rights. What that means is if the publishing house has not successfully sold audio rights after a set amount of time, those rights revert to us. If that happens, my next step in the process is to take over shopping the rights and start back at step one. This reversion allows us a second chance at shopping the book. I don’t always succeed in getting that reversion, but I sure do try.
Finally, here are the important things to remember: whether the author retains audio sales or the publishing house retains audio sales, the important step is to make sure your book is PITCHED to audio companies. If we retain audio, then I shop it aggressively. If the publishing house retains audio, then I follow up aggressively with them. In either case, my job is to make sure you get every chance possible to make that sale. Three good questions to ask your agent include “who owns audio” “is my book being pitched for audio” and “if we’ve sold audio to the publishing house, will there be a reversion of those rights after a specific amount of time?”
May 2012 continue to be a year of profitable audio books! Cheers!

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Whew! Sara started the year off with a bang-up discussion.  The forum is open – what do you want to ask her?

On Friday, Laurie Schnebley Campbell wants to talk to you about the tricky parts. Are you game?

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And for one lucky commenter, Sara is giving away a copy of CRASH INTO YOU by Roni Loren.

Brynn LeBreck has dedicated herself to helping women in crisis, but she never imagined how personal her work would get, or where it would take her. Her younger sister is missing, suspected to be hiding from cops and criminals alike at a highly secretive BDSM retreat–a place where the elite escape to play out their most extreme sexual fantasies. To find her Brynn must go undercover as a sexual submissive. Unfortunately, The Ranch is invitation only. And the one Master who can get her in is from the darkest corner of Brynn’s past.

Brynn knows what attorney Reid Jamison is like once stripped of his conservative suit and tie. Years ago she left herself vulnerable only to have him crush her heart. Now she needs him again. Back on top. And he’s all too willing to engage. But as their primal desires and old wounds are exposed, the sexual games escalate–and so does the danger.  Their hearts aren’t the only things at risk. Someone else is watching, playing by his own rules. And his game could be murder.”

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Bio: Sara Megibow, Associate Literary Agent
Nelson Literary Agency, LLC

Sara has worked at the Nelson Literary Agency since 2006. As the Associate Literary Agent, Sara is actively acquiring new clients! The Nelson Literary Agency specializes in representing all genres of romance (except inspirational or category), young adult fiction of all subgenres, science fiction/ fantasy and commercial fiction (including women’s fiction and chick lit). Sara is an avid romance reader and a rabid fan girl of super sexy and intelligent stories.

Nelson Literary Agency is a member of AAR, RWA, SFWA and SCBWI. Please visit our website http://http://www.nelsonagency.com/for submission guidelines, FAQs, resources and sample query letters. Sara’s Publisher’s Marketplace site (www.publishersmarketplace.com/members/SaraMegibow) is a great place to find more about her personal tastes, clients and recent sales. You can also cyber stalk Sara on twitter @SaraMegibowHow an agent chooses what books to read.

What Newbie Mistakes Have I Made as an Agent?

A writer asked this wonderful question at a recent webinar, “what newbie mistakes have you made as an agent?” Yes, this month – December 2011 – marks the release of the very first books I ever sold as an agent. This correctly labels me as new. I loved this question because it’s different from the standard “what are you looking for in submissions” and because it’s really a thoughtful question. I’m on this publishing journey the same as writers and authors and editors. I’ve had ups and downs, failures and successes. This time of the year it’s easy to reflect. So, let me share with you an extended answer to this question. Happy Holidays everyone!

A hint of background: I joined Nelson Literary Agency in 2006, so am entering my sixth year in publishing. For four years, I was in charge of reading slush pile – queries, sample pages and full manuscripts. I picked HOTEL ON THE CORNER OF BITTER AND SWEET by Jamie Ford out of the slush pile. Same with PRIVATE ARRANGEMENTS by Sherry Thomas and others. Then, in mid 2009 I read a submission by Sarah Skilton and fell in love. THIS was an author I simply HAD to work with. She agreed to sign with me (lucky lucky lucky me – seriously, she is so talented) and that marked my debut as an agent. Since 2009, I have signed 17 clients and sold over thirty books. CATCHING JORDAN by Miranda Kenneally released on December 1, 2011 and this was the first book I sold to hit bookshelves. Jane Kindred’s THE FALLEN QUEEN came out Dec 6. And Roni Loren’s debut CRASH INTO YOU comes out January 3, 2012. This is the big start for my authors and I couldn’t possibly be more excited!

So, mistakes I have made – yes, they exist. Hopefully my clients won’t run screaming when they read this.

#1 – in an effort to “get my name out there” – I agreed to too many free critiques (usually for auctions and fundraisers and such). Oof – those all seem to come in at once and they really make for a backlog of work. My priority is and always should be reading for my clients. So, next year = fewer critiques and faster client reading.

#2 – I passed on AFTERLIFE by Merrie Destefano, CINDER by Marissa Meyer and FIRST GRAVE ON THE RIGHT by Darynda Jones. Oops. 

#3 –  My first submission lists were very long – like 20+ editors all at once. Now that I’ve been doing this for two years, I find I prefer the small submission list out of the gate. There’s more wiggle room if the submission goes into its second and third month and it’s easier to manage. Maybe that’s not a mistake – maybe that’s just my style developing.

#4 – I email my clients every week with an update (on sales, reviews, publicity, about a submission, on edits, whatever). Some agents think I’m nuts as that’s a LOT of time that could be spent doing other things. I still stand by it though and will likely keep doing it. Again, not a newbie mistake but rather a style thing.

#5 – I haven’t made any egregious contract errors yet (thank heavens) but I HAVE learned that contracts can’t sit on my desk even one day before I start auditing. This process takes hours (HOURS) and if I procrastinate all of a sudden someone is calling saying “ahem, where is that contract?”  oops.

