One of the questions I’m asked most frequently, as a published novelist with a demanding day job, is how I have time to write. I very much admire those authors who can and do write every day, but I’ve never had a lifestyle that can support that sort of schedule. Instead, I’ve written before about the importance to me of making time to write i.e. setting aside intense periods of productivity, devoid of competing demands and distractions.
My cabin!
Over the last few years I’ve adopted a pattern of going on spring and fall retreat weekends with one of my writers’ groups. We (a group of 10-15 people) typically rent an Airbnb somewhere within three hours’ drive of New York City (e.g. in the Hamptons or in upstate New York). We spend our days writing in companionable silence, and our evenings drinking while making far too much noise. It’s cheap, fun, and effective. However, in 2020, retreats like this (often with crowded sleeping quarters) have obviously been impossible.
This was why I was delighted when my friend and fellow historical novelist Kris Waldherr introduced me to the Highlights Foundation, a retreat centre in the Pocono Mountains in Pennsylvania. The Highlights Foundation normally runs workshops for writers of children’s books, with time dedicated to learning together as well as writing alone. However, during this pandemic period, the facility has pivoted, becoming a destination for “Unworkshops”—unguided, socially distanced retreats for writers. I attended an Unworkshop there in mid-November and wanted to share my thoughts on the experience.
Cosy in my cabin
Is it safe?
The Highlights Foundation has gone out of its way to make their Unworkshops the least risky retreat possible in our current circumstances, and, while I was there, all attendees were scrupulous about following Covid-19 protocols.
Accommodations are mostly private cabins—each with twin beds, a writing desk, a fully equipped bathroom, and a snacks and beverages station. There’s no need to go anywhere else.
Meals are served at the central barn. You can order your food to go, eat outside (there are heat lamps, as well as crackling fireplace), or dine in the barn, spread out and behind Perspex dividers. I ate almost all meals outside so I could safely socialise between writing sprints. Yes, it was a little chilly, but as someone who’s been alone for most of the pandemic, it was worth it.
Walking in the woods
Is it inspiring?
The Highlights Foundation facility is in a beautiful location, so if you’re inspired by walking through the woods before returning to a cosy cabin, this could be the retreat for you. The books and artwork in the cabins were all focused on kids and children’s literature, so I imagine children’s book writers would feel even more at home.
The view from my writing desk
Is the food good?
Hard yes. The staff was also really accommodating to those with particular dietary needs. Wine and beer was served with dinner (though perhaps not in the quantities of my usual writing retreats!). I brought extra (and harder) liquor for late night nightcaps by the heat lamps.
Is it worth the money?
Everyone has a different tolerance for what they’re willing to spend on a weekend away. This retreat was certainly pricier than the DIY retreats I’ve done with my writers’ groups in the past but, in this case, a) I had much more personal space, b) food and wine was included, and c) there was no need for arguments over who was doing the dishes!
For me, it was pretty priceless to enjoy a retreat experience safely during the pandemic. I’d even consider going back to the centre in a (hopefully) post-Covid reality, especially if they expanded their workshop purview to include writers of fiction for adults.
The Highlights Foundation
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Welcome back! In my Writers’ Questions series, I’ve been answering questions other writers have been asking me since I first announced the publication of my debut novel. My historical novel, Bronte’s Mistress, will be released by Atria Books on August 4th, but, in the meantime, I’ve been working on a new project. This manuscript (also historical fiction) is currently with the all-important beta readers.
Counting down the days until Bronte's Mistress is published
What are beta readers?
Beta readers are early readers. They read a drafted novel from beginning to end, and give the writer feedback to make their novel stronger.
What are beta readers not?
Alpha Readers/Morale Boosters
Some writers have alpha readers—readers who act as their cheerleaders, reading chapters as they’re being produced. But beta readers are different. Their job isn’t to tell a writer “this is great” but to deliver tangible feedback and valid criticisms based on their reading experience.
