How to Get a Literary Agent

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In Praise of Literary Agentsby Rick Frishman

Literary agents have emerged as the publishers' gatekeepers. They are

middlemen (and women), go-betweens and facilitators. Approximately 80

percent of the books that publishing houses release were brought to them

by agents.

Most publishing houses give agented submissions more attention because

editors have a high level of confidence in agented submissions. They know

that it's not in an agent's interest to waste their time because they have

ongoing business relationships with editors that they don't want to

jeopardize.

"An agent is effectively a vendor. He or she usually has already worked on

the proposal, which gives me quality control and a partner in the creation

of the book," Jeremy Katz, super literary agent, says. "The author isn't

really my partner until I buy the book, but I'm in business with the agent."

Publishers rely on agents to screen submissions for several reasons:

* Cost savings. Since agents read manuscripts and proposals, publishers

don't have to hire more screeners.

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* Selectivity. Literary agents usually have experience, know quality, and

know what sells. They usually won't try to interest publishers in stuff that's

weak, except when it's written by a big celebrity.

* Insider knowledge. Agents usually have a feel for the pulse of the

industry. They are adept at spotting trends and usually know what's hot.

Agents are often great talent spotters, and the good ones know what

particular publishing companies and/or editors want and like.

On the flip side, publishers know that agents are commissioned salespeople

and their livelihoods are directly tied to selling the books they pitch. Agents

receive a commission, usually 15 percent, on whatever their writers receive.

While publishers won't automatically sign every writer that agents

recommend, they usually will read what their clients write.

Legally, agents represent authors; they are their sales agents. When

publishers pay authors for advances and royalties, they send checks to the

agents, who deduct their fees and remit the balance to their clients. Since

some agents tend to work with the same publishers or editors, they can

become beholden to them. This can create delicate situations and agents

must balance the interests of two, often conflicting, parties: authors and

publishers.



An agent's primary job is to represent the writer and protect his or her

interests. Much of this involves the selling of the book and negotiating the

contract and fees. The work of a good agent continues long after the ink on

the contract is dry.

A good agent monitors the publisher's actions, sees that they are keeping

their bargains and putting forth their best efforts to promote and distribute

their clients' books. They also are watchful for future opportunities and

push for follow-up books, additional printing runs, added publicity, and

other benefits.

For most writers, getting a literary agent isn't easy. Agents don't make

money unless they sell books, so they're selective about the clients they

take on. Most agents simply can't afford to waste their time and energy on

writers whose works won't sell.

Increase your chances of getting an agent by understanding the process

from the agent's perspective.

ABOUT THE AUTHORRick Frishman, the founder of Planned Television Arts, has been one of the leading book publicists in America for over 30 years.

Working with many of the top book editors, literary agents and publishers in America, including Simon and Schuster, Random House, Wiley, Harper Collins, Pocket Books, Penguin Putnam, and Hyperion Books, he has worked with best-selling authors including Mitch Albom, Caroline Kennedy, Howard Stern, President Jimmy Carter, Mark Victor Hansen, Nelson DeMille, John

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Grisham, Hugh Downs, Henry Kissinger, Jack Canfield, Alan Deshowitz, Arnold Palmer, and Harvey Mackay.

Rick is the publisher at Morgan James Publishing in New York. David Hancock founded Morgan James in 2003 and in 2008 "MJ" published over 160 books. Morgan James only publishes non fiction books and looks for authors with a platform who believe in giving back. Morgan James gives a portion of every book sold to Habitat for Humanity. (http://www.morganjamespublishing.com) http://www.rickfrishman.com for the million $ rolodex

Literary Agents - What You Should Know Before You Sign on the Dotted Line

by Kim Hillman

Have you been thinking about finding a literary agent to represent you to a

publisher? If you have, there are a few things you should know before you

try to secure an agent.

First, literary agents prefer to work with published authors who have

already proven themselves within their marketplace. If you have authored

a booklet, or self published a book, and it has sold well, you have met this

criteria. You have an audience for your book. But, this is about the only

good thing you'll have going for you with an agent. Here's why.

http://www.morganjamespublishing.com/

http://www.rickfrishman.com/



The Real Cost Of Hiring A Literary Agent

When you're under contract with a literary agent, that agent will take 15%

of the money your book makes for the life of your book. That means as

long as your book is in existence, every time it sells the agent gets paid off

the top, before you ever see a penny.

But, money isn't the only thing you must consider when hiring a literary

agent. You must also consider your cost of time. It may take that agent

months to find a publisher willing to publish your book - if they find a

publisher at all. And once they do, the publisher is under no obligation to

publish your book within a certain time frame, although most publishers

will publish a book within 12 - 18 months of acceptance.

Hiring A Literary Agent Doesn't Guarantee Your Book Will Make

It To The Marketplace

Sometimes, the publisher will decide at a later date not to publish your

book. This can be a real blow to an author who has signed the contract and

eagerly anticipated seeing their book in print for months.

Finding an agent slows down the process of getting your work into print,

and therefore getting money from your work into your pocket. Not every

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agent will be willing to sign you, and when you finally do get one you'll be

at their mercy when it comes to getting your book published. You literally

give up control of your work and the time it takes to get it to market. In

fact, finding an agent won't guarantee your book will make it to market at

all.

You Can Get To Market Faster And Make More Money Without A

Literary Agent

This is why many authors choose to self publish and forgo the traditional

publishing route, literary agents and all. You can get to market on your

own much faster. You're also in control of everything when you self publish

- from your titles to your cover design to how much money you make per

copy sold or per deal made. You keep every cent your books or booklets

bring in.

If you don't want to give up control of your work, a literary agent isn't in

your best interest. In fact, if your booklet or book has sold well, you've got

a waiting audience for another one. Why not take advantage of that rather

than trying to find an agent, and then waiting for months on end to see

what develops from it?

Literary agents exist for one reason - to make money for themselves and

the publishers they represent. If your title is already selling, why would



you want to give an agent a percentage? And if your title isn't selling, a

literary agent won't help you. They're looking for proven titles and authors

who are well known in their title's market.

Copyright 2009 Kim Hillman

Six time author Kim Hillman publishes the Writing For Riches With Booklets blog. If you're ready to jump-start your writing career, make more money and enjoy the success you've been dreaming of, get your FREE tips now at http://www.kimhillman.wordpress.com

Getting Your Book Published - How to Find the Freelance Editor That's Right For Youby L Murdock

How to Find Your Editor

To land a great literary agent you MUST stand out from the pack and not

give the agent, or her assistant, any reason to automatically toss your pages

into the rejection pile.

http://www.kimhillman.wordpress.com/

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Some writers need editorial help to get there; some don't. If you decide to

hire an independent editor to help you prepare your manuscript for

submission, follow these handy guidelines for finding the editor who is

right for you - and for your manuscript.

DO:

1. Put up an ad. There are lots of websites where you can place an ad for

an editor. Some will charge you fees; some won't. You can try

getafreelancer.com, guru.com, or elance.com to name a few, but I honestly

recommend you take the easy route: craigslist.org. It's free for you and

your editor, and TONS of quality freelancers regularly use craigslist listings

to connect with potential clients. Beware of a few things if you do place an

ad:

You'll get some spam. Easy to delete.

You will get LOTS of responses. Use some of the tips in Part III of this

series of posts for sorting through the e-mails and picking the best of the

batch.



You'll likely be contacted by scam publishers and predatory fake agents.

More on this later, but for now, just hit delete on any e-mail response to a

craigslist ad from anyone who claims to be a publisher or agent. The end.

2. Ask your writer's group (and if you don't belong to one yet,

join one!). Other writers will be some of your best sources for finding a

quality freelance editor. Ask around. If you don't belong to a group yet,

Yahoo! has some great groups you can join. (My personal favorites include

the Writing and Publishing group and the Fiction that Sells group.)

3. Google. I hesitate to recommend this one to anyone but the most

committed of researchers. Searching for a good manuscript editor online

takes some perseverance - most of the top results for any given search will

be the large services I warn about below. That said, I recently surveyed all

of the clients I've worked with in the last five years, and, to my surprise,

found that more than a few said they'd found me through a google search.

Now, the highest I can find my site without actually typing in "Murdock

Editing" is about the 13th page in, so...grain of salt.

DON'T:

1. Pick the first ad that pops up. Finding the right editor takes

research - trust me, it's worth your time.

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2. Use a big faceless service. I'm not going to name names, but you can

find some of the offenders yourself by taking a scroll through the Preditors

and Editors database. Many of these larger, corporate-looking editorial

services - the ones that have no actual editor name and face behind them -

farm out your work to people with very little to no experience in publishing

who are working for next-to-nothing and have no real investment in your

success. Some hire quality editors - but it's a crap shoot - you'll have no

way of knowing whether your editor is a publishing pro or a college student

trying to earn a little extra beer money (not that there's anything wrong

with that!).

3. Choose a "literary agent" who also charges fees for editorial

work. There are many out there with a mission to educate writers about

this scam - start at Preditors and Editors or Writer Beware. Basically it

comes down to this - no legitimate literary agent will ever charge you for

anything upfront (except maybe incidentals like printing and mailing

supplies - but that's at smaller agencies and fairly rare). If an "agent" is

offering to edit your work for a fee, run.

Lindsay is a freelance editor and publishing consultant specializing in Manuscript Evaluation and Manuscript Critique. Read more on her blog at http://www.murdockediting.blogspot.com or her website, http://www.murdockediting.com.

http://www.murdockediting.blogspot.com/

http://www.murdockediting.com/



Some Basic Literary Agent Hunting Tipsby D Kai Wilson

Getting an agent, much like 'getting a publisher' comes, first and foremost

down to persistence and presenting an accurate and appealing 'front' to

your work. Whether you're pitching fiction or nonfiction there are some

universals to remember.

1) They aren't rejecting YOU - they're rejecting your work.

Though this seems like an odd thing to tell people, it's the absolute truth.

Whether you see it or not, people aren't rejecting YOU when they reject

your work. Even if your work is your lifetime biography.

In other words, it's just not personal. So don't be an idiot and say

something you regret back to a rejection.

2) If you're not ready to be rejected - look at why not.

Whilst we're focussed on the negative - are you ready to hear 'no' and move

on?

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No? Why not?

If you're too invested in your work to realise it might need a little more

work - or - heaven forbid, isn't as perfect as you'd hope everyone will find it

then it might be wise to get as unbiased an opinion as you can manage.

There are a lot of reputable online boards and email critique groups you

can join or perhaps find a group at your local library or University.

That's not to say you've to go into it believing you will be rejected - equally

however, you may find that you need to do more work and tweaking before

your book is ready for the big time.