#6 – I have sent manuscripts to film agents too soon. Hollywood is such a pile of whackiness. I’ve learned that it’s way better to ping producers after a book is out (with a very few exceptions).

#7 – I didn’t do enough research on ebooks way back last January. There are probably many great authors out there who didn’t submit to me because I didn’t have a platform to support them.

#8 – I skipped Book Expo in 2011. Big mistake – it’s such a huge week for networking with editors and other agents. I regretted it the second I started seeing BEA announcements. Yup – I’ll be there in 2012!

The big ones, I suppose, would be:

Have I ever signed a client that I later regretted? No. Absolutely not and that’s truth, not me just being nice on the internet.

Have I ever messed up a submission (sent projects to the wrong editor)? Yes, although this one is easier for agents than for writers. I have submitted a book and gotten this response, “I’m sorry – I don’t buy for that imprint anymore but you could try XYZ.” So, I simply go to XYZ and start over. That’s one nice thing about agenting and submissions – there’s a wee bit of room for error.

The biggest thing I’ve learned so far is that agenting can only be done (at least for me) for the love of books. Plain and simple – I adore my authors and their books and that’s the reason I come to work. Publishing is (falls down laughing) absolutely not a get-rich-quick scheme! It can be slow and frustrating so loving the stories and the authors is what keeps me going. The feeling of “success” for me has been in holding the finished books and celebrating with my authors.

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Okay – any other questions for Sara and her newbie mistakes?  Were you surprised by her list? What do inquiring minds want to know?

On Friday, Jennifer Probst shares her tips for keeping your writing fresh.

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And for one lucky commenter, Sara is giving away a copy of CATCHING JORDAN by Miranda Kenneally.

One of the boys

What girl doesn’t want to be surrounded by gorgeous jocks day in and day out? Jordan Woods isn’t just surrounded by hot guys, though – she leads them as the captain and quarterback of her high school football team. They all see her as one of the guys and that’s just fine. As long as she gets her athletic scholarship to a powerhouse university.

 But everything she’s ever worked for is threatened when Ty Green moves to her school. Not only is he an amazing QB, but he’s also amazingly hot. And for the first time, Jordan’s feeling vulnerable. Can she keep her head in the game while her heart’s on the line?

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Bio: Sara Megibow, Associate Literary Agent
Nelson Literary Agency, LLC

Sara has worked at the Nelson Literary Agency since 2006. As the Associate Literary Agent, Sara is actively acquiring new clients! The Nelson Literary Agency specializes in representing all genres of romance (except inspirational or category), young adult fiction of all subgenres, science fiction/ fantasy and commercial fiction (including women’s fiction and chick lit). Sara is an avid romance reader and a rabid fan girl of super sexy and intelligent stories.

Nelson Literary Agency is a member of AAR, RWA, SFWA and SCBWI. Please visit our website http://http://www.nelsonagency.com/for submission guidelines, FAQs, resources and sample query letters. Sara’s Publisher’s Marketplace site (www.publishersmarketplace.com/members/SaraMegibow) is a great place to find more about her personal tastes, clients and recent sales. You can also cyber stalk Sara on twitter @SaraMegibowHow an agent chooses what books to read.

How an agent chooses what books to read.

You’ve all likely heard of a TBR pile, yes? Otherwise known as the “To Be Read” pile – these are books that pile up on our nightstand waiting to be read. Probably you even have a TBR pile too – on a bookshelf or an iPad. As an agent, I have to choose what I read very carefully and my TBR pile is more political than most. So, how do I choose what to read?

First of all, please understand that I read queries, sample pages and full manuscripts every week. I also read and edit manuscripts sent to me by my clients (and I have 17 clients that each write between one and three books per year). I read Publishers Weekly and Publishers Marketplace and Shelf Awareness every day (as well as Locus Magazine and the Romance Writers Report every month). I read my twitter feed, blog posts from my twitter feed and blog posts by my boss, my clients and other agents. I read for fundraisers, auctions, chapter contests and Writers Digest webinars. Then, I go home and have a stack of books on my bookshelf to…read. So, that’s where we start.

Why do I buy so many books? (Yes I do buy them. I don’t mooch for freebies even though I could get them easily. AND, I usually buy from an independent bookstore – my local indies are Boulder Bookstore and Tattered Cover) First of all, I simply love to read. So, the honest answer is – I love books so I buy them because I am looking forward to reading them. The more complex answer, however, is that I buy them so I know what is in the marketplace right now.  This makes me a better agent for my clients and my future clients.

How do I choose what to buy?

1)     I choose books (especially those by debut authors) in the genres that I represent (young adult, middle grade, romance, science fiction and fantasy). I’m looking for books recently published by major publishing houses (both big press and small press). To make life interesting, I try to read one YA book, one romance and one sf/f each week (yes, that’s AFTER all my other work is done – yikes, huh?)

2)     My top priority is to read books produced by editors to whom I would like to submit. For example, I recently sold an historical romance called A TALE OF TWO SISTERS by debut author Ashlyn Macnamara (a Golden Heart finalist) to Caitlin Alexander of Ballantine Bantam Dell/ Random House. I loved PRIVATE ARRANGEMENTS by Sherry Thomas which was edited by Caitlin. So, when I called to pitch TALE OF TWO SISTERS, I could say (sincerely) “I loved Sherry Thomas’s book and I’m hoping that you will love this submission which is also a very sexy historical romance.”