Writers’ Groups
I am a member of two writers’ group (one historical fiction focused, one multi-genre), which give me chapter-by-chapter feedback. The valuable feedback I receive from these groups tends to be detail-oriented and technical (after all, I’m hearing from other writers here!). But it’s hard for these groups to comment on overall plot and character arcs since they’re only reading one (or half a) chapter every two weeks, and it’s nearly impossible for writers to put themselves in the shoes of non-writing readers.
Editors
It’s not the job of a beta reader to catch your spelling mistakes (and it’ll get really annoying if multiple people are telling you about the same typo!). Spell and grammar check your work yourself or hire a freelance editor if you need support.
How do I find beta readers?
My criteria for beta readers are very straightforward. Betas should…
1. Read fiction frequently (I don’t want people who don’t read or who only read non-fiction)
2. Be reliable (I’m working to personal deadlines so don’t have time to wait around for others)
3. Be honest (people may struggle to deliver harsh feedback and that’s okay, but you have to believe that their intention is to be as honest as possible—more on how to get the actual truth out of them later)
Generally speaking, I don’t want my beta readers to be other fiction writers. This is because writers tend to try to “fix” problems and tell you what they would have done vs. just pointing out their responses. However, I do make exceptions and think it depends how many betas you have. Of the eight people currently reading my next novel, one is a fellow novelist.
Among the others, there are non-writing expertise and experiences represented that I find helpful e.g. one of my betas is a historian, and others in the group have lived experiences that mirror those of some of my characters.
I ask people I know to beta read, ranging from close family members to acquaintances. There are also beta reading services and swaps online, none of which I’ve tried. With beta read swaps, you’re going to be getting feedback from other writers, which I find less helpful. With paid services, well, you’re going to have to pay! These options could be helpful though if you’re struggling to find people you know to ask.
How many beta readers should I have?
I typically recruit 7-10 beta readers, which is a lot, but I think the volume of responses really helps me. If I hear a piece of feedback from just one or two beta readers, I could chalk the response up to personal preference. If three or more people are saying the same thing, it forces me to listen.
Life is also complicated and messy. By having more beta readers, even if one or two of them have to drop out and/or have something obstructive happen in their lives in the next few weeks, I still have more than enough people giving me feedback.
Can you describe the beta reading process?
I know my 5-step process may seem a little intense, but I’ve gone through it three times and it works well for me.
Step 1: Beta Reader Recruitment
Ask people to beta read for you. It’s better to do this over text vs. face to face and to give them an easy out. For instance, this time around I mentioned that I knew people had a lot going on right now because of the pandemic. I told them I wouldn’t be upset if they said no, but I valued their opinion and would be delighted if they said yes.
The aim of recruitment isn’t just to get beta readers. It’s to get beta readers who genuinely want to beta read and didn’t feel pressured into saying yes.
Mistakes I’ve made in the past: asking people when we’re out drinking (drunk people say yes to anything), and asking people just because I was worried about offending them by not asking. Don’t do these things!
Step 2: Email Kick-Off
Here’s an anonymized version of the email I send to kick things off. Feel free to crib from it.
Hi BETA READER NAMES,
Thank you all so much for agreeing to be beta readers for my novel, TITLE (attached).
I've asked you for your help because I value your opinions and want to use your feedback to make the book better.
Reminders for everyone and rules of the road for new beta readers:
Try to finish the novel by DATE
Contact me as soon as you finish the novel (don't wait 'til DATE if you finish earlier)
Please read the manuscript like you would any other book. No need to take notes or sit with a red pen in hand
At a couple of points in the novel, there are pages asking you to pause your reading and answer a few quick questions. Please do that!
Don't copyedit
Be honest!
Don’t talk to the other beta readers about the book before giving me your feedback
Once you let me know you're finished, I will set up time to video interview you about the novel in depth
My promises to you:
I’m going to consider any feedback you give me seriously
I’m not going to check in on your progress before DATE
I’m not going to like you any less for anything you say about the novel
Thank you so much again for reading for me. Please confirm receipt of this email.Then I'll leave you to read in peace. J
Finola
Step 3: In-Manuscript Questions
As I mention in the email above, I include a few “pause” moments within the manuscript itself. These are pages in the PDF where I ask betas to jot down their answers to a few quick questions.