3) Know your intended destination

Agents and editors are two of the most elusive people to track down. They

move on to new jobs frequently, and while it's great that you can look

agencies up online, or in books such as 'writers market' and others, you

should always double check your intended addressee to make sure they

haven't moved on, are on leave, founded their own agency, are full - aren't

accepting submissions....you get the picture.

4) Finally, make sure the package represents...well, the entire

package.



Your query pack should be professional and tantalising - it should give your

agent to be (hopefully!) the chance to really fall in love with your book and

genuinely excite them. You can do it - you wrote the book, after all.

Good luck!

D Kai Wilson is a blogger and writer, who loves Wordpress. She writes content for dozens of sites, runs several writers projects (based in blogs) and works with new and seasoned writers to help them reach their goals. Her articles can be found at http://publishhacks.com and she manages http://dynamic-author.com

http://publishhacks.com/

http://dynamic-author.com/

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Finding An Agent And Getting Your Book Publishedby Scott Hughes

Many people want to write a book and have it published. However, very

few ever have a successful book published. Just like "making it big" in any

art form, becoming a rich or famous author takes a lot of hard work, talent,

and perseverance.

To get a book published, you first need to find a literary agent. You do this

by sending query letters to agents. Generally, you want to write a short,

concise, one-page letter telling the agent about yourself and the book you

want to write. You also probably want to tell the agent about how you

found him or her. You can find agents in various directories; try doing a

Google search.

If your query interests an agent, the agent will then ask to see an outline or

synopsis of the book. Such a synopsis needs to follow strict rules regarding

formal outlines, so you will need to learn how to write one if you do not

already know. You probably want to write the outline even if an agent has

not asked for it yet. That way you will have it ready when an agent wants it.



Most agents will only consider an offer exclusively. In other words, each

agent will want you to send your synopsis to him or her only while he or

she makes a decision. So when you send an agent your synopsis, tell the

agent that you will not send it to any other agents until you receive a

response. You also probably want to set a time limit for the agent to send

you a response in case the agent takes too long or does not respond at all.

Remember, you may have to query a lot of agents before one shows

interest. And you may have to send your synopsis to a lot of agents before

one decides to represent you.

Once an agent decides to represent you, they will try to get a publisher to

agree to publish your book. The agent will work out the details of the

agreement with the publisher, but you will have the final decision of

whether or not to accept what the publisher offers.

The publisher will generally pay you an advance to write your book,

assuming you have not written it already. Writing the book will also entail

working with editors. You will go through many drafts and make a lot of

revisions before you have the final manuscript.

Once you already have an agent and a publisher, the agent will help you

understand the rest of the process. The agent makes money based on your

success, so the agent will want to help you succeed.

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During the entire process, most importantly, you want to remember that

most agents do not accept unsolicited manuscripts. Start with a query

letter, and prepare for a lot of rejection. You may have to go through nearly

50 agents before you come close to signing your novel.

Whatever you do, good luck and have fun!

Scott Hughes owns and manages an internet-based book club for readers. You can discuss books and writing at the Book and Reading Forums. It's completely free. You can ask any questions that you have about authoring and publishing there.

Young Literary Agents - Just Your Cup of Teaby William Cane

I don't want to sound ageist here, because I'm not, and I think older

professionals have a lot going for them and can be a tremendous resource.

But for the new writer it's better to get a younger literary agent. You can

grow in your careers together. The younger agent will have more time for

you than the older agent. And the younger agent is going to be more

receptive to new clients than a mature agent.

http://onlinebookclub.org/

http://forums.onlinebookclub.org/



Plus, many times younger agents are working in an agency with older

agents and if they have questions they can ask the older agents for advice.

This means that you'll get all the benefits of an older, more mature, wiser

literary agent even if the agent you select is younger and new to the game.

HOW TO TELL IF A LITERARY AGENT IS YOUNG

You can tell if a literary agent is young if they recently graduated from

college. Sometimes you can find out when they graduated by googling

them.

You can also bet a literary agent is younger if they say, "I'm actively seeking

new clients." Older more mature agents almost never "actively seek new

clients." They're too busy working with the clients, or the estates of the

clients, they represent.

You can also tell if an agent is young from photos. You can sometimes find

these by going to Google's "image search" or just through Google itself.

Wilhelm Reich, one of Freud's followers, said you can tell a lot about

someone just from looking at their photo, especially from looking at their

eyes. Study the photo critically. Does the agent look friendly? Of course you

don't need a personal friend in a literary agent, but you do want someone

you can talk with and who has some degree of rapport with you.

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LOOK AT THE AGENCY, NOT JUST THE AGENT

Finally you want to consider the agency, not just the agent. This means you

want to get a younger literary agent, one who is enthusiastic and who has

energy and who is actively looking for new clients, but you also want to

make sure this agent is with an agency that has at least one other agent

who is more mature who can give your young agent advice and guidance.

Then you'll have the best of both worlds: a younger energetic agent and a

wiser one to guide him or her.

By considering these criteria, you'll be able to select a literary agent who is

good for you and your long-term writing career.

Copyright © 2007 William Cane

William Cane is the author of The Art of Kissing, translated into 19 languages. He taught English at Boston College for fourteen years and today is a widely sought-after speaker at colleges and universities nationwide. His Web site contains more insider writing advice for those wishing to get published: http://www.hiwrite.com/

What Literary Agents Look For In A Writer's Work

http://www.hiwrite.com/



by Maxine Thompson

Like many small business owners, I have to multi-task, so as a literary

agent, I recently had this insight while at the Pacific Ocean. When I wear

my agent cap, the stories that I love the most, are the ones which hold my

attention. Simple as that. Nothing esoteric. The same way these stories

hold my attention, they tend to hold an editor at a large publishing house's

attention. Ergo, these are the manuscripts which get the book deals.

A writer's work has to catch my attention in the first sentence, then the

second, then the first page, or the next 5-10 pages. I don't care how many

projects I have in the hop, I should be able to sit down, block out the other

things pressing, and read your book with interest. That's a compelling read.

Even if I can't finish it, I should be drawn to want to come back to find out

what happened.

I'm an agent who happens to be a writer, too. This is another epiphany I

had while at the ocean. As writers, we have to write as if we are writing for

people with short attention spans. A book has to be very compelling to keep

this type of person's attention, and I think a lot of people suffer from a little

of this syndrome now. Why?

Because today, many people are on information overload. People tend to

have short attention spans. We can get information on Myspace, millions

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of websites, emails, teleseminars, ipods, webinars, ezines, internet radio

interviews, Youtube. The list goes on.

People are busy, raising families, working jobs, or running businesses.

They are caught up in the fast-pace of life that is the New Millennium. As a

result, people tend to want instant gratification. So I take this into

consideration when I read a client's work.

What are some of the things agents look for?

Personally, I look for writers of fiction who have more than one book in

them. Preferably, these writers have a number of stories to tell, and they

can make a full-time career out of their writing. I'd like to see writers

whose books can be translated to the silver screen one day. The rest is on a

gut-level feeling. If I get this feeling while I'm reading your work, you're

connecting with me on a level that I'm learning to identify as "This book

works."

Where should you begin? A good query letter is a place to begin. You

can find out how to write them in the Literary Market Place, or The

Writer's Market.

A serious writer will take time to visit the guidelines when submitting to an

agency. I am an independent agent with Sheba Media Group



(www.shebamedia.com.) Do not send attachments unless the agency asks

for it. Often the writers do not follow the guidelines, and this is a turn off to

an agent.

If someone asks you for a synopsis, a logline for a screen play, or your

novel's first 3 chapters, then make sure this is what you provide—not your

self-published book with the cover torn off. If you have already self-

published, send in the manuscript version to the agent.

These are some tips for writers:

Make sure there are no typos in your query letter, your synopsis or your

manuscript. It not only discredits your work, it gives an impression that

you don't respect the craft of writing.

Have your work edited and proofread before submitting to an agent.

Sometimes, as writers, we only get one shot at an opportunity. Be prepared

if you want to be successful.

Follow the submission guidelines of a literary agency. For example, if the

guidelines say they do not accept novellas, do not send novellas. Wait for

your release letter, which says that you are the writer of said material.

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Send a query letter and a screenplay in the proper format. Use Final Draft

or other screenwriting software.

If you want to be a screenwriter, study the craft.

As a novelist, you should develop a good writing style and have an

interesting flair for words. This is one reason why urban fiction is so

popular. It is written in hip hop/urban vernacular, which has a very

authentic feel and it reflects the world as seen by the characters who have

lived the street life.

As a writer, you should develop a strong voice. Your particular world view

should shine through your writing.

Create a page turner by studying the craft of fiction writing, (which

includes the elements of fiction, such as pacing, revising, creating

memorable characters, among other techniques.) You can read books, take

classes, or join critique groups.

Write about exciting characters who take action. Do not use stereotypical

characters. If you use a pimp, make him different, such as the character

Terrance Howard portrayed in the movie, "Hustle and Flow."



Use a compelling storyline. Stories are not about the character's ordinary

day or routine. The best stories are about disruption of the norm, and how

the characters coped with the change. Good stories are about characters

who go through a journey, which change their lives, for better or worse, by

the end of the story. This is your character arc.

These are some things you can learn to do which will help improve your

writing.

Learn how to set up a scene, then pay it off. Raise a story question and

make sure you answer it by the end of the story.

Learn how to write dialogue which sings. This will really help with

screenwriting.

Learn how to use descriptive words, vigorous verbs, and evoke emotions

through the five senses. Learn how to make a novel move like a movie, with

visuals, settings, showing vs. telling, and providing a life lesson.

Learn how to develop your characters so that they feel real and like

someone a reader will spend 300 pages with. Give your characters

backstory, an agenda, and conflicted desires.

Learn how to make a story flow, through different techniques, such as

Joseph Campbell's, "The Hero's Journey."

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In conclusion, writing a fictional story is work. But who ever said anything

worth having would be easy? Learn to be the best writer you can become,

and an agent will be glad to represent and negotiate a book deal for your

work.