3)     Frequently, once I sell a client book, I go out and buy more books produced from our new editor partner. For example, Roni Loren’s upcoming debut CRASH INTO YOU is edited by the amazing Kate Seaver of Berkley Heat. Kate also edited THE PERFECT PLAY by Jaci Burton and that book is sitting on my nightstand right now. (can’t WAIT!)

4)     I buy books when I read a fabulous review. For example, www.smartbitchestrashybooks.com raved about SCANDAL by Carolyn Jewel. I bought it and completely fell in love with the book. So, good reviews do result in sales!

5)     I buy books that hit the NYTimes bestseller list, USA Today Bestseller list or whose sales numbers are really strong.

6)     Every day I watch sales posted at www.publishersmarketplace.com. When I see something that really catches my eye (especially if it’s got a really engaging pitch), I add that title to my TBR pile and buy when it releases. For example, this middle grade sale was posted in October 2010, “Sherry Shahan’s ICE ISLAND, in which a 12-year-old girl who dreams of competing in the grueling 1,049-mile Iditarod Trail Sled Dog Race gets lost during a training run in the untamed Alaskan wilderness during a freak snow storm.” ICE ISLAND comes out in January 2012 and I’ve been waiting 18 months for it. How awesome is that  – a 12 yr old wanting to race in the Iditarod?!?!

7)     I buy books from authors I find fun or engaging on twitter (yes, twitter sells books!) Megan Hart has an awesome twitter voice (@Megan_Hart) so I bought her novel NAKED last winter. I absolutely, positively rave about this book! Sooooo glad that I followed up and bought it as it’s one of my all-time favorites.

8)     There are so many awesome agents out there! When I’m at conferences, I try hard to meet (and drink with) as many of these fun people as possible. Naturally, we end up talking books. I write down their suggestions and support my agent friends. So, if I know the agent, I will likely buy the book.

9)     During my almost-six years in publishing, I’ve met some charming authors who are just fabulous people. Not my clients, but fabulous people. I buy their books too. SWEET ENEMY by Heather Snow hits shelves in Feb 2012 and Heather is one of the nicest people on the whole planet. I’ve already pre-ordered two copies and I will hunt her down and get them signed.

So, that’s about it. Books produced by editors at imprints to which I’d like to submit, books written by authors who have worked with editors I know, books I find from reviews or sales announcements or some form of social media (twitter and blogs mostly) and books by authors to whom I have some personal connection (via conferences, other agents , etc). That’s my list. And the end result is – I know what kinds of books are being written and sold right now in each of the genres that I represent. I know comparative titles, “hot” concepts and popular voices. And there is a huge pile of great stories waiting for me each night when I get home from a long day of work.

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What is in your TBR pile? How do you find the books that end up on your reading list? Any books you can recommend to Sara?

On Friday, Leanna Renee Hieber talks about  Writing Adult vs. Young Adult Fiction

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And for one lucky commenter, Sara will give away two books this month!

The Secret of Cypriere Bayou by Jana DeLeon

For Olivia Markham, laMalediction is the ideal setting in which to complete her work. But something is sending a chill up the usually fearless author’s spine. There are the unearthly noises, the sliding panels, the hidden passageways…and John Landry, the sexy caretaker who seems less than welcoming.

John has work of his own to do and he doesn’t need the distraction of a mysterious beauty claiming the old mansion is cursed. But he can’t ignore the fact that someone is doing everything to scare Olivia away – permenantly. Working together to uncover laMalediction’s alarming secrets and root out the evil stalking them, John finds Olivia impossible to resist, and he knows it’s only a matter of time before something unexpected – and undeniable – happens between them

Bayou Bodguard by Jana DeLeon

One remote bayou mansion was holding tight to its secrets……

Bodyguard Brian Marcentel knew Justine Chatry had a job to do, but so did he. He’d been hired to keep her safe – from whatever lurked behind the walls of a long-neglected mansion. And yet, the beautiful researcher insisted on helping him investigate every suspicious noise and following him through the murky bayou as he tracked down trespassers. All of that paled in comparison, though, to his greatest challenge: trying to resist her when the fear took over and she looked to him for protection.

Still, no matter how fiery their attraction, there was something about this frustrating, sexy woman that seemed so familiar. But trying to penetrate her secrets was like trying to keep her out of his arms. Or out of his bed.

Bio: Sara Megibow, Associate Literary Agent
Nelson Literary Agency, LLC

Sara has worked at the Nelson Literary Agency since 2006. As the Associate Literary Agent, Sara is actively acquiring new clients! The Nelson Literary Agency specializes in representing all genres of romance (except inspirational or category), young adult fiction of all subgenres, science fiction/ fantasy and commercial fiction (including women’s fiction and chick lit). Sara is an avid romance reader and a rabid fan girl of super sexy and intelligent stories.

Nelson Literary Agency is a member of AAR, RWA, SFWA and SCBWI. Please visit our website http://http://www.nelsonagency.com/for submission guidelines, FAQs, resources and sample query letters. Sara’s Publisher’s Marketplace site (www.publishersmarketplace.com/members/SaraMegibow) is a great place to find more about her personal tastes, clients and recent sales. You can also cyber stalk Sara on twitter @SaraMegibowHow an agent chooses what books to read.

YOU’RE FIRED!

Just last month, a query came through the slush pile that ended like this, “I hope you love my pitch. However, if you don’t – no worries, I don’t need an agent to get published anyway.”

In other words, “Dear Agent – You’re FIRED!”

I didn’t take it personally because I tend to agree with this writer – no, you don’t really need an agent in order to get published. I like to think that I’m a great business partner for writers who DO want an agent – I certainly want to feel essential to them.  Still, here are a few of the things I do for my clients and how you could take them on (effectively) if you decide to go it alone.