I didn’t do this the first time I had beta readers and wish I had (people will find it hard to remember their earlier reactions). The second time I used beta readers I inserted questions at the 1/3 and 2/3 marks, as well as at the end. This time I’m doing questions at 1/4, 1/2, 3/4 and the end.
Here are the questions I’m including this time:
Q1 Questions
What do you think of the novel so far? [2-3 sentences]
Would you keep reading if you were reading this for fun/not as a beta reader. Why or why not?
Q2 Questions
Write down 2-3 sentences about how you are feeling at this point in the novel.
Who are your favourite and least favourite characters in the novel so far? Why?
Write down 2-3 predictions of things that will happen in the rest of the book.
Q3 Question
How do you think the novel might end?
Q4 Questions
Write a short paragraph on what you thought of the novel overall.
Send me answers to all the beta reading questions via email.
Step 4: Review Emailed Answers and Schedule Interviews
I then read and digest the emailed responses. If anyone has said something really negative (“I hated this book!”, “it sucked”), this gives me time to toughen up privately, rather than hearing this for the first time in person or during our interview.
I try to schedule interviews as soon as possible after someone has finished reading (people forget details quickly!).
Step 5: Interviews
This is the most important step. I interview each of my beta readers alone, asking them the same list of questions as each other using a discussion guide I create beforehand. This discussion guide is similar to what a qualitative researcher might use (something I learned about thanks to my advertising day job).
I don’t answer any questions the betas have for me until the end of the interview (something I tell them upfront). It’s my job to ask the questions and take notes on their answers—not to be drawn into discussion.
Generally speaking, if your beta readers know and like you, their overall comments will be complimentary (or at the very least they will soften their criticisms). But it’s hard for someone to be consistently dishonest when you’re asking them detailed questions. This is when the truth will come out.
Here’s an anonymized skeleton for the discussion guide, which may be of use to you.
Characters:
How would you describe PROTAGONIST’s character? Did you like this character? Why? Why not?
What does PROTAGONIST look like?
How did PROTAGONIST change over the course of the novel?
Who was your favourite character in the book? Why?
Who was your least favourite character in the book? Why?
Did you mix up/get confused between any of the characters in the novel? Which ones?
Pick one other character from the novel, whom you have a detailed picture of in your mind. Who are they? What do they look like?
Describe the relationship between CHARACTER A and CHARACTER B. [I have a few versions of this question for all main relationships in the novel]
Were there any characters you wish you’d learned more about in the course of the novel?
Did you identify with any of the characters in the novel in any way? Who and why?
Opening:
What did you think of the opening of the novel?
Did the novel grab your interest straight away?
[If you’re debating whether you need a prologue, ask about this here]
Plot:
Did you spot any plot holes in the novel? Is there anything in the plot that still confuses you?
Did you guess in advance anything that happened in the novel? What?
Were there any big surprises for you in the novel? What were they?
[If you have any specific plot concerns, ask specific questions about these here]
Ending:
What did your think of the ending?
Did the novel end as you expected?
How did the ending leave you feeling?
Was there anything about the ending that was unsatisfying and/or felt unfinished?
Reading experience:
Did the novel feel long or short to you?
How quickly did you read the novel?
How many chapters did you generally read at a go?
Were there any parts of the novel that felt rushed?
Were there any parts of the novel that felt slow/boring?
Setting:
When was the novel set? [especially important for historical fiction]
Did the novel seem realistic for the time period it was set in? Did anything strike you as unrealistic? [especially important for historical fiction]
Which specific locations mentioned in the novel can you picture most vividly (e.g. rooms, houses, streets etc.)? Can you describe one for me?
Sex and romance:
Which sex scenes can you recall in the novel?
What did you like about the sex scenes? What did you dislike about them?