Dr. Maxine E. Thompson is the owner of Black Butterfly Press, Maxine Thompson's Literary Services, Thompson Literary Agency (with Sheba Media Group) and http://www.maxineshow.com She hosts Internet radio shows on http://www.artistfirst.com and on http://www.maxineshow.com She hosted on Voiceamerica.com from 3/02 to 12/06 and is currently taking a break. She is the author of eight titles, The Ebony Tree, No Pockets in a Shroud, A Place Called Home, The Hush Hush Secrets of Writing Fiction That Sells, How to Publish, Market and Promote your Book Via Ebook Publishing, The Hush Hush Secrets of How To Create a Life You Love, Anthology, SECRET LOVERS, (with novella, Second Chances,) and Summer of Salvation. SECRET LOVERS made the Black Expression's Book Club Bestselling list on 7-8-06 (after a 6-6-06 release date.)A new anthology, All in the Family, (Summer of Salvation) came out April 2007l Another new anthology, Never Knew Love Like This Before,(her novella, Katrina Blues,) was released on 6-5-07 and has become a Hot Seller on Black Expression's Book Club.

How To Find A Literary Agentby Olga Kellen

As a new author of a completed and edited manuscript your first thought

would be to find a literary agent to deal with your book publishing.

http://www.maxineshow.com/

http://www.artistfirst.com/



Conventional print book publishers no longer can maintain armies of in-

house editors whose job it is to screen manuscripts sent to the publishing

house by authors. The recognized freelance literary agent is now typically

used to pre-screen such manuscripts.

For newly written fiction, well over 95% of manuscripts by unknown / first

time authors are rejected by literary agents. Of those manuscripts which

are accepted by literary agents, over 95% are rejected by conventional

publishing houses, believing they represent a serious risk to their bottom

line.

Authors of authoritative or otherwise interesting non-fiction generally have

an easier (but not always easy) time with conventional book publishing.

This may be particularly true of scholarly works written by recognized

experts (of course, new fiction by well-known authors in general also gets

an easy path to conventional publication.)

Anyway, you want to give it a try… There are thousands of literary agents in

the USA and many sources listing them, but you have only one life, right?

So, here is a shortcut to finding a literary agent to represent your book.

You go to a big bookstore and look through shelves with the books like your

future one. Often somewhere in Acknowledgments you can find the literary

28




agent's name who represented this book, then Google the name and follow

his/her submission guidelines. This way you make sure that a dozen or so

literary agents you query are legitimate and represent works in your field.

So, you sent your query letters and started waiting… Hopefully in several

months you will get some responses… hopefully you will be allowed to mail

your manuscript. Then you are waiting again…

If during your waiting time you decide to try more literary agents, that's

fine. There is a great resource on the Internet to check their references; it's

called "Predators & Editors, a Guide to publishers and writing services for

serious writers". Look it up in Google and read which literary agents are

recommended by other writers and which are not and why. There are also

informative articles on the process in this Guide: how to write a query

letter, etc. It is free to use.

Keep in mind that a legitimate literary agent makes money from publishing

books, not from reading manuscripts. Unfortunately, on your way to

become a published author, you will come across some people and/or

companies that would like to make money just on your aspiration. So, don't

pay anything to literary agents, you will have enough expenses with

postage and producing multiple manuscript copies.



The process of finding the right representation for your manuscript (or

coming to the conclusion that it is not possible) might take up to one or two

years.

Olga Kellen, LinkedIn member http://www.linkedin.com/in/olgakellen

How To Find a Literary Agent -- Don't Make These MistakesBy Dee Power

How to find an agent is a question asked by most writers these days. It

seems next to impossible to break down the barricades to publishing a

book without one. How to find an agent is almost as difficult as how to find

a publisher.

What Is The Most Critical Mistake Writers Make When

Approaching Literary Agents For Representation?

Over 60 successful literary agents responded as follows:

http://www.linkedin.com/in/olgakellen

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Poor writing or poorly prepared contact letter 44%

Inappropriate subject or genre for that agent 22%

Author's hype, ego, arrogance 18%

Uneducated about publishing process 16%

Lack of knowledge about the book's competition 8%

No platform for nonfiction 6%

Poor writing or poorly prepared contact letter

It comes as a surprise that agents report they get so many weak query

letters. A number of books have been written on the subject of crafting a

query such as Making the Perfect Pitch by agent Katherine Sands.

Numerous writers' conferences also cover this topic in depth. A query letter

isn't really that complicated to compose—particularly compared to writing

a 100,000 word novel.

Inappropriate subject or genre for that agent



The second most popular response to the question reflects that the writers

don't do their homework when selecting agents to contact. Sending a

wonderful query about your, say, cookbook, to an editor that specializes in

placing mystery fiction is simply a waste of everyone's time.

Reference books such as Jeff Herman's Guide to Book Publishers,

Editors and Literary Agents point out very clearly what individual agents

are looking for. Not that some of their preferences don't seem odd, even a

bit nonsensical. In one reference guide agent warned, "Don't send me any

right-wing Tom Clancy stuff.'' Did this agent really mean to say he'd turn

down the chance to earn 15% of the mega-royalties author Clancy has

earned in his career?

Author hype, ego, arrogance

Agents report that creative people oftentimes have big egos. Hard to

believe, isn't it? Part of the problem stems from author's awareness of how

many other writers they are competing with for the agent's attention. The

temptation to use hyperbole to differentiate oneself can be overwhelming.

Of course, then some of the agents go on to contradict their colleagues by

warning against over-selling and arrogance. "Trying to act more like a sales

person, and not like a writer," one agent said. "Hyping the agent. A

straightforward recitation is much more effective." But another one said

32




the worst mistake was, "Not writing an engaging query." "Writing dreary

query letters describing the plot of the book."

Now we're starting to get confused. Do the agents want an exciting query,

or that "straightforward recitation"?

Uneducated about publishing process

The author who is truly talented and dedicated to the craft of writing has a

clear advantage right from the start; the overwhelming response from

agents was that the quality of many submissions they receive is poor. The

author who can articulate the market for his or her book is also way ahead.

The author needs to think of himself as a small businessperson entering a

new industry, not as a "literary artist." They must be able to address the

question, Who is going to buy your book and why? Authors who can show

they will be helpful in selling the book once it is published are particularly

sought after in today's marketplace. Writers should not assume that an

agent, or an editor at a publishing house, will automatically recognize who

the target audience is for a book, or how large that audience might be.

Lack of knowledge about the book's competition

The responses below point up something that many authors don't even

stop to consider what the competition for their book might be. They have



no idea whether their book is really new and different (nonfiction) or

whether it fits into a fiction category that is "hot." Food product

manufactures talk of the keen competition for shelf space at the grocery

story. The same holds true in the bookstore shelves. Can you imagine

where in the store your book might appear?

No platform for nonfiction

"Platform" is something everyone in the publishing industry is talking

about these days—it should be nominated for the coveted "Industry

Buzzword of the Year" award. Having a "platform" is one of the best means

of getting your non-fiction book to the top of the agent's to-do list. Platform

simply means the built-in audience you have for your book, and the media

exposure you can generate for your book, apart from the marketing done

by the publishing house. If you can say, "I am a frequent guest on the

_______" (nationally syndicated radio program). Or, "I publish an

Internet newsletter that has 20,000 subscribers." You are telling a

publisher that a potential audience already exists for your book—lots of

readers know who you are—and therefore you represent less of a risk to the

publishing house, because awareness often translates into sales.

After you've accomplished the task of how to find an agent don't make the

above mistakes.

34




Want to find out how you can avoid scams and still get your book

published? You can receive a free report Perils and Pitfalls of Publishing for

Writers just visit Free Report

About The AuthorsBrian Hill and Dee Power have written several nonfiction books including The Publishing Primer: A Blueprint for an Author's Success and The Making of a Bestseller: Success Stories From Authors and the Editors, Agents, and Booksellers Behind Them.

Find a Literary Agent: What's Your Competition?by Dee Power and Brian E. Hill

Most aspiring authors begin their careers with little or no understanding of

how to find a literary agent to represent their work. They quickly learn that

most major publishing houses only accept submissions through literary

agents. So, they begin sending query letters to agents and, usually, meet

with a cool reception, or even hit a high, solid, impenetrable brick wall. We

surveyed over 60 literary agents, from both large well-known agencies as

well as smaller "boutique" agencies, to get a perspective on how authors

can improve their chances of attracting an agent, and to find out the

outlook for new authors trying to crack into the publishing industry.

http://www.brianhillanddeepower.com/freereport.html

http://www.brianhillanddeepower.com/get-your-book-published.html




To help writers find a literary agent, we asked the agents: How much

competition does a new author really face? What Is The Most Common

Reason You Decline To Represent A Writer?

In order to obtain the most candid comments possible, we told the agents

their responses to our questions would not be attributed to them (and as a

result they were even more candid than we expected).

How Much Competition Does A New Author Really Face?

Unfortunately, the response was: a tremendous amount. The agents

reported that they receive, on average, 90 unsolicited submissions per

week. Out of these more than 4,500 submissions that come in each year,

the agents, on average, took on 11 new clients. This means that the typical

agent agreed to represent a little more than 2 out of 1000 of the authors

that contacted them with unsolicited submissions. Regarding the 998

authors who did not receive a contract, we asked the agents:

What Is The Most Common Reason You Decline To Represent A Writer?

Poor writing 60%

Book was outside the agent's genre 17%

36




Agent's client base was full 10%

Writer's work and agent don't click 8%

Other 5%

The good news is that the top two reasons given are factors that are under

the writer's control. Most authors develop and improve their craft over a

number of years, and even bestselling authors say when they were first

starting out their initial literary efforts left something to be desired. A

dedicated writer certainly doesn't have to remain in that "poor writing"

category.

But what exactly is "poor writing"? In the decline letters they send to

authors, agents often say they turned the author down because they aren't

enthusiastic enough about the material. A favorite phrase used by agents in

turndown letters is, "I simply didn't fall in love with the writing." This is

probably the source of more author frustration than any other aspect of

trying to get published. Success or failure hinges on extremely subjective

judgments, and once the judgment is rendered, it is final. Talking an agent

out of an opinion is pretty much impossible. Think about your own reading

experience. How often do you pick up a novel, read 10 pages, decide you

aren't interested in it, and put it down? Does that mean the writing was



"poor"? Not at all. It simply means you didn't connect with the story, for

reasons you may not even be able to articulate. Every individual's literary

taste is different.

One frequently received type of rejection isn't really ‘rejection' at all: The

agent has all the clients they can handle at the present time, so they really

have no choice but to send a decline letter to unsolicited submissions. The

agent in this case was doing the author a favor; far worse it would have

been to accept a new client that would not get the necessary attention from

the agent. Too often, though, authors interpret receiving a decline letter

such as this as, "my book must not be any good." Actually, the agent may

not even had time to read your submission package.

Notice that the fact a writer was unpublished was not a significant reason

for being rejected as a client.

Hope this helps you find a literary agent for your work.