1)     Editing. I read my clients’ books and offer editorial feedback. Sometimes it’s intense and I request several rounds of revisions. Sometimes my notes are just bits of polishing here and there. A savvy author can hire an editor instead – there are plenty of editors with excellent reputations and experience who work freelance (especially editors laid off from their jobs in NY).

2)     Submissions. One of the big reasons that fiction writers are on an agent-hunt is that many NY publishing houses do not accept un-agented submissions. There are ways around this too, though. Many editors attend national and regional RWA conferences and take pitches in person. You can circumvent the system by simply pitching at conferences instead of via an agent. The drawback, of course, is that this may cost more money. But, if you really feel that your manuscript is superior, you should have the same chance of signing a book deal in person as you would through representation. Of course, there are small presses that accept un-agented submissions, so you could go that route too. There are e-presses that accept un-agented submissions and they are wonderful. And, of course, one could always self-publish.

3)     Contract negotiation. My boss, Kristin Nelson, has posted an entire “Agenting 101” series on her blog about how to understand and negotiate a contract. It starts here and it’s fabulous reading! An un-agented author could negotiate their own contract (if they REALLY understand it first) or simply hire an entertainment lawyer with expertise in publishing contracts.

http://pubrants.blogspot.com/2006/06/agenting-101-part-two.html

4)     Auditing royalty statements. Our agency has recently hired a royalty statement auditor. She checks each royalty statement against each contract to make sure every payment is 100% correct. One could absolutely do this at home – it takes meticulous care (or knowing a friend who is a CPA). Here’s an example – if your contract says you should get paid 8% of the cover price of your novel for the first 10,000 copies sold and 10% of the cover price thereafter, then it’s important to watch each royalty statement to make sure that 10,001^st copy is accounted for correctly.

5)     Planning marketing campaigns. Our agency also has a marketing director on staff (*waves* to the fabulous Lindsay Mergens, a 20+ year veteran of the marketing side of NY publishing). I find it’s very useful to have a template for new authors that says “6 months before release you should be doing this…” “4 months before release you should be doing this..” “this is the date that your publicist will likely be assigned and this is the date by which buy-in should happen.” We also spend time scheduling guest blog posts and interviews, updating websites and blogs and trying out other forms of social media like twitter and Facebook. This is probably the easiest realm for savvy authors to negotiate alone. If one is very organized and motivated, one should be able to plan a competitive marketing campaign with nothing more than time and a computer.

6)     Problem solving when something goes wrong. Honestly, this is where I spend most of my time. I respond to emails, follow up on submissions, double check cover copy, nudge on deadlines, ask about payments, etc. I’m a great teammate or business partner for the author that wants to offload questions so s/he can simply keep writing. If you are super organized and love to be in control of your entire career, this is likely something you would do for yourself anyway.

My vision for my career is this – I intend to have a small list of clients and provide a ton of value-add to their publishing careers. That value add includes the services mentioned above as well as things like tracking sales, communicating about the market, capitalizing on networking and promotional opportunities, sharing best practices, planning careers, brainstorming book ideas, etc. I expect that as publishing continues to change there will be many successful authors who do not need an agent in order to succeed (and by “succeed” I mean they will create a book of superior quality and enjoy profitable sales on that book). I want to be the agent for authors who do want a business partner. I’m not for everyone and that’s 100% ok with me. If you don’t need an agent, like the author from the above query letter, be organized, professional, meticulous, educated and go for it!

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So, what questions do you have for Sara about whether you need an agent or want to try it solo? Have you already thought this question and come to your own conclusion? Share with us the reasons behind your decision.

NOTE: Sara is moving today and she will be in and out of the site depending on the reality of making sure her kitchen utensils make it on the moving truck. She’s going to do her best to get to as many questions as she can.

RITA award winner for Best Historical Romance, 2011

Love is hottest in the darkness before dawn.

Elissande Edgerton is a desperate woman, a virtual prisoner in the home of her tyrannical uncle. Only through marriage can she claim the freedom she craves. But how to catch the perfect man?

Lord Vere is used to baiting irresistible traps. As a secret agent for the government, he’s tracked down some of the most devious criminals in London, all the while maintaining his cover as one of Society’s most harmless—and idiotic—bachelors. But nothing can prepare him for the scandal of being ensnared by Elissande.

Forced into a marriage of convenience, Elissande and Vere are each about to discover they’re not the only one with a hidden agenda. With seduction their only weapon against each other—and a dark secret from the past endangering both their lives—can they learn to trust each other even as they surrender to a passion that won’t be denied?

Stop by Friday when our very own Adrienne Giordano writes about her “a-ha” moment as a debut author.

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Bio: Sara Megibow, Associate Literary Agent
Nelson Literary Agency, LLC

Sara has worked at the Nelson Literary Agency since 2006. As the Associate Literary Agent, Sara is actively acquiring new clients! The Nelson Literary Agency specializes in representing all genres of romance (except inspirational or category), young adult fiction of all subgenres, science fiction/ fantasy and commercial fiction (including women’s fiction and chick lit). Sara is an avid romance reader and a rabid fan girl of super sexy and intelligent stories.

Nelson Literary Agency is a member of AAR, RWA, SFWA and SCBWI. Please visit our website http://http://www.nelsonagency.com/for submission guidelines, FAQs, resources and sample query letters. Sara’s Publisher’s Marketplace site (www.publishersmarketplace.com/members/SaraMegibow) is a great place to find more about her personal tastes, clients and recent sales. You can also cyber stalk Sara on twitter @SaraMegibow

Most writers have heard they should have an agent, although some aren’t quite sure why, but fewer are familiar with literary attorneys and what services they offer. As someone who has worked in both capacities for many years, I was delighted when I was invited to lead this discussion about the differences.