Were any parts of the novel romantic?
[This section may not be relevant for your book, but insert sections on themes and topics that are]
Language:
How would you describe the language the novel was written in?
Was there anything you didn’t like about the language of the novel/the way it was written?
Were there any words/phrases/sentence structures that stood out as being over-used in the novel?
What did you think of the dialogue in the novel? Was there enough of it? Did it feel believable?
Do you have any comments on the imagery (similes, metaphors etc.) used in the novel?
Was there enough description in the novel?
[Most beta readers will have little to say in this section, but I ask the questions anyway]
Other people/books:
What genre is the novel?
How would you describe the novel to a stranger? Would you recommend it?
Who do you think would enjoy this novel?
Did the novel remind you of any other books you’ve read? Which ones? Why?
Finally:
How did the novel compare OTHER NOVELS OF YOURS THEY’VE BETA READ?
Do you have any questions for me about the novel?
Step 6: Review Feedback
When I’ve done all my interviews I then review the feedback as a whole. Importantly, I don’t go reader-by-reader, but question-by-question. This allows me to a) spot patterns and trends, and b) emotionally disconnect from the relationship I have with any particular reader.
By the end of my review I have a list of updates to make to the novel based on the feedback I’ve received.
I then thank my beta readers, verbally, with drinks/dinner and in my book acknowledgements. They dedicated a lot of time to helping you.
What are beta reading problems and what should I do about them?
Most beta reading problems boil down to two buckets:
“One beta reader was rude and unreliable or was unhelpful in their feedback"
Solution = Don’t ask that person to beta read again
“All my beta readers ghosted me”
Solution = There is probably something wrong with your book. Consider finding a writers’ group and/or class to learn more.
Writers, I’d love to hear about your experiences with beta readers and how your process compares to mine! Get in touch in the comments below, via Instagram, on Facebook or by tweeting @SVictorianist. If you’re interested in my forthcoming novel, Bronte’s Mistress, which is now available for pre-order, click this link or sign up for my email mailing list below. I just checked back. In total I had 15,000 words (!!) of beta reader feedback, which helped make that book as good as it needed to be to get published.
This week I’m diving into writing craft, with an opinionated, and definitely not scientific, list of the words I suggest deleting from your work in progress novel.
Some caveats before I dive in:
This blog post is informed by my personal taste—yours may vary.
I’m not saying I adhere to these guidelines 100% of the time, or that there aren’t successful writers who take a very different approach.
In my own writing, I don’t apply all of these ‘rules’ to dialogue. Why? Well, a character being vague, long-winded or bad at constructing sentences could be part of their personality. Because I write historical fiction, using more old-fashioned prose for dialogue than for narration can also give a more a period feel.
Thought Verbs:
I did a whole blog post on this topic already, so I’m not going to go into too much detail here, but if you’re writing in first person or a close third point of view, verbs like ‘think’, ‘realise’, ‘feel’, and ‘notice’ will weaken your prose and make readers feel more distant from your viewpoint character(s). Instead of ‘I noticed the door was open’, try just ‘the door was open’. It will put us inside your character’s head.
Suddenly:
Is there any word more detrimental to creating surprise and drama in fiction than ‘suddenly’? Adverbs overall have a bad reputation when it comes to modern tastes in creative writing, and for me ‘suddenly’ is the most egregious. Consider which is more striking: ‘the door flew open’ or ‘suddenly the door flew open’? I know which option I’d prefer.
Bit:
I’m not sure if this one is just me, but my writers’ groups have suffered through my rants about the word ‘bit’ and now you get to too! When used to describe a tangible object, the word ‘bit’ is abstract, and a noun that’s more concrete will do its job better. For instance, a ‘bit of fabric’ could be of any size or condition, but a ‘rag’ gives us a clearer picture. A ‘bit of rouge’ could be a ‘dab of rouge’, which conjures up the motion of a character applying the product to her cheeks.