Want to find out how you can avoid scams and still get your book

published? You can receive a free report Perils and Pitfalls of Publishing for

Writers just visit Free Report

About The Authors


38




Brian Hill and Dee Power have written several nonfiction books including The Publishing Primer: A Blueprint for an Author's Success and The Making of a Bestseller: Success Stories From Authors and the Editors, Agents, and Booksellers Behind Them.

How to Find a Literary Agent - Without Getting Scammedby Dee Power

How to find a literary agency without getting scammed is a challenge for

any new writer. Anyone can call themselves a literary agent or a publisher.

The listings in the literary agency directories are not necessarily vetted, or

checked by the publisher. Literary agents vary widely in ethics, dedication

and competence.

Here's what to watch out for with literary agents:

• Charging the author a fee up front, to be accepted as a client. This fee

can be called a reading fee, or a monthly "office expenses" charge. The best

agents, and most successful ones, only charge a percentage fee of royalties

the author earns, typically 15%. Suppose a realtor charged you a fee to





come over and tour your house before getting the listing? How quickly

would you show that realtor the door. . .

• Charging back unusually large "postage and copying fees" to send

out an authors' work. One crooked agency accepts almost every client that

contacts them, but in the fine print of the contract they charge "postage

and handling" of up to $10 per submission they send out on your behalf. It

doesn't cost $10 to send a letter and a sample chapter of a book to a

publisher. This company makes a fortune from these fees whether or not

they successfully market any of their clients work.

• Directing authors toward specific editing services or giving authors'

names to these services. Sometimes they even own the editing service.

Some agents make a significant portion of their income from referral fees

from these services.

• Demanding that a critique be completed before the agency decides to

offer representation. The fee for the critique may be minimal, perhaps even

less than $100. But if the average agency is contacted by 90 writers a week

that fee can add up.

• Terms in agency contracts with writers vary widely. The contract

must be read carefully.

40




• The agent contacts publishers pretty much at random. The agent's

value to you is in the relationships they have with publishers, so that if the

publisher hears from them, they know the book is worth taking a look at.

Ask to see copies of rejection letters that come back from publishers. If it

looks like just a form letter response, rather than a letter you would send to

an acquaintance, you can bet the agent may be just picking names out of a

directory of publishers.

• The agent refuses to provide the names of clients or titles sold. Sales

are an agent's life blood and reputation. If an agent won't name names it

could be because there aren't any sales.

• Puts forth a weak effort or gives up on the client's project after a few

months. You have a right to ask how active the agent is going to be. How

many publishers are they going to contact, how will they follow up? You

have a right to periodic reports as to whom they have contacted and the

results. You must determine how much time and attention they are really

going to give you.

A critical reason it is imperative to have a reputable agent is that the

publishing house typically pays the agent, who deducts their "cut" and

sends the remainder to the author. It's a frightening thought that a less

than honest person gets their hands on the money you've earned from

sweat, blood, and even tears.



Now you know how to find a literary agent without getting scammed. And

remember:

A bad agent is worse than no agent.

Want to find out how you can avoid scams and still get your book published? You can receive a free report Perils and Pitfalls of Publishing for Writers just visit Free Report.

Brian Hill and Dee Power have written several nonfiction books including The Publishing Primer: A Blueprint for an Author's Success and The Making of a Bestseller: Success Stories From Authors and the Editors, Agents, and Booksellers Behind Them.

An Agent's 3 Essential Steps to Writing a Successful Query Letterby Jessica Buck

So you finished your nonfiction masterpiece! Your scoop is singular, your

focus razor sharp, and your writing tight as the blood pressure cuff your

doctor has recently taken an interest in regularly strapping to your arm.

Probably twice daily if you're like many writers…




42




But thank goodness, all that is now over. You've finished the book. All you

have to do is send the manuscript in to an agent, and then they send it to a

publisher, and then you get a fat advance. Oh, and a possible movie deal!

Right?

Most people know that getting a book published isn't that easy. But few

know just how hard it can actually be. We don't even mean that it's just

hard to get a manuscript published; bear in mind it's extremely difficult to

get any agent to even consider reading it!

Surprised?

Writing your book is the first step, welcome to the second one: the query

letter.

Unlike the relatively free flowing work of writing, there really are some

trade secrets to putting your work out there without which you literally

have no chance of getting your manuscript read.

All right, now put down the deed to your house and your first-born child,

we know just the woman who will unlock some of the critical keys and her

name is certainly not Rumpelstiltskin...



Introducing the Literary Agent

Sharlene Martin is a successful literary agent located in California with

clients recently hitting the New York Times and LA Times bestseller lists.

Known for her quick responses, and personal interaction, Martin is the go-

to woman for questions about representation.

Martin recently joined us "At the Table", a weekly teleconference

sponsored by Writers of the Round Table Inc. The teleconference is the

place to talk with writers from every imaginable genre. Participants have

the opportunity to hear insider information from successful writers,

producers, editors, and agents, and get a chance to ask questions about the

industry, writing, publishing, tips to get ahead, and creative inspiration.

Before Sharlene Martin's current position as a literary agent, she worked at

American Airlines, hiring airline attendants (including the first male

attendant). Then Martin started Helping Hands, Inc. an award winning

company that screened nannies before selling and moving into casting and

story development in Hollywood.

Martin discovered that what she liked most about Hollywood was working

with writers on development. Using this affinity, her uncanny powers of

44




intuition and her ability to work 60 hour work weeks while reading

hundreds of email queries each day, Martin began her literary agency.

Now knowing that Martin receives 100 email queries each day, how do you

make yours stand out? Here are her essential steps:

1. Research the agent

Every agent has his or her own area of expertise. What sort of books does

he or she represent? Get details on the agents' submission processes, as

well as any other additional information you can get. He likes tea rather

than coffee? Write it down.

2. Make sure you're sending a query to the right agent

Now that you know everything there is to know about this agent, take a

step back. Your book may be perfect in every way, but if it isn't the sort of

book (after all your research) that this agent represents, your manuscript

will not change that fact. Look for sensibilities similar to your own, and

avoid celebrity agents. Do not query agents who don't represent work of a

similar genre as your own.

3. Craft a highly personal letter



Sharlene Martin says she cannot stress the above suggestion enough. While

at Martin Literary Management, Sharlene prides herself on personally

reading every query letter, for any person reading 100 letters a day, yours

better stick out if you want to be remembered.

Don't write something average because it's ‘just a letter' after writing a

fabulous manuscript. Use your skills and make it sing. Speak to the agent

using the information you know about him or her. Tell them why they

would be the right representative for your book.

Treat your Book as a Business

If you do get a response or even a publishing deal, never assume your book

will sell itself. Every step of the way takes focus and marketing. Many

writers have less of a brain for business than they do for writing. Make

getting help part of your budget.

Be sure to check out Martin's website to see the great books her clients

currently have to offer at http://www.martinliterarymanagement.com

Final Words of Wisdom

http://www.martinliterarymanagement.com/

46




"I have yet to meet an author who was published out of the womb."

Remarks Martin, "Someone has given every writer a first chance, you just

have to find someone who will give you yours!"

Listen to the recording of this 'At the Table' TeleClass at

http://www.writersoftheroundtable.com "Teleclasses", and be sure to join

us every Wednesday for an entertaining and enlightening hour.

In the meantime writers, keep your rear in the chair, your fingers on the

keys, and your writing reaching for the stars. If you ever need guidance or

assistance, don't hesitate to contact Writers of the Round Table at

http://www.writersoftheroundtable.com We'd love to help you take your

writing to the next level.

Jessica Buck is currently finishing her first novel, and writes an eclectic (some say dizzying), variety of literary genres including plays, essays, poetry, travel writing, screenplays, short stories and articles which have been published in magazines and anthologies including Mamaphonic, Inverse, and Euphorix.

Writers of the Round Table Inc., is a unique literary development and author management company that utilizes a writing staff of more than thirty published writers. So much more than a ghostwriting company, we collaborate with you to bring your creations to life. Visit Writers of the Round Table to listen to our free teleclasses, view articles, and listen to interviews on the writing process.

http://www.writersoftheroundtable.com/





An Analysis of a Literary Agent Form Letter Rejectionby Joseph Malek

Like the many thousands of people who seek the services of a literary

agent, I too have sent many query letters to those experts who promote the

publication of some form of written communication to the public. Yes,

whatever that might be, you can be sure that at least one of those literary

agents specializes in the subject that you and I worked so hard to create so

that the World's people can learn from and/or enjoy.

Believe it or not, I'm still waiting for some of those literary agents to

respond to the letters I sent more than two months ago. Then again, maybe

the delivery rate for the U.S. Postal Service is only 80%. or I wasted 20% of

my time because what I sent was simply discarded. I wish that I could have

hand delivered each and every letter so at least I'd know that 20% of my

literary agent search work wasn't wasted.

Well, it seems that I'll have to wait awhile longer. So far, I've kept myself

busy by writing short stories, house cleaning and analyzing the rejection

form letters that I did receive. Most of them are exactly the same except for

the name of the person who signed each one. As it happens, I also made

48




one mistake in regard to selecting the proper agent for the kind of novel I

wrote, and those replies I fully understand.

You see, those literary agents told me that my story isn't the kind of story

that they promote. The truth is, they never said exactly what they promote,

so I took a chance and sent them a letter. Keep in mind that each one of

those people receives hundreds of query letters each week and maybe they

just like to receive huge amounts of paper. There must be big money in the

scrap paper business.

Some agents said that their client list was full. Is that actually what they

mean, or are they saying: "I don't like money," or, "I have an office in the

high rent section of the city because I like the view from the window," or,

"I'm looking for ideas for my next novel."

Your guess is as good as mine, but this waiting has caused me to think of

reasons that probably aren't true. One gentleman was kind enough to tell

me that I did good work and he also wished me the best of luck. Thank you

so much for that, but it's too bad for me that he didn't know any publishers

who would publish my novel.

There you have it. They know people in the publishing business, so they

also know just about what to send to those people so that they can both



profit from the written works of art that every writer created in which to

also earn a living.

Do You Need A Literary Agent?By Sam Wilson

A literary agent represents writers and their written works to publishers

and film producers and helps the offer in addition to contract negotiation.

Literary agents most often act for authors, screenwriters and sizable non-

fiction authors. They are paid a agreed percentage (ten to twenty percent;

fifteen percent is typical) of the profits they arrange for their clients.

Novelists frequently look to agents for a few purposes: a few acclaimed,

dominant, and profitable publishing houses do not tolerate unagented

submissions. A wise agent knows the business, and may well be a source of

important career advice and enlightenment. Being a publishable author

doesn't automatically make you an master on current publishing contracts

and practices, especially where television, film, or foreign rights are

arranged. Many times writers like to have an agent deal with these cases.