Literary agents typically take on representation of an author to help secure publication for the author’s projects. In most cases this starts with the agent providing an editorial evaluation of the manuscript and its marketability. Then once the relationship is established, the agent typically will provide whatever editorial assistance is necessary to polish the manuscript or proposal so that it can be put forward to editors in its best form. The agent relies on his knowledge, experience and contacts in the industry to target those editors most likely to be interested in and, therefore, to offer a contract for the particular project. Once an editor makes an offer, the agent then negotiates with that editor (and/or any others who may also be interested in topping that offer) to secure a contract for the author on the best possible terms. Once a publishing contract is signed, the agent then becomes the conduit for all compensation due the author under that agreement. Typically the publisher sends the advance, royalties, and any other proceeds to the agent who then deducts his agreed upon commission and forwards the remainder to the author. If some rights have been retained from the book publisher ( e.g., film or foreign rights) the agent will also endeavor to secure other contracts for those rights as well, often with the assistance of sub-agents. Agents often remain the agent of record on publishing contracts for many, many years.

Relationships with attorneys are usually more short-lived. Attorneys typically focus only on the offer, the contract negotiations, and the publishing contract itself. Attorneys generally don’t get involved in any editorial issues or evaluations of a manuscript. They rarely have the expertise necessary to identify which publishers might be appropriate for specific projects. But if an author has made a submission on her own, then an attorney might well be able to step in and handle the deal from that point on, much in the same way an agent could. Typically an attorney is retained to handle a specific matter and once that matter is completed (i.e., the contract negotiated and signed), the attorney’s involvement ends. Of course, if an author requests an attorney’s services in handling contracts later for the licensing of other rights in a project, an attorney would gladly provide that assistance as well, but only if retained by the author for that additional purpose. Rarely, if ever, would any of the money paid by the publisher flow through an attorney.

In today’s competitive market, most of the larger book publishers and virtually all tv and film producers refuse to take submissions directly from new authors. Agents have de facto become first line reviewers for publishers. So, often if an author wants to be published by one of the larger houses an agent is a necessity. Literary attorneys are not, yet, required for any part of the process, but who knows what the future may bring. Already, they can be extremely useful, particularly in this era where things, like the definition of e-rights, seem to change almost daily. We’re almost to the point where we also need IT experts to help explain publishing agreements, such as what the difference is between an “app” or an enhanced e-book!

Compensation is one clear distinction between agents and literary attorneys. Agents typically are paid only if they sell an author’s project and then they receive a commission (typically 15% or 20%) based upon the gross revenues received by the author. Agents typically receive their share of these funds so long as that contract remains in place, and sometimes even long after for modifications, extensions or even replacements for that contract. Attorneys, on the other hand, usually are paid a flat fee for the specific work they do or at an hourly rate for the time they spend doing the work requested by the author. Once the attorney’s invoice is paid, there is no further financial obligation.

If both attorneys and agents handle contract negotiations and review, then what’s the difference? Agents are generally more attuned to the business aspects of the contract – the advance, royalty rates, rights granted or retained, and the like. Attorneys, on the other hand, are focused on the legal language of the agreement and making sure that the author’s legal rights are protected to the fullest extent possible. This includes a clear understanding of the rights granted, how the copyright is handled, any non-compete clauses, the option clause, the warranties, and all the other stuff that’s often lumped under the heading of “boilerplate.” That’s not to say that agents don’t care about these clauses, because most do. But literary attorneys have a wider legal background in which to evaluate these issues.

Over the years, I’ve met many agents whose knowledge of the legal issues in publishing contracts was quite impressive. They are usually very detail-oriented people and many of them have trained with contracts experts. But you can’t always count on every literary agent to have particular expertise in all the nuances of contracts, and generally, that’s where having a literary attorney on hand can also be useful. There’s nothing that suggests you can’t have both a literary agent and a literary attorney. I’ve worked with agents who seek consultation about unfamiliar contract provisions, and I’ve also worked with agents when authors retained me to review some or all of a contract that her agent was negotiation. Authors who want to make sure they have all bases fully covered should consider using both.

Literary attorneys can also advise authors on other publishing issues, such as when copyright permissions are needed if you use materials from other sources or how to minimize libel or other issues when basing characters on real people. Attorneys can also advise authors on how to secure reversion of rights when a work has gone out of print, or how to deal with a publisher who might be in breach of the contract for, as an example, failing to pay royalties. Attorneys can also assist authors in reviewing contracts other than publishing agreements, such as agent contracts, collaboration agreements, and for those who choose the self-publishing route, contracts with designers, printers, and distributors. Typically these are not the sort of issues where agents have special expertise.

Just as you wouldn’t submit your novel to an agent who handles only self-help projects, you want to make sure that the attorney you consult has experience with publishing contracts. The practice of law has become very specialized, and even general Intellectual Property attorneys who regularly deal with copyright, trademark or patent issues, may not have actually seen or negotiated a publishing contract. Just as with any other specialized type of contract, there are issues peculiar to publishing agreements which any advisor needs to know. Just as I wouldn’t begin to handle the settlement of a real estate transaction for a client (something that I’ve never done before) you wouldn’t want a real estate settlement attorney advising you on your publishing contract. So, just as you do your homework before you select an agent, do that also in your selection of an attorney.