‘Bit’ is also used in the construction ‘a bit [adjective]’ e.g. ‘a bit tired’ or ‘a bit angry’. Here, ‘bit’ is bad as it shows a lack of commitment to the idea from the writer, which could indicate a lack of narrative confidence, and because it is often a flag for telling vs. showing. Don’t tell me a character is a bit angry—show me the extent of her anger through her actions.
Weird Dialogue Tags:
Look, I’m a lover of Victorian literature. See the title and theme of this very blog! I grew up on a diet of books in which characters were always ‘admonishing’, ‘declaring’ and ‘ejaculating’ (no, not in that way). But tastes have shifted and using weird dialogue tags today reads as old-fashioned or, worse, patronising towards readers. The content of the dialogue should already give us a pretty good sense of how it is said. Personally, I try to stick to ‘said’ and ‘asked’, with the occasional ‘whispered’ and the even rarer ‘cried’.
If you’re also a writer, I’d love to hear which words get the cut when you’re editing your work. And if my suggestions have stirred up strong feelings, I’d love to hear your thoughts either way. Tweet me @SVictorianist, or let me know via Instagram or Facebook.
If you want updates on my novel, Bronte’s Mistress, sign up for my monthly email newsletter below. The book is available for pre-order in hardback, e-book and audio book, now.
This week, with the world in lockdown, my literary agent, Danielle Egan-Miller, joined me via Zoom for a virtual Q&A session for my unagented writer friends, to share her experience, advice and perspective.
I played note taker as well as moderator for the conversation (“can everyone please go on mute?!”), so what follows are Danielle’s answers to the questions my writers’ groups asked. I hope they are of help to those of you currently in, or about to enter, the querying trenches.
Danielle Egan-Miller
Q:
Danielle, can you introduce yourself to everyone on the call?
A:
Hello, everyone. I’m Danielle Egan-Miller, the President and Owner of Browne & Miller Literary Associates, in Chicago—a role I’ve held since 2003. I represent clients in multiple genres, predominately in fiction. I’ve spent my entire professional career (since the early 1990s) in publishing. I started in, and returned to, the agenting side of the business, but I’ve also worked as an editor and an imprint manager. So please throw your questions about publishing at me, however weird they are. I’m happy to answer!
Q:
How did you get into publishing, and specifically agenting?
A:
I’ve always been a voracious reader. I was the kid always checking out the maximum number of library books and my grandmother was an English teacher. But, when I went to college, I initially thought I was going to go to law school. It was a circuitous route but I eventually landed as an English major. After graduation, I worked for a law firm for a bit, but then decided to attend the Radcliffe Publishing Course rather than pursue law school. This was the right choice.
I’m a sixth generation Chicagoan and I didn’t want to move to New York. This was pretty unheard of in publishing back then. Jane Jordan Browne, the founder of Browne & Miller Literary Associates, was the only literary agent in Chicago (although she initially started the agency in California in the 1970s). I sent her my resume, cold, and became her assistant. Working under her, I eventually became an associate agent.
I then went to the publisher side, working as an editor on non-fiction books.
I returned to the agency when Jane offered to make me her partner. She wanted someone to take on the agency after she retired. Jane was very editorial as an agent, and very old school. This has informed my own approach. I also tend to be editorial in how I work with clients.
Q:
What are some things querying writers need to know about literary agents?
A:
You don’t have to take a class to be an agent, so anyone can make a website and say, “I’m a literary agent.” A lot of people do that with no training and without having the depth of experience required.
The geography of agenting has also changed a lot over the last fifteen years. Agents now work all over, vs. just in New York City. I think some left the city after 9/11, but the move to digital has also had a big impact. When I started out, we had to mail physical manuscripts. I even had to take a typing test. In around 1995 we got our first (AOL) email account as an agency. Jane would print the emails out on the back of old manuscripts and share them with the team. Now it’s very different. I can do my job from anywhere.
What hasn’t changed though is that this is a job still very much based on networking and relationships. I used to only pitch to editors over the phone, but I usually pitch over email now. However, I still never submit anything cold.