50




The reasons are varied. Some writers don't want to lose focus with

monetary concerns.

Literary agencies may range in size from a single agent who represents

conceivably a dozen writers, to a large-scale firm with senior partners, sub-

agents in addition to clientele numbering in the hundreds. Most agencies

will take on certain genres like history books, travel books or textbooks.

Almost no agents will represent short stories or poetry.

Any individual may well label himself/herself an agent in the book world,

in addition to can only legally take up to 20% of the customer's fee (15% is

the yardstick).

Genuine agents as well as agencies in the publishing world are not required

to be members of the Association of Authors' Representatives (AAR),

nonetheless most are. Competent professional agents just about always

learn their trade while working for another agent, though some cross over

to agenting subsequent to working as editors. It customarily takes a long

time for junior employees to change into sub-agents and pay for their own

collection of marketable novelists. They may in due course make a decision

to go on their own and form a new agency, or they may remain with their

original agency to seek a promotion.



Legitimate agents do not bill reading fees, demand retainers, bill authors

for the expenditure of submissions or other operating fees, or otherwise

gain remuneration from any source other than the sales they make on their

clients' good. They moreover will not place their clients' work with a vanity

press or subsidy press. Both these practices may indicate that the writer is

dealing with a dishonest agent. A new debatable practice entails referring

the writer to a so-called "professional editor" or "manuscript doctor" who is

in cahoots with the agent. The resulting edit may or may not be

commendable, or of professional quality, and is just about always costly.

A client typically establishes relationships with an agent through querying,

although the two may meet at a writer's conference, through a contest, or

in other ways. A query is an unsolicited proposal for representation.

Various agents request different parts in a query package. It typically

begins with a query letter that explains the purpose of the writings and any

writing qualifications of the writer.

If an agent is interested in a work, he or she will request a partial, which is

typically a number of chapters of your work. Commonly, contracts between

agents and clientele are simply verbal; however, agents using written

contracts will soon be the norm. Routinely, if you get a rejection letter it

will be a form letter.

Download your complete contact list of over 350 publishing agents FREE at

52




BookPublishingAgent.com/child-book-agent. Take a look at our site BookPublishingAgent.com

Why a Literary Agent is So Important to Your Successby Steve Manning

Ask any literary agent what they're interested in and they'll tell you,

without a doubt, literary quality. That's what they want. They're looking for

high-quality writing. That's their story and they're sticking with it.

But if you catch them in an unguarded moment, the truth might just slip

out. Oh, they're still looking for literary quality, and if that's part of the

package so much the better, but that's not really the determining factor.

The big issue, the one that can really turn it to your advantage, is a lot

simpler and, we should have guessed, a lot more predictable. The real

question is, will this manuscript sell? Will it sell first to a publisher, and,

then, will it sell to the general public.

The answer to the first question is why you've got a literary agent in the

first place. Will it sell to a publisher? Well, you as an author have no idea.

/C/Documents and Settings/brian/Application Data/Microsoft/Word/BookPublishingAgent.com/child-book-agent



http://www.bookpublishingagent.com/



You can hope, you can suggest, you can rationalize and you can predict,

you can see no possible alternative. Of course a publisher will want to write

your manuscript. But you don't really know.

Literary agents, the good ones, do. That's why they're constantly talking to

trade editors at publishing houses, and publishing executives as well. They

want to have their ears to the ground to scout out any trends that are

developing, or, more profitably, any needs that publishers have.

"What we're really looking for now, Sam, is a children's chapter book that

touches, gently, on the issue of terrorism and homeland security."

"What we need is a series of gothic horrors."

"The guys upstairs want to take a look at a new genre of romance…"

A lot of authors think that publishers make their decisions based on the

manuscripts that come their way. That's not always the case. Publishers

often have their own agenda. They see the needs developing and they want

to have books ready to go when the demand is right. Often they're looking

for specific kinds of books and they're letting literary agents know about

their needs so the best manuscripts can be brought to them.

54




And that's good news for you. Okay, maybe you've spent a lot of time

writing that book on science fiction trivia. The agent you're working with

says it's a great book, but they've just been talking with an editor and

they're looking for a trivia book for science. Would you be up to writing it.

Yes, I can just hear all the author's saying, "just a minute, I'll check my

schedule to see if I can fit that in."

Agents also know, generally, which publishers are looking for which books.

True, the information you have may say the publisher publishes horror

stories. But you won't know they've got a back log of these manuscripts and

aren't looking for any more. A good literary agent will not only know this,

they'll also know which publishers are looking precisely for the book you've

got to offer. Getting your manuscript before the right set of eyes is half the

battle when it comes to getting your book published.

Agents will also know what's selling now, and whether this is the beginning

of a new wave, or the end of an old one. They make their reputation and

their relationships by helping publishers pick winners for the upcoming

season. That's why they're so important. They have the knowledge and the

contacts that you just don't have.



They know what will sell, why, when and where. And if you hook up with

an agent who is committed to their own success, you've just formed a

partnership with an agent who is also committed to your success.

Steve Manning is a master writer showing thousands of people how they can write their book faster than they ever thought possible. Here's your free Special Report, http://www.WriteABookNow.com/main.html

Create Your Author Platform to Hook a Literary Agent Or Publisher and Land a Book ContractBy Anita D. McClellan

Unpublished and hungry for a book contract? Present yourself to literary

agents and book publishers so as to stick in their minds. So that they will

tell you, "Send me your manuscript. I want to read it."

1: Create and hone delivery out loud of a 3-minute pitch for your

unpublished book project.

http://www.writeabooknow.com/main.html

56




Sample fiction pitch (thanks to New York Times Book Review and author's

website): "An Afghan-American returns to Kabul to learn how his friend

has fared under the Taliban" is my first novel's story. I was an 11-year-old,

thin-framed seventh-grader when I left Afghanistan with my family. I

returned recently to Kabul after completing my manuscript, traveling as a

38-year-old physician residing in Northern California, a writer, a husband

and father of two. My name is Khaled Hosseini. May I send you a synopsis

and 50 opening pages for my manuscript titled The Kite Runner? Here is

my business card."

Sample nonfiction pitch: "I am in my 80s, an accomplished working

painter with studios in Paris and New York, as well as a published writer

and poet, and a feminist. From the age of 22 in the 1940s, I lived for a

decade with Picasso, left him, and then raised two of his children. I have

since been married to the painter Luc Simon and to Dr. Jonas Salk, who

developed the polio vaccine. My name is Françoise Gilot. May I send you a

book proposal with sample chapters for my memoir? Here is my business

card."

For practice, visit online the New York Times Book Review's and other

best-seller lists, study the one-sentence blurbs, make up one pitching your

own work. Practice your pitch at home in front of a mirror, with fellow

writers, with friends and family, with strangers you meet in bookstores.



Practice your pitch until your delivery is confident, short, sweet, and

perfect.

2: Create a do-it-yourself website and start blogging. Launch an

ezine, develop a following, and capture the visitor data. Keep writing your

book.

3. Design author business cards and an email signature that include

your 3-minute pitch and all your contact information, your blog, your

website, your ezine. Keep these cards with tape and thumbtacks on your

person, at work, in your car at all times. Hand your card out to everyone

everywhere. Post your cards in coffee shops, on library notice boards,

online at writers' communities.

4. Develop an author-platform database using information and cards

you collect from people that you meet and who visit your website. Reach

out personally and get to know the managers and buyers for your local

chain and independent booksellers.

5. Contact book review editors across the country, from very local

to very national, and start reviewing books for them off- and online using a

byline with your "forthcoming" book's title, your URL, ezine, and blog. Add

these names to your platform database. Keep writing your book.

58




6. Write 250- to 500-word personal essays, short stories, articles

about your book's subject using a byline with your "forthcoming"

book's title, your URL, ezine, and blog. Send copies to agents and editors

you have targeted, to fellow bloggers, eziners, webmavens, your local

booksellers.

7. Join writers' and publishers' groups and volunteer. Write for

the newsletters and insert your byline. Agree to help out at events and to

escort speakers to and from lectures. Exchange business cards with

everyone you meet. Add all to your platform database.

8. Research author readings and writers' conferences within

driving distance of your house and attend them. Become a regular.

Go for coffee with people you meet there; exchange business cards; write

print and online reviews of the published books of the authors you meet to

spread your byline around. Add more entries to your database. Attend

conferences and publishing trade events and shows farther and farther

from home. Network. Network. Collect business cards. Add to your

database. Keep writing your book.

9. Find your way online to bloggers and writers interested in

book publishing. Cross-link web sites and expand your database with

addresses and links to people who read, write, sell, and publish books.

Keep writing your book.



10. Give a talk on your subject at local libraries, to elementary and

high school Language Arts or other classes. Teach adult-ed workshops on

writing, blogging, ezining, and book reviewing. Make certain your full

byline appears in course catalogs and websites. Hand out your business

cards to students. Collect the addresses of every attendee and add them to

your database. Keep writing your book.

11. Expand your website with new pages for your bylined online or in-

print pieces to download, your writer's activities and schedule (volunteer

events count!). Offer free online teleseminars and workshops. Keep writing

your book.

12. Go for it, so we can buy your book when it is published and catch you

on Oprah. Good luck!

Anita D. McClellan is a book doctor, a literary consultant with Anita D. McClellan Associates ( http://www.anitamcclellan.com). She works with English-language writers of book-length fiction and nonfiction across North America and overseas. Formerly, she was an editorial executive in corporate publishing houses. Find her at http://www.PublishersMarketplace.com.

http://www.anitamcclellan.com/

http://www.publishersmarketplace.com/

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Literary Agents, Book Editors, and You: Who Really Does the Editing?by Lisa Silverman

If you're an aspiring novelist, two major obstacles exist on the path to

glory. First, finding a literary agent. Second, with the help of that agent,

finding an acquiring editor at a publishing house to sign you to a book

contract. One is the seller, the other the buyer, but you'd be surprised at

how thin the line has grown between the two.

As in many industries, the major book imprints/publishers have become

increasingly consolidated in the hands of a few large international

corporations: HarperCollins is owned by News Corp., Random House by

Bertelsmann, Simon & Schuster by Viacom, etc. Decisions about whether

or not to acquire manuscripts are at the discretion more of "money"

departments such as sales and marketing than of the editors, especially

those not high on the totem pole. And if they have to sell the "money

people" on a project, editors are forced to think in bottom-line terms more

and more.



How does this affect the process of polishing and selling your manuscript?