There is one other issue I feel obligated to mention. Another difference between literary agents and attorneys is the amount of regulation imposed on the two professions. Few states regulate literary agencies, but by contrast, the legal profession is heavily regulated. All practicing attorneys have graduated from college and law school, have successfully passed a multi-day bar examination and are subject to both professional and ethical standards imposed by the state in which they practice. By contrast, virtually anyone can establish a literary agency. Most agents have some interest and/or background with books, but no specific educational background or training is required. Many agents learn the business by working at larger agencies, often starting in the mail room reading and reviewing manuscripts. It’s also not uncommon for an editor who leaves the daily grind of the book publishing business to become an agent. But in some cases, lack of state or other regulation has allowed scam artists to set up a publishing or editorial service or a literary agency only to prey on unsuspecting authors desperate for representation. The Association of Authors’ Representatives, a trade association that imposes a standard of ethics upon its members, currently serves as the only national credentialing organization for literary agents. As with attorneys, it pays to check out an agent before you submit your work.

So why bother with either? There are books for writers, some of which do a very good job of explaining the ins and outs of the business, including detailed analyses of publishing and other contracts. Why not just do all of this on your own? Some authors do and do it quite well. But be honest, do you really want to take this on as well as everything else you have to manage? First, there’s creating the story, then there’s mastering the craft of writing, then there’s those darn synopses and query letters, to say nothing of the publicity – the blogging, the tweeting, the “friending”? And what about computer repair or car repair? Do you do that all on your own as well? We have to make these kinds of choices every day. But just as I prefer to have a tax advisor help me with the intricacies of the tax laws, I would recommend either a literary agent or an attorney or both to help you on your path to success as an author.

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RU Readers – what are your feelings about using a literary attorney versus an agent. One or both?

Joins us on Friday when we chat with historical author Katharine Ashe about what happens after the sale.

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Bio: Elaine P. English is both an attorney and literary agent based in Washington, D.C. As an attorney, for more than twenty years she has focused her practice on literary, media and entertainment law, with a special emphasis on publishing. As an agent, she represents a limited range of commercial, genre fiction, including women’s fiction, romance and mysteries. For more information, see her website at www.elaineenglish.com.

Welcome, Scott!

This issue of category romance authors having an agent came up when I first opened Greyhaus Literary Agency in 2003. I was actually sitting in a session, listening to a panel discussion from editors when someone asked if it was necessary to have an agent when pitching to a category house. What amazed me, at that time, was the answer. This editor began first with the answer I already knew – “We accept both agented and unagented submissions.” O.K. so far, so good, but then the editor continued, “However I have to say that we actually prefer unagented submissions.” Arrghhh, screeching tires, “what did this editor say?” They preferred unagented?

Fortunately the moment of panic didn’t last for that much longer. She went on to discuss the issue of contracts and the fact that they use a pretty standard contract with not much room for negotiating. What she was really saying is that there really wasn’t much need for it. Over the years though, I have come to the conclusion that, while for contract purposes, the agent might (please note I say might) not be necessary, there is indeed a strong argument for having an agent. In fact, I don’t see much of a separation between having an agent for a category house or for any other house.

I do think there is a misconception that all agents do for writers is negotiate contracts. While I am sure some do, there are also a lot of agents out there that do a lot more. An agent is really that one reader that has the ability to see both sides of the equation when it comes to publishing. They can see that creative side of the author, but they can also provide that “inside” look at what editors and book buyers are really wanting. That is a valuable resource.

I have seen a lot of great category writers out there that suddenly find their career coming to a standstill as they wonder why the editor just wasn’t happy with that last project they sent off. They scream, “what do you mean they didn’t want my next book?” The agent, in all likelihood, could have prevented that from happening. Not because they can argue for another book and negotiate the next deal (although they can do that), it is because they can prevent a writer from making a huge mistake with that next work in progress.   

Category writing is difficult in the fact that a writer has to maintain the single voice and theme of the house, without becoming too repetitive in terms of style and voice. Take the “baby” stories. How do you find different ways of telling the surprise baby theme? I am a firm believer it can be done and it just takes some team work and the agent can help with that. While the writer might think they have a new story, the agent, as that outside reader can look at it with truly an objective eye and make sure the writer doesn’t just copy what she has done before.      

I think there is also another element that we don’t often think about. When I first opened Greyhaus there were a lot of publishers out there that would accept unagented submissions. That number has dwindled significantly. Instead of dealing with the “slush piles” the editors have passed that stack down to the agents. So, now we are the ones that get to deal with the stories. To the editor, a writer that has an agent has already had the story approved one time. In other words, the editor is confident in knowing it has already passed muster.      

As an agent, I love working with category romance authors. These are writers that are truly dedicated to the craft and their genre. It takes a lot to keep those books coming and not lose focus. It isn’t easy to keep finding new and unique stories and still maintain that theme the editor is looking for.       

I want to reiterate a comment I made earlier. I really don’t see much of a difference between having an agent for a category house or any other house. Having an agent gets a writer a lot of benefits they might not normally get with simply their critique group.

Kelsey: Can you share with our readers how you work with your clients on the creative aspect of the writing process?

Scott: I am a firm believer in working with my writers through all stages of their writing. Of course, each writer is different and some of my clients have stronger support systems at home to assist that process. Still, the more interaction I have with the writers from the beginning is always a great help.

One of the biggest reasons I want to work with the writers is a time management issue. The Greyhaus Literary Agency writers have always been known for their fast turnaround times on times on projects. When an editor wants revisions, we always get the projects in under the deadline. When there is a need to create a new project due to a need with a publisher, the Greyhaus writers are always some of the first called. By working with writers early on in the process, we can eliminate the sometimes lengthy process of having to go back and seriously over-haul a project.

As many writers know, having to make global revisions on a manuscript, after it has been written is difficult. Changes that you make to the first part of a story, you often find there is a domino effect or a trickle-down effect to that change. If I can catch projects early on, before we get too far with the idea, we can generally get the project moving faster without that serious “back tracking.”