The fundamental thing that should matter to querying writers is an agent’s track record in terms of sales. Our job is many things, from career management to negotiation to contracts, but successfully selling the works written by the authors you represent is where it all starts. Agents work on spec which means we only get paid when an author gets paid, and so my success is based on what I sell.We all post our deals online so look at Publishers Marketplace and Publishers Weekly to see what an agent has sold recently.
Q:
How do agents pitch to editors at publishing houses? Do you just reuse a writer’s query letter?
A:
We sometimes crib from a writer’s query letter if it’s good. But writing a pitch, and making a book sound as good as possible, is one of my core strengths as an agent. A pitch letter is a sales letter and important business communication. The blurb we write for a book will often follow it around to different departments at a publishing house so it’s important to get it right.
At Browne & Miller, we think a lot about positioning. Comps (comparative titles) are important. We might look at similar books published in the last couple of years and the copy used to describe them, for example.
In-house, we usually “round robin” the writing of a pitch. The author gets to give input, too, as we perfect it. I tend to be very transparent throughout this entire process with my clients.
Q:
Does every agent handle every genre? How should I find out which genre(s) an agent represents?
A:
Every agent is different when it comes to genre. I, for example, am something of a generalist, but there are genres I don’t rep.
Start with agents’ websites to see the types of books they represent and are looking for. Publishers Marketplace is another good place to look as agents list what they’re looking for on there. Some agents are also on social media, especially Twitter and Instagram.
And Manuscript Wishlist is also a great resource. I found a now #1 bestselling author from an #MSWL tweet. [Note from Finola: If you don’t know what this is, check out my previous blog post, which contains a full explanation of Manuscript Wishlist.]
If you know a writer who is agented you can ask them to refer you. Agents are also often speakers at events and conferences and may take live pitches at those.
Another easy thing to do is to think about which shelf your book would be on and which writers you’d be next to. Look in the Acknowledgments sections of their books. An author will often thank his/her agent. And flattery will get you far. If you can genuinely compliment an agent’s client’s book, do.
Q:
Do writers need to include comp titles in a query letter? Is there any harm in using them?
A:
The risk writers run in including comp titles is that they’re wrong. But on balance it’s better to try. I love the mash up comp: “X meets Y.” Or if there’s a twist on a genre e.g. “It’s a cosy mystery with a paranormal twist.”
A kiss of death in a query letter is not knowing what it is you’ve written. That would be an automatic no from us.
Comp titles should be fairly recent. And if you’re going to use something old, tell us why this book is different and new. Don’t just say, “It’s reminiscent of The Call of the Wild.”Tell us why we need a new The Call of the Wild. Ideally you should have read the comps you use.
Librarians are also a great resource for finding comp titles. Say you’re writing a historical mystery set in New York City. Ask a librarian to point you in the direction of the most popular books in this vein. You should know who the big players are in your genre, but that doesn’t mean there’s no room for you.
Q:
What should writers learn from the American Dirt and RWA controversies?
A:
Readers and publishers are interested in authentic voices. So there are amazing opportunities for writers who bring a different perspective or worldview.
Q:
What makes a query letter stand out for you?
A:
I probably get around two hundred to three hundred email queries a week. Other agents, who are more aggressive about soliciting queries, may get double or even triple that.
First and foremost, query emails need to be well written. Email gives people the licence to be casual, but a query should be very polished, not something written off the cuff.
I want one or two descriptive lines up front, telling me what a book is e.g. “It’s a 95K police procedural featuring a thirty-five-year-old single mom who might have ESP.” That should be followed by a good descriptive paragraph, similar to the back copy on a book. You shouldn’t include every detail of your story, but you should make me want to read it.
After that I want to know about you. I consider both debuts and previously published writers. Tell me what is relevant about you and your writing experience. I like to know if you’re in writing groups, or groups related to your genre, and if you’ve gone to conferences, or entered contests. Also include clear contact information in the body of your email vs. relying on the “reply” button.