The current climate makes it difficult for debut novelists to break in--after

all, novels are always a gamble. Publishers can't estimate a novel's audience

as they can for a nonfiction book. So they're rarely willing to invest much

advance time or money. Editing takes time. Translation: if your manuscript

needs much editing, if any, it's not likely to sell.

For this reason, agents who represent fiction need to make certain a

manuscript is in tip-top shape before submitting it to an editor at a

publishing house. Sadly, many agents have given up on fiction entirely, but

heroes still exist who are dedicated to representing new novelists--

ironically, many are former editors looking for the close relationships with

writers now enjoyed more often by agents. Such agents must be committed

to working with writing clients to perfect their manuscripts.

Of course, agents need to make a living, too, and since they get paid only on

commission, they need to concentrate on selling. Translation: if your

manuscript needs much editing, many agents won't take it on.

The bottom line is that you can't just get to the last page of your

manuscript and decide it's ready to show the world, expecting the agent

who represents it or the publisher who buys it to do any necessary editing.

You need to rewrite, edit, polish, get feedback. You usually get only one

62




chance to sell an agent or an editor on your manuscript. So make the most

of that one chance by making the most of your writing first.

Lisa Silverman is a freelance book editor and works in the copyediting department at one of New York's most prestigious literary publishing houses. She has also worked as a ghostwriter and a literary agent representing both book authors and screenwriters. She founded http://www.BeYourOwnEditor.com in order to provide writers with free advice on both writing and the publishing business.

Finding a Literary Agentby Laura College

Congratulations! You've written your manuscript, and it is as good as you

can possibly make it. Perhaps you've written a suspenseful thriller or a

book about marketing techniques; maybe you've even written your

memoirs.

Next step: Publication!

Unfortunately, you can't just point a magic wand at your manuscript and

transform it into a perfectly bound book or novel. Instead, you'll have to

find a literary agent to represent your novel and shop it to publishers. But

http://www.beyourowneditor.com/



where do you find a literary agent? And how do you ensure that your book

is properly represented?

As with all industries, there are legitimate agents and agents that just want

to scam you. Some have great contacts with top publishing houses, while

others haven't sold a single book. Performing an adequate amount of

research is essential to getting your book on the market, and if you don't

submit to agents whose reputations are in tact, you might end up with no

book contract and no money.

For example, we wrote a romance novel for a woman last year, and she was

extremely pleased with it. The ideas, characters, plot and setting were all

her idea; we just molded those components into a cohesive, commercially

viable manuscript. As soon as she received it, she started sending out query

letters with a novel synopsis and an author biography. Less than a week

later, she received an e mail from Sherry Fine, the V.P. of Acquisitions at

the New York Literary Agency, offering to represent her.

We had never worked with that agency before, and we urged our client to

look into the background of Sherry Fine to determine the number of books

sold and their rating at the BBB. She insisted that they were legitimate -

their e-mail was so professional! - and didn't do the research that we

advised.

64




By the time everything was said and done, our client had paid $97.00 for a

"literary critique", $140 for an "editorial review", and her book was going

nowhere. She called us and asked that we look into it, so we did some

research online. Typing in the name "New York Literary Agency Reviews"

in Google brought up pages of message boards in which scorned writers

had worked with this agency and been scammed.

That said, it is imperative that you work only with an agent or agency that

follows the following guidelines:

1. No Up-Front Payments. A respectable literary agent (or authors'

representative) will not charge fees for reading or representing your

manuscript. An agent only gets paid when your

book sells, which is their motivation for shopping it to publishers. They will

receive a percentage of the royalties (typically 10-15%) when your book

goes to print.

2. List of Books Sold. On their websites, agents usually give a list of the

books they have sold, arranged by month and year. Go to Amazon.com and

make sure that those books are actually titles, and choose an agent with a

long list.

3. References. When an agent agrees to represent you, they should be

able to supply you with a list of references. Call them. Make sure that other



people who have used their services haven't been scammed or

misrepresented in any way.

4. Membership. Most legitimate agents belong to the Association of

Authors' Representatives. The AAR doesn't admit agents who charge fees

for readings or who have been given negative feedback. This is a great place

to start. You can search for representatives by location, genre, acceptance

of new writers and other criteria.

If you follow the above guidelines, you will be well on your way to finding a

great agent.

Next, you'll have to find a list of possible agents who routinely represent

the type of manuscript you've written. For example, you won't want to

submit a query to an agent who only represents Harlequin Romance novels

when you've written a psychological thriller.

You will also want to find an agent who expressly states that he or she is

accepting queries from new authors. Some agents choose to work only with

writers who have been previously published to cut down on their lists of

submissions. The average agent receives more than 500 queries each week;

imagine the workload! So save time and aggravation by submitting only to

agents who will potentially represent your work.

66




Finally, remember that you will probably receive several rejection letters.

We had one client for whom we wrote a mystery novel. He submitted to

two hundred agents before he found one who agreed to represent him. For

that novel - his first - he received a $150,000 advance and the book sold

nearly 800,000 copies.

Agents don't always decline a manuscript because they think it's terrible

work. Often, they reject books because they don't cater to that particular

style or because it doesn't fit with their repertoire. Most agents are very

choosy; they only want to represent manuscripts that they know they can

sell. They don't want to waste time with something from which they will

never generate money.

Laura J. College is a professional ghostwriter with more than ten years' experience writing fiction and non-fiction manuscripts. Her work can be found all over the Internet, and she is currently accepting ghostwriting clients. Check out her website at http://www.laurajcollege.com.

To Have an Agent or not to Have an Agent: Do I Need a Literary Agent? - Part 1by Stacy-Deanne

http://www.laurajcollege.com/



Aspiring writers face many potential choices. One of the most confusing

choices a new writer must conquer is whether or not they need or would

want a literary agent. There is no argument that a good literary agent can

enhance any writer's career. Yet there are plenty of writers who may benefit

without having an agent. In this two-part article I will outline the reasons

why a new writer may want or not want to seek out a literary agent. The

first part will cover reasons why a writer may want an agent. The second

part of this article will outline reasons why they may not.

Seeking or not seeking an agent is up to you. No matter what a new writer

chooses to do, they must remember that agents are only a part of the

publication process. They cannot guarantee publication. Many writers

believe that just because they've found an agent that they will be

automatically published. Unfortunately, this is not true. An agent is simply

the middleman. Their only power is working with you and submitting your

work to publishers who may be interested in your work. Being with an

agent will not lesson the chance of being rejected.

Below I've outlined the positives of seeking an agent as well as slight

misconceptions of what an agent does for a writer. In my next article I will

do the same by outlining the reasons why an author may not seek out an

agent and how they can become successful without one.

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Why you would benefit from a literary agent:

An Agent's Knowledge

Some authors can wear many hats including being their own publicist,

agent, editor and businessperson. These authors often find success without

the help of an agent due to their willingness to deeply research the

publishing industry and how it works. Some writers are not able to do it all

and may find they need some extra help.

An agent is not only the middleman for a writer's work but also a

professional advisor. An agent has contacts, knows the business and has

the knowledge to pinpoint an author's audience and getting them in touch

with the right type of publishers. There are some things an agent knows

that even the best of writers do not know about the business.

If a writer feels that the business side of things is way over their head and

that they only want to concentrate on the art of writing then seeking an

agent would be beneficial to them.

If You Don't Know Your Own Audience

Writers should know their audience before they submit their work to an

agent or publisher but many don't. Most qualified agents know an author's



potential audience just by reading the writer's query letter. If your work is

accepted by an agent, they will have the expertise of knowing which

publishers to contact and which of not to waste time with. Thus, an agent

can speed up the submission process for authors who have no idea of what

publisher would be interested in their type of work. Agents are also great

with helping authors who write in multiple genres. Sometimes it's difficult

to put your work into one category but a good agent knows from experience

where your work belongs and can help you target publishers who are most

likely to be interested in you.

If You're in Need of Extra Editorial Advice

Do not misunderstand this. Most agents are not editors nor will they edit

your work for you but there is a "clean-up" process that all agents do with

clients. After an agent accepts a writer's work they make sure it is the best

it can be before submitting it to publishers. Agents go over your work with

a fine-tooth comb and will give you top-notch advice on what works for

your book and what does not. They will make valuable suggestions and

most times this leads the author closer to publication.

Agents Care About Your Work

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Agents have gotten a very bad reputation with new writers. They are

painted as uncaring, nasty and mean people who set out for writers to fail.

This is completely untrue.

Real agents (not shady agents that charge fees), care about the welfare of

the writers they take on. This is why the process is so grueling. Most times

when an agent rejects a writer it's not because they didn't like their work

but because they didn't feel passionate enough to represent it.

An agent wants to do the best job they can for a client and if they feel they

cannot sell your work effectively, they will not take you on. Writers believe

this is because agents feel they aren't good enough but ironically it's the

agents that feel they may not be the best fit for the work. Just because

you're being rejected doesn't mean that the agent doesn't like your work, it

could mean they feel they are not the best for the job.

So next time you get that rejection slip, think over all the reasons why you

could have received it and don't judge an agent by their cover. Most of

them care deeply for all of their clients and wish for them all to succeed.

This perk of being with an agent works well for a somewhat self-conscious

writer who needs that extra push from someone who feels as strongly about

their work as they do.

You Just Don't Want to Be Bothered With the Business Aspect



If you do not want to take the time to research the business part of the

industry (which I suggest all writers should do anyway), then an agent is

right for you. Some authors only want to write and do not want to deal with

the hassles of working with contracts or researching publishing options. An

agent will not only help you with getting your work to its best form but they

will handle all the business dealings leaving you free of the process. They

will also work to give you the best deal possible if you are accepted for

publication. This could lead to big advances or multi-book contracts. Most

literary agents are also knowledgeable in and have contacts in the film

industry. If you intend on gracing Hollywood with your book's presence or

the possibility of it, a good agent is someone you will want in your corner.

So, these are some reasons why you may want a literary agent. Every writer

is different. There are just as many famous and successful writers without

agents as there are with agents. What works for one writer may not work

for the other.

Remember, just because you get an agent does not mean you will be

published. It could still be years down the road or it may never happen and

you could end up being dropped by your agent. An agent only gives so

much time to a project and some are more dedicated than others are. That

is why you need to extensively research every agent you're thinking of

submitting to. You need to not only know what they want in a client but

72




you need to take a look at their personality as well. An agent should be

chosen for the long-term of your career. You want someone who is going to

be as determined as you are to get you published. You want someone you

can get along with. Someone you're comfortable with, whom you respect,

who cares and someone whose advice you trust and believe in.