If you are a Greyhaus client, we often start with developing a list of potential projects that you think you might be interested in writing. When I see this list, I can often shape the direction you want to head. Sometimes the project you want to write might not be the one that an editor would want first. Sometimes there is simply a need for another project. Together, we discuss those ideas.

I also like to look at projects after the story gets going. I will frequently read projects at the first, third and fifth chapters just to make sure we are on track. Again, this is just to keep the writer heading in the right direction.

I do think the added bonus is that I can frequently call editors and discuss potential projects. Many times, I will have editors that request one story over another in the early drafting phase. Truly, another added bonus of that “hands-on” approach I take here at Greyhaus.

Kelsey: What trends are you seeing in the category romance market?’

Scott: Why does everyone ask this question? Trends are really a tough call considering what seems to be hot right now will not necessarily be hot later on. In the case of the category romance lines, I really don’t see much of a difference between what they are doing and what the single title romance lines are doing. Also, each of the things I am seeing varies from one subgenre to the next. Let me just bullet point this one.

• Paranormal – More and more angels and demons and less of the vamps and were’s. Of course, in my humble opinion, the writing is still the same with just a change in words. I am also seeing more of a shift to what was once called “urban fantasy” in this paranormal line.
• Contemporary – While we still see many of the same issues we have always seen in category, I do think more and more of the traits from the women’s fiction genre are creeping in. Writers are trying to bring in more and more of the controversial issues into the stories. We’re talking the things that make headlines in newspapers now.
• Romantic Suspense is really trying to do more than simply kidnapping issues. I think, due to the rise of the single title Thriller and Suspense writers (Steve Berry and the like) writers are trying to incorporate those ideas into their projects. Simply put, we are seeing more of an international feel to the stories.
• Historicals, as most of you know is one of my favorite. In the category lines, the writers are really adding a lot more depth to their stories. Instead of just placing the stories in a specific time period, the authors are tying the stories into major event in history. Reading authors such as Bronwyn Scott and Nicola Cornick will show you just that. These are big stories in a small package.

That should give you a feel for what is going on.

Kelsey: What category lines are aggressively looking to acquire new authors?

Scott: Be careful of this one. Just because someone is acquiring does not mean you should go out and write the stories. Still, there are some genres that really struggle finding great authors. One in particular is the Medical romance line. These are tough to write but if a writer is in the field, they have an added advantage.

I think the easier way to look at this is to focus on what is pretty swamped right now. The Teen line, Romantic suspense/mystery, historical and urban fantasy is really tough. Everyone seems to be writing these.  I would always recommend working on those powerful contemporary stories.

Kelsey: Could you give us a feel for a category author’s career arc? Is it still possible to make a career writing  category romance?

Scott: Writing category romance is always tough. The key is to be able to come up with constantly new ideas and yet, at the same time, maintain the central idea that is inherent to that line. Writing the same thing over and over again is really a sure sign to eventual failure in the line.

This is also a line that production is really key! Since the marketing for the category romances is different from many of the single title authors, keeping your name out there on the shelf and in the face of the public is even more important. This means fast and consistent writing. My category writers are currently producing 3-4 full length books a year, combined with numerous smaller stories for the category electronic lines (somewhere between 3 and 4 of those). These authors are also writing under other names with other houses. Right now though, the focus is keeping their name out there.

Staying in the single line is not a problem, but I always encourage writers to find a way to branch off, either into 1 other category line, or even into a single title line. Remember though, as soon as you branch off, this means the category production could potentially decrease. You don’t want that to happen.

I do believe it is important to establish yourself as a brand name within a category line. If you think about the category romance authors, you will find that you come back to the same names over and over again. This is due, not so much with the simple quality of a single book, but the consistency of their writing over time. In other words, to build your brand name in a category line is going to take a while. You can’t just do that in one year.

As far as making a career of writing category, this one is tough. Again, it is all a matter of production. You cannot make a career writing only 3 books a year. Finding authors making a career of their writing is really tough. Many are supplementing with single title books, or if they are fortunate, have either a job or spouse that is assisting with the income.

In the end, I would never encourage a writer to consider giving up their day job to write until there is some certainty, and even then, there is never a guarantee.

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RU Crew, what questions do you have for Scott about the agent/category author relationship or other agent-related issues? Fire away!

Don’t forget to join us Wednesday when Laurie Schnebly talks about the Greek guy we all love: the Alpha Male!

Bio:

Scott Eagan is the agent at Greyhaus Literary Agency. Opened in 2003, Greyhaus has focused exclusively on the romance and women’s fiction genres. Scott draws on his two MA degrees in Creative Writing and Literary as well as his undergraduate work in literature and writing to provide hands on assistance to his writers. Scott is actively looking to acquire category romance authors. Please review the website for specific details but please remember, when submitting, be prepared to: A) know which category line you are submitting to; B) be able to explain either in writing or in a discussion how the story meets the criteria for that line; and C) be able to have either additional stories or works in progress that also fit that same line.

Romance University lines up another great week with Laurie Schnebly Campbell talking about Alpha Males. See what else is happening this week at RU!

Mon, 5/24 – Crafting Your Career: Agent Scott Eagan discusses the benefits of category romance authors having agent representation.

Wed, 5/26 – Anatomy of the Male Mind: Laurie Schnebly Campbell joins us to talk about why we love (and resent) Alpha Males.

Fri, 5/28 – Chaos Theory of Writing: Urban fantasy writer C.J. Redwine shares her tips on synopsis writing.

All Romance University lectures are generously provided by our Visiting Professors. RU is a tuition-free zone!

Best regards,

Adrienne Giordano, Tracey Devlyn, Carrie Spencer & Kelsey Browning

PS  - Want RU’s weekly lecture schedule in a cool new email format straight to your in-box? Sign up on RU’s homepage or any of the lecture posts!