Every agent will list their own querying guidelines on their website. Follow these to a tee. For instance, I only want to see a query, not the first three chapters. I don’t open any attachments I haven’t requested. If you’re querying twenty agents you might have twenty different versions of your query.
Make sure you spell check your email. And please spell my name and the name of my agency correctly.
If you’re struggling to write your book’s blurb, switch with a critique partner or within your writing group. Pitch each other’s books to each other. Writers aren’t necessarily marketers and that’s okay. An outside perspective could be what you need.
Q:
Are there rules about what you need to achieve as a writer in your first ten pages? For example, if you write mysteries, do you need a dead body on page one?
A:
How editors and consumers are reading is changing expectations about the first few pages of a novel. Many editors are reading manuscripts first on their commutes, on their phone or tablet. And reading in this format makes it seem like it takes longer to get to the action. Twenty-five printed pages could be a hundred swipes on a Kindle.
I edit by hand and my assistant then types up my notes, using track changes and comments. But I have to be aware that many are reading digitally and you should be aware of that too.
If you are writing a mystery, you certainly might not want to wait until 30% through your novel to introduce a dead body, but, on the other hand, not every mystery needs a dead body on page one. I understand writers’ worries about becoming too artificial. We see the same problem in romance. Often editors and readers want the hero, heroine, and romantic conflict all introduced within the first few pages.
Part of this is being driven by genre fiction having a huge readership in e-book. E-book readers have their own demands and a quick opening is one of them.
Q:
You mentioned that your approach as an agent is pretty editorial. How much editorial work are you willing to invest in a new client and/or manuscript?
A:
I like to do editorial work but still a manuscript needs to be pretty sound for me to take interest. I always compare it to a cake—it needs to be baked enough. That means don’t query me with an early draft.
However baked it is, if the writing is problematic, lacking rhythm or cadence, I can’t fix that. Other agents may have a different view, but, if the writing is creating an obstacle to reading, if I’m seeing a lot of odd sentence structures and it’s not flowing well, the book is not something for me.
I do a represent a lot of historical fiction writers and, for historicals, there is a big difference between dramatising the life of a historical person and writing a historical novel. A historical novel is meant to bring historical characters to life in a way we don’t know, not just dramatise what happened to them.
It’s important to remember that agents work on spec. Good agents never charge writers an editorial fee. We get paid only when we sell your book so I need to believe that the manuscript is something I can sell.
The relationship between a writer and an agent is like a marriage. You have to trust each other. After all, your agent will be the one advocating for you in the marketplace. When it comes to the editorial process, if you don’t like my feedback, then we’re probably not the right fit. A manuscript has to become “submission ready” and if I’m still finding things that bother me, an editor will probably feel same. I’ve learned that from experience. One or two editorial passes is common for me, though sometimes it’s more.I talk to writers upfront about how many editorial passes I think it’s going to take before their manuscript is ready in order to set expectations.
Q:
How is COVID-19 affecting the publishing industry and, in particular, agents’ ability to make new deals?
A:
Great question. This crisis is continuing to evolve on daily basis, but right now I think it’s great time for writers to query agents. Agents are very actively looking and we have to believe that editors are going to keep buying.
Books being sold today will be published eighteen months to two years in the future and we have to believe that 2022 will be better than 2020.
At my agency, March was a rollercoaster. We were meant to be at London Book Fair. There was all sorts of drama leading up to it, before we withdrew, and it was eventually cancelled. My son had to move out of college on three days’ notice. I am fortunate that my son is old enough that I’m not home schooling but some editors are, and I have to be aware of that.
I was personally catatonic for a week or two, with everything going on, but I’m motivated now to make some good sales during this crisis. I have several projects on submission. This agency will turn fifty years old next year and it’s made it through all sorts of difficult times including the 2008/2009 economic down turn. We’ll get through the coronavirus pandemic, too.
Lots of writers are struggling to write in the current climate and so many have told me they’re incredibly distracted. My authors have certainly had events cancelled, but we’ve had no book releases rescheduled as of yet. I expect we will continue to see cutbacks at publishers.