A bad agent is worst than no agent but a good agent is a precious gift that

any writer is lucky to find. What you want is all up to you.

Stay tuned for the second part of this article if you're thinking of cutting

out the middleman altogether and going at it alone!

To Have an Agent or not to Have an Agent: Do I Need a Literary Agent? - Part 2by Stacy-Deanne

Today more and more new writers are choosing alternative routes to

publication. In doing this, many have abandoned the process of seeking an

agent. I am not speaking just of authors who feel they do not need an agent



because they've chosen the self-publishing route. I am also speaking of

authors who become traditionally published without agents.

There are writers who would prefer to do all the footwork themselves and

would rather not have an agent for their own reasons.

Below I've outlined reasons why a writer may decide not to seek out an

agent. There are many advantages to having a good agent but authors can

become successfully published without one.

Reasons You May Not Need or Want an Agent:

Your Book is for a Niche Market

Writers with books for a niche market or a small market do not necessarily

need an agent. If you know that your book has a limited audience to begin

with then you would benefit better from targeting niche publishers that fit

your book. Most niche publishers do not insist that you have an agent for

the publication of your work and the benefits of being with a small

publisher can be rewarding in their own right.

A niche publisher usually does not publish but a limited amount of titles,

which means that they devote a lot of time to the titles they obtain. Overall

this is a good deal for niche authors.

74




You Are Seeking Out Small Presses or Mid-Size Publishers

This ties somewhat into niche book marketing. If an author does not want

an agent or is just tired of going through the process of finding one, an

alternative is contacting a small or mid-size publisher.

More new novelists are turning to smaller presses now more than ever.

Small presses are mainly broken up into genres, which gives a writer a

better chance at getting published. For example if you write fantasy, you

would be interested in a small or mid-size press that publishes only fantasy

titles. This is also a better chance of success for an author. They will not

have to struggle to find their audience because the press is already familiar

with their book's readers because this is their targeting audience.

Also, it is proven that smaller publishers do give more attention to writers

than the big ones do and this does wonders for an author's promotion,

giving them the best chance at achieving book sales.

You Don't Mind Wearing Many Hats

Let's face it. In today's world an author has to wear many hats despite the

size of their publisher.



To be successful in today's market a writer must be ready and willing to

become their own editor, publicist and businessperson. A lot of writers

struggle with this reality and find it hard to do everything themselves but

many writers take on this route and find it more rewarding. If you have a

head for promotion, know the business pretty well, in a position to acquire

contacts and are determined to do the footwork of submitting to publishers

than you may not need or want an agent. It is possible to get published

without an agent but you must get your foot in the door first.

For example if your goal is to be published with one of the NY big boys one

day and you do not want an agent, then you can try publishing with a small

press first. Publishing a book with a small press (not POD or self-

publishing houses but traditional small publishers) is just as good as being

published with a big press and so, this counts as a real writing credit. It

really doesn't matter if your book sold well because it is still a traditionally

published book and a bigger publisher will realize that. This can get you in

the door with a big publisher because you are already a published author.

Many authors without agents find it easier to move onto a bigger publisher

by going this route. The key is thinking long term. While releasing a book

with that smaller press, it also gets you use to the feel of being published

and by the time you get to the big boys you'll have much needed

experience.

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You Want to Keep As Much of Your Money as You Can

Believe it or not, many writers choose not to deal with agents simply

because they do not want to give up a cut of their royalties. If you want to

hold onto that 15 or 20 percent than this may be a reason you do not want

an agent.

You Have Connections

You may be a new writer but you may already have connections to the

publishing world. If you have the necessary connections that may lead you

to publication than you wouldn't need an agent. Once again the agent is the

middleman who gets your work a publisher's attention. If you can do this

on your own successfully than you do not need an agent.

Tired of Waiting

It takes time to get an agent, if you're lucky to get one. The fact is that it's

even harder to get an agent than it is to get a publisher. Maybe you've been

at the agent search a long time with no results. You've gone through all the

hard work of acquiring an editor, you've redone your book many times and

feel it's ready but still no agent is biting. This is the best time to take a

break from the agent search and consider approaching publishers.



If you honestly believe that you've hit a brick wall (after making sure your

work's in its best form), then considering submitting strictly to publishers

would be an idea worth exploring.

You've had A Bad Experience with an Agent

You shouldn't judge all agents by your experience with one but this is

easier said than done. Maybe you had an agent and the experience was

horrific and you're still left unpublished. Maybe you feel the agent didn't

try hard enough or that you weren't given the attention you deserved.

Maybe you're just fed up with the agent's way of doing things and you want

to move on.

Many writers take on the publishing world alone once they've dealt with a

difficult agent. Pay attention to your agent. Look at what they are doing

and how they are handling your work. If they seem to be doing things you

could do yourself then you don't need them. This is when hard work comes

in. You can learn from a bad experience to the point where you learn how

to handle the process yourself. Remember that a bad agent is worse than

no agent is. Sometimes it's best to do it alone.

You Are Going the Self-Published or Print on Demand Route

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Common sense should tell anyone that if they are choosing to self-publish

than they do not have to have an agent.

In terms of becoming traditionally published, both journeys of seeking or

not seeking out an agent are different from one another but neither is quick

or easy. You have to know what you want for your career and what you're

able to bring to the table. From there you should be able to make the best

decision. It all starts with researching the business and determining the

best option for you. Remember, what works for someone else may not work

for you. You have to test the waters yourself and most times you'll be

surprised at what you can do.

Stacy-Deanne is a best selling author and novelist. She's been in the writing industry for twelve years. She is a novelist with Simon and Schuster. Stacy was featured in 2006's "Literary Divas: The Top 100+ Most Admired African-American Women in Writing". She was born, raised and resides in Houston, Texas. You can visit her sites to learn more about her and her books. http://www.stacy-deanne.nethttp://www.myspace.com/stacydeanne

Writing & Publishing Tips: How to Get a Top Literary

http://www.stacy-deanne.net/

http://www.myspace.com/stacydeanne



Agent & Sign That Coveted 6 Figure Dealby Susan Harrow

Top literary agents get about 400-1000 unsolicited queries every month

from hopeful book authors. Publishing houses sometimes juggle 5000.

Most of my private clients and participants in my seminar, How To Get A

Six-Figure Book Advance, ask me "how is an author supposed to get an

agent's attention when there is so much competition?"

First of all, don't write a book -- write a book proposal. Publishers buy

ideas not books. To capture a reputable literary agent's attention you'll

need to show that you're a media star, or a star in the making. Good writing

can be bought but star power can't.

Here are 5 more tips to landing a top literary agent & a six-figure advance:

1. Do your research.

Literary agents specialize in very specific interests. For example, my agent

loves tearjerkers but won't take on books that involve children in peril. You

want an agent who has represented books similar to yours, who sells books

80




on a regular basis, who is devoted to you, and has the time to give you a

little guidance through the literary labyrinth.

Sometimes a newer, less experienced literary agent who is hungry for

business is more dedicated and has more time to spend with you than an

established one with a reputable cadre of authors. I recommend 2 ways to

find the literary agent right for you:

Look in the acknowledgements of books similar to your topic. A happy

author always thanks his literary agent. Once you've located your ideal

agents become familiar with their tastes, learn everything you can about

their interests, pet peeves and preferences, and review their websites for

submission guidelines. Show that knowledge in your query letter or initial

phone conversation.

Read Publisher's Weekly, Publisher's Lunch, and Variety to see who sold

what and for how much. You will get a sense of an agent's sensibility and be

able to speak knowledgeably about the types of books they prefer when you

know what's happening in the industry in general and in your area of

expertise in particular. You'll know more than most people who submit

proposals as you'll be apprised of books that aren't even published yet and

movie deals in the making. And you'll get a sense of market trends.

2. Write a book proposal that reads like a thriller.



After you've located the agents you want to approach, the next step is to

complete your book proposal. Once interested by your call or query letter

the very best literary agents move at hyper speed. They'll want to see your

book proposal--now. They'll either ask you to Fed Ex or email it.

There is a real art to writing a best-selling book proposal that makes the

literary agent you've chosen say, "I want this person as a client". To make

your book proposal read in one sitting you'll want to write in short

paragraphs with strong headlines. Be sure to give the chosen agent an

immediate impression of how your book will read by writing the proposal

in the same style as your book.

Find unusual, quirky, provocative tidbits about your subject that will entice

the literary agent to say, "Wow, I never knew this." Imagine the kind of tips

that a terrific magazine article would include. When an editor at a top New

York publishing house is reading your book proposal they are thinking,

what kind of media exposure will we be able to get for this book? Can we

get magazine feature articles, newspaper pieces, radio shows? Will the

subject matter and the author interest the producers of Good Morning

America, the Today Show, CNN, or Oprah?

3. Prove you have a platform.

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The one thing that thrills a New York publisher the most is your platform.

Your platform is simply your reach. How many people are influenced by

your ideas worldwide? To simplify this even further, a publisher wants to

know one thing and one thing only (once they are interested in the subject

matter of your book), and that is...how many books are you going to sell

and to whom. You'll need to demonstrate that you're a great media guest,

that you have an audience eager to snap up your books and that you have a

proven track record for selling your books or wares.

4. Reveal how your past performance predicts future behavior.

Map out each venue and determine how many people are in attendance

and how many of those people will buy your book. Include workshops,

seminars, fairs, media appearances, book signings, keynotes, teleseminars,

webinars, events, newsletter lists, blogs, partnerships etc. Quantify

everything in great detail. Estimate and base potential sales on past sales

you've completed.

5. Show you are the one.

Show that there is a clear need for your book and that you are the only one

who can write it. In other words what problem are you solving and why are

you the undisputed expert? What gap in the market are you filling? One of

my clients whose topic was about how to be the very best at what you do



and who you are, had a black belt, was a concert violinist and had given

seminars at The White House. She walked her talk, and lived her words.

You need to have top-notch skills in order to gain the interest of a high

caliber literary agent.

Follow these tips, and you can land a top literary agent and a six-figure

deal. I hope to see your name on the New York Times bestseller list!