Mon, 3/22 – Crafting Your Career:  Join us for our monthly sub-genre day when award winning author Roxanne St. Claire and agent Jill Marsal share their thoughts on the romantic suspense market.

Wed, 3/24 – Anatomy of the Male Mind:  Author Cat Lindler delves into the life of a Revolutionary War Hero. One lucky commenter will receive a copy of her newest release of Kiss of a Traitor.

Fri, 3/26 – Chaos Theory of Writing: Author Laurie Schnebly teaches us how to take two people who are perfect for one another, and make them suffer! Laurie’s giving away a free registration to one of her upcoming online classes: “His Personality Ladder” or “Plotting Via Motivation.”

And don’t miss our on-going labs with Managing Editor Theresa Stevens and Author C.J. Redwine!

Want RU’s weekly lecture schedule in a cool new email format straight to your in-box? Sign up on RU’s homepage or any of the lecture posts!

All Romance University lectures are generously provided by our Visiting Professors. RU is a tuition-free zone!

Best regards,

Adrienne Giordano, Kelsey Browning and Tracey Devlyn

to Romance University. Today, Paige shares with us her top eleven tips on how authors can become career novelists. This is a lecture you’ll want to copy and paste to your permanent file. So, writers, get your mice ready.

The class is yours, Paige!

Learn the Craft

Know what you write and recognize your strengths and weaknesses. Too often writers flounder because they haven’t taken the time to work on their dialogue, narrative, and plotting. You need to understand the rules of writing before you can break them. You also need to understand what makes a book “great” and acknowledge the areas where you may need additional work.

Understand your Specialization

It is essential that you know what you are writing (cozy mystery vs. thriller; commercial fiction vs. literary fiction) as well as what is and isn’t acceptable within your area or genre. You need to know when you’re pushing the envelope too far and when you need to pump it up a notch. Examples include knowing the limits of the YA market; knowing in your cozy mysteries when you should find a dead body, knowing how soon your hero and heroine should meet in romances, etc.

Know your market!

It’s vital that you do your research. A smart writer will read in the area of her specialization and learn which publishing houses publish the type of material she writes—and do it well. You should also know your competition–who is hugely successful? Why? Who is flopping and why?

Find a partner for this process

A good agent can help you grow your career. I may be biased in stating this, but I really feel that an agent is a very helpful tool in your career. In the same way that actors have agents and/or managers, writers need the perspective and guidance that agents can give them. For me, it’s more than just selling a book—it’s about developing a career, making strategic decisions, giving welcome (and unwelcome) feedback on projects, and fighting for an author.

Develop a head for business

Although a good agent can help with negotiations, you need to understand the nuts and bolts of contracts and various rights to make a smart deal.  Developing a head for business means understanding the contract you are signing, thinking long term career strategy, and understanding the concept of branding, the opportunities for licensing, the impact of price point, etc. Ultimately the career novelist should be thinking long term and not just about the current deal.

Understand the PROCESS of publishing and all that it entails

If you know the essentials of the publishing process, you’ll be better informed and prepared—both for the pitfalls that may occur and the time you need to shine. Although this may be changing a bit with electronic publishing, right now most books take 9 months to a year to get published—or longer. There are a whole host of activities taking place behind the scenes, from copyediting to launch meetings. You need to be aware of the process so you can dodge potential issues and take advantage of an opportunity that may arise.

Realize YOUR role in making YOU a success

This is a business and success isn’t all in the writing, it’s in getting your name out there. You have to go out and PROMOTE yourself. And it’s not just one book you are selling, you are building a brand—YOU.

Prepare yourself for mid-career doldrums

Sometimes, despite all good intentions, you’ll experience a downturn. Perhaps you’ve been given a new editor who doesn’t appreciate your writing or your book is suddenly part of a crowded market or your publisher just went out of business. A downtick is to be expected. Evaluate the reasons for this and prepare to correct the problem, if possible.

Be prepared to change

Sometimes if you’re really stuck, you may need to make major changes. Perhaps you need to write in a different genre, write under a pseudonym, re-think your style of writing. You may have to switch agents/editors or they may decide to part ways with you. Recognize the signs that a change is afoot.

Learn how to handle the sweet smell of success

Like most things in life, victory can be cyclical. Realize that you could just be the flavor of the month and that may change, so don’t burn bridges. Play nice. Karma could come back and haunt you.

Final Thought

Don’t think about your first book. Think about your seventh or seventeenth book. How do you want to be known? As a writer for literary fiction? Crime novels? Romantic suspense? YA? Both? How do you plan to grow your audience and write the sort of books that captivate you? Have a game plan in place far above, “I just want to get published.” And keep writing!

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RU Readers, do you have any questions for Paige? She’ll try to stop by a few times today. How many of Paige’s tips have you already employed?

Please stop by on Wednesday when Trace from our Man Panel discusses the murky waters of men and marriage.

Paige’s bio:

Paige Wheeler is a founding partner of Folio Literary Management, LLC. Over the course of her career, Ms. Wheeler has worked as an agent in both a literary and entertainment capacity.  Prior to FOLIO, Ms. Wheeler founded the literary agency,  Creative Media Agency, which she ran for nine years. At New York-based Artists Agency, she repped writers, producers and celebrities for television. She also worked as an editor, for both Harlequin/Silhouette in NY and Euromoney Publications in London.  Currently she represents commercial fiction, and upscale fiction (book club type books) which includes women’s fiction, romance, mysteries, thrillers, psychological suspense; as well as narrative nonfiction and prescriptive nonfiction  including self-help, how-to, business, pop-culture, popular reference projects and women’s issues.