One thing I am not doing is virus-related books. I’ve received so many queries about those so far. Please don’t!
Q:
How are audio books changing the publishing industry?
A:
Audio books are the biggest area of growth in the industry. Amazon has made it so easy. People can now listen to books while working out, in their car, or on their commute. In the past you read a book first, then maybe listened to it, but not anymore. We’re seeing audio-first consumption.
As an agent, it is now very difficult to negotiate away audio rights from the publisher. For most imprints at the Big Five, having the audio rights is now mandatory.
Q:
Can you talk a little more about the business side of the business—rights, contracts etc.?
A:
The relationship between writer and agent is a significant business relationship. I am a member of the AAR (Association of Author Representatives) and we have a code of ethics, which, among other things, addresses how agents should handle their authors’ money.Messing up the money is the best way to get a bad reputation as an agent.
I have a fiduciary relationship with my clients. For many, I receive all their advances, royalties etc., and I personally write every cheque and issue 1099s. And an AAR member, I have to pay out monies due to authors within ten business days.
One of an agent’s biggest roles is to negotiate a contract on your behalf, so an agent has to have an understanding of what the negotiable points are within a contract. Some large agencies have contract departments. I handle all contracts myself. This is something that it’s fair to ask about if an agent has made you an offer of representation. Most agents aren’t lawyers, but some are. I guess my early interest in law went to some use!
An agent should always look out for the author’s best interests and be able to explain why this a deal is a good one or not. Most agencies have a boilerplate contract which is a good starting point for negotiation.
When it comes to rights, there are a lot to think about. We have to think about the territories the publisher wants to sell in, foreign translation rights, audiobook rights, e-book rights, film/TV rights, large print rights, first serial and second serial rights and more.
Typically, the publisher wants to take everything, and the agent wants to give nothing and the negotiation starts from there. So it’s important to know what all the rights are worth.
Q:
How do you stay up to date with the types of books acquiring editors are looking for?
A:
Normally, I see editors several times a year, for example at BEA, various conferences, the London Book Fair, and during other trips to NYC and LA. I’m always reading deal posts and the trade publications and I stay in touch with a lot of editors via social media. I am also established enough that I get contacted by (especially younger) editors, so they let me know what they’re looking for.
Q:
What do you appreciate in relationship with client?
A:
It’s important that we hit it off personality-wise. I appreciate honesty and friendliness and I think I have such cool authors! I’d love to have them all at a great cocktail party. Lots of my clients are now friends and talk to each other as well.
Q:
What’s a red flag from an author that makes you less likely to want them as a client?
A:
I have a good radar for high maintenance people and a mantra that “life’s too short” to deal with them.
For me, an author wanting to be famous is a red flag, as is a writer who sets their own expectations about money. I love to make money for an author, but money isn’t always the best leading motivation for a writing, or any creative, endeavour.
I want to work with writers who are talented, pleasant, hard workers, goal-oriented, and who I genuinely like.
Q:
Can you explain what a bidding war is?
A:
It’s typical to go out with a manuscript on what’s known as a “multiple submission.” For instance, I might send a manuscript to six editors at the same time. Some agents may send to twenty editors or even more but I don’t typically go that high.
If multiple editors want to buy a book, it then may go to auction, which the agent conducts. I always set auction ground rules that include that the writer can take any offer at any point for any reason. It might not just be about money, but about whom a writer wants to work with and whether an offer is for one book or more.
The more a publisher spends on a book, the more the book has to make to be deemed successful.
We were all very grateful to Danielle for taking time out of her day to talk to us, and I hope this write-up has been helpful to some querying writers out there.
If you want to read the query that helped me get an offer of representation from Danielle, you can check it out here. For more information on my forthcoming novel, Bronte’s Mistress, click here. And, if you want to be alerted about news, giveaways, events and more, follow me on Facebook, Instagram and Twitter, or sign up for my newsletter below.