Media coach & marketing strategist, Susan Harrow, can help you get paid $100,000 or more for your book. For over 17 years, she has helped speakers, authors and entrepreneurs get 6-figure book advances. In her book, Get a Six Figure Book Advance, Susan explains the 15 steps to making big money on your next book proposal. Buy it now and receive $450 worth of free bonuses at: http://prsecretstore.com/sixfigurebookproposaljanal.html

Fiction Writing: Why You Should Get A Good Agentby Steve Dempster

To get an agent or not? This decision is a crucial one in your writing career

so in this article we'll examine some of the 'fors' and 'againsts' of agents for

fiction writers.

http://prsecretstore.com/sixfigurebookproposaljanal.html

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There is no doubt that getting a good agent can have a significant impact

on your literary career. There is also no doubt that a bad agent can have an

impact too - but not the kind you want. Any agent that you may contact

must feel 'right' for you in the first place or the chances are good that the

relationship will at best be strained and at worst be useless to you. To help

you decide, we'll examine what a good agent should do for you - and what

you shouldn't expect them to do for you.

A good agent should keep you in front of the right kind of editor for your

kind of writing. They should be able to negotiate the best possible deal for

you, the writer, and ensure that the business side of things runs as

smoothly as possible. This allows the writer to get on with what they should

be doing - writing. The agent should also be able to oversee your book as it

goes through the publication process, then keep an eye on such things as

foreign right, radio rights, TV rights and the writer's holy grail - film rights.

A good agent has a distinct advantage over a writer in that they have - or

should have - far more contacts within the publishing industry. This allows

them to 'think outside the box' of your existing publisher - who may only

have negotiated or wanted limited rights - and approach other members of

the publishing world to offer them the remainder as mentioned above.

The role of agents has expanded over recent years, partly due to the fact

that editors inside publishing houses tend to change around far more



frequently than in years gone by. The activities of many agents now include

those of business partner, concept editor and trusted friend, who helps the

writer's career forward over the years by being an active part of it.

On the other side of the coin, there are some things that a writer shouldn't

expect an agent to do: in fact any expectation from the writer in the

following list may well strain the relationship to breaking point. Agents

therefore shouldn't be expected to:

Sell bad or unsaleable work

Lend the writer money or give him or her 'advances'

Be a legal representative for the writer

Be a secretary or 'gopher'

Become involved in the writer's personal life and problems

Be at the writer's constant beck and call - especially outside office

hours

Teach the writer how to write

Be the writer's private taxicab driver

Arrange publicity stunts or campaigns (that's down to the writer

and/or publisher)

As a writer, you should remember that, although your agent may well

become your friend, the writer/agent relationship should always be

86




regarded as a professional one. Keep this in mind when tempted to make it

otherwise - unless by mutual agreement, of course.

A bad agent will not only not do any of the things mentioned above - they

may well do very little or nothing at all to get you into print. It may be that

they simply don't possess the contacts or the skill required to persuade a

publisher that you're the Next Big Thing. It may be that they are inherently

lazy or habitually do just enough to keep you hanging on - though goodness

knows why as it earns them nothing.

Finally, it may be that the personalities of the agent and writer just simply

clash. A very businesslike writer may not get on too well with an agent who

has a laid-back approach to their work, or vice versa. Although it may well

be difficult for an unpublished writer to get an agent at all, it's no good

signing up with someone you cannot 'get on with'. The temptation may well

be great to grab any offer of having an agent with both hands but beware -

it could turn out to be a case of 'marry in haste, repent at leisure' -

something any writer can seriously do without.

So, before approaching agents, ask yourself this question - is this agent the

one for me? Do they handle my kind of work? What reputation do they

enjoy? Will I be able to work with them? And - do they 'feel' right? Getting

an agent is an important business and career step for any writer to take, so

don't take it lightly.



There's a myth in writing circles that you can't get published without an

agent - and that you can't get an agent without being published. True,

getting an agent may be no easy task - there are many aspiring writers out

there vying for agency status and notice. However, if your work is good and

your approach professional and businesslike, any writer can get an agent -

although it may well take a whole mountain of persistence and self-belief.

Ask people you know who have links into publishing - no matter how

tenuous - if they know any agents. Ask members of your writing group. Ask

bookshop owners, publishers' salespeople, librarians. Someone,

somewhere will know an agent, or someone who knows one. Then, if the

agent fits with what you want from them, approach them with your

reference - you'll be a lot closer to having the agent read your work than

another writer who has gone in 'cold'.

In conclusion, the decision to get an agent is one only the individual writer

can make. Just remember that writing is one task, publication another. A

writer's job is frequently hard enough as it is without the added pressure of

dealing with a publisher. A good agent bridges the gap between the creative

and commercial process and should, in my opinion, be regarded as an

invaluable asset to any writer wishing to make a career for themselves.

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Steve Dempster writes fiction and informative articles for the web. Learn more about how to kickstart your writing career here!

How to Get an Agent or Publisher For Your (Self-Published) Bookby Penny Sansevieri

I get this question a lot: "Now that I've self-published I need to find an

agent, how do I do that?" Well, it might seem to be a simple and easy

transition. I mean you're already published so it shouldn't be that hard,

right? Not so fast. There are a number of things you need to know before

you run headlong into an effort to get a publishing contract.

First off, publishers like what other people like. Well, generally they do. If

you're building success for your book, getting great reviews, building your

audience and online presence this is a good thing and will often be viewed

favorably by publishers. While there are agents and publishers that won't

even consider a self-published book, there are a number of them who will.

The key is to find those agents and publishers and get to know what they

specialize in. Since there are a million articles and books on how to craft a

http://www.howtobeawriter.co.uk/

http://www.howtobeawriter.co.uk/



query letter and submission packet I'll skip that. For the purposes of this

article, though, we're going to focus on personal branding and industry

positioning.

The first question authors will ask me is how do they know they're "ready"

to submit? Ok, so you've got a dozen or so great reviews, you've been

blogging regularly and you are a regular at author events. Sales, however,

are still slumping. You've sold 1,000 copies at best and struggled to even

make that meager number. Is that a bad thing? Not always, but it depends

on how your book was published. If, let's say, your book was published

through a print-on-demand company, a thousand copies is a fairly high

number (the average print-on-demand book sells 75 copies).

Also print-on-demand is limited in its distribution, meaning that even if

you've gotten great media interviews, reviews, and buzz for your book, the

reason you're not selling a ton of copies is the broken distribution systems

these books often wrestle with. Bookstores won't stock them because of the

non-returnable factor. (Note to the savvy author, avoid, at all costs, the

"returns program" POD publishers offer, bookstores don't care if you've

paid to have your book returnable. Don't believe me? Sign up for it, pay

your $500 and then do some calling around to find out).

Here's the deal: print-on-demand has for years been the red-headed

stepchild of publishing. Are there good books published through POD

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publishers? You bet. But for most of these authors it's like pushing a

boulder uphill. Now don't get me wrong, all of my first books were

published via POD and still they've been successful despite the biases and

all the other things New York publishing likes to heap on this form of

publishing. But the point being: knowing your market and understanding

how the market works will go a long way to giving you the insight you need

to be successful. Distribution is not defined as a place on Amazon or

Barnes and Noble, because anyone with an ISBN can get this type of

placement.

Distribution is defined as a distribution company actively marketing your

book to bookstores and other sales channels. This doesn't happen in POD

and the New York publishers know this. So, if your book is still selling well

despite these obstacles then you've got a winner on your hands, and it

might be time to seek a bigger publisher for your work. On the flip side, if

you have self-published and you do have a distributor in place, then

consider trying to pitch your work after you've sold over 3,000 copies of

your book. But there's a small catch: you don't want to sell out of your

market. Generally speaking this won't happen, but in certain cases it could.

Let's consider, for example, that you wrote a regionally-focused book about

the history of a town or state and you've focused all of your marketing

efforts in that region. It's likely that if you've sold 5,000 copies a publisher

or agent could view this as sold out of the majority of the market. You



might counter that you could sell this in other markets but unless there's

some tourism angle, it's not likely and even then, the appeal needs to be

really strong. Most books based on towns or cities are sold in the city and

generally not outside of that area unless they are big tourism draws, in

which case the market becomes much more competitive. Also note that if

you're thinking of trying to cheat the system you should know there's a

little thing called Nielsen BookScan that logs all sales by book and author,

so no fair counting your author purchases as sales - BookScan notes sales

through commercial sales channels only (major market retailers and

bookstores).

All right, so you're ready to pitch your book. You meet the sales criteria and

you know you haven't sold out of your market. What's next? Next, ask

yourself what your platform is. Platform is one of those words that agents

and publishers love to toss out to unsuspecting authors. So what does

platform mean? Well, it's a bit tricky because it varies depending on what

you're writing. Platform isn't who you know but who knows you. It's your

area of influence. For fiction writers it could be your e-mail list, the

subscribers to your blog, conventions you speak at, conferences you attend

(as a participant, not just an attendee). For non-fiction authors, defining

your platform is a bit easier. Often non-fiction books are tied to speaking,

coaching, or some other business model. These are all part of your

platform.

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When I sold Red Hot Internet Publicity to Sourcebooks, one of the first

things I listed on my marketing/book outline was my platform: subscribers

to the Book Marketing Expert Newsletter, business revenue, speaking

events I am booked on, average client base - everything. All of this is your

platform and all of it lends itself to having a built-in audience. This is what

publishers look for. Regardless of how you publish you still have to market

your own book, and publishers know it'll be easier to market a book that

has a following than one that doesn't.

After you define your platform the next thing is to define your hook.

Especially with self-published books, agents and publishers expect you to

have a hook. Since the book is published, if you don't have a hook this is a

tell-tale sign that you haven't been marketing this book correctly, if at all.

(There are additional platform-building tips that appear later on in this

issue).

How can you find the right agent or publisher for your book? The

traditional ways certainly work: getting books and guides designed to give

you agent and publisher contact info, but there might be a better way. Try

going to some writers' conferences that allow you to schedule editor and

agent appointments. This is a great way to get some immediate feedback on

your book, pitch, and the possibility of selling your work. There are a

number of conferences around the country, just be sure to look for ones

that offer one-on-ones with publishing professionals.



And finally, it's sometimes tempting to switch genres to get published. But

unless there's some compelling reason for you to genre-hop, like a

changing focus in your business, I recommend sticking with what's been

successful for you. Don't one day write on true crime and the next day start

offering dieting advice unless that's where you want your ultimate focus to

be. Also remember that if you've been writing true crime for years, and

have built an audience and following, you've now lost that base by jumping

ship.

The truth is that the odds aren't always in our favor. With eight hundred

books published each day in the US the market is narrow, to say the least,

but if you know your market, have a platform and are selling books, you're

already 90% of the way there - the rest is just finding the right match for

your book and maybe a little bit of literary luck.

Penny C. Sansevieri, CEO and founder of Author Marketing Experts, Inc., is a book marketing and media relations expert whose company has developed some of the most cutting-edge book marketing campaigns. Visit AME. http://www.amarketingexpert.com/

http://www.amarketingexpert.com/

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