Coming Together

It's been a long hard slog - both the gestation of my slowly evolving writing skills (if I have any - lol) and completing this NAW course.


Tonight I put the finishing touches on my final project, thanks to some handy hints by our friend, Peter the Agent - who else can rely upon a literary agent for writing advise, eh?

And he was brilliantly supportive and praise-giving too - which, as everyone who's a client of his will tell you, is something he doesn't often do (the praise-giving that is, not being brilliantly supportive - Peter is always that, he's just also clear, concise and honest, which means the writers in his stable are always under pressure to write better than they do).

I want to share his wonderful words... most especially because this is the precipice I've been straining to reach, and from up here I can now see the valley of work laid out before me. And it's nice to offset the one-sided angst I've ridden out on this blog.

So, a couple of months ago I pitched an adult fairytale - face to face (now, who else gets to do that with a literary agent), with the following encouraging words (that should also help you, dear reader):

I've had a good think about this - it's extraordinary. It's deeply creative. It feels epic and archetypal.

Enough of the praise - most people know that I hardly ever give any.

My checklist:

Could I sell it (sorry, but I'm an agent...) probably not. Not easy to define the market. Not easy to conceptualize for the inevitable elevator pitch, and therefore, not a calling-card book to announce a new writing talent.

How did I feel after reading it? And by extension, how will publishers?

Impressed certainly, but not sufficiently involved. It's a quality piece of writing and creation, no question, but it lacks the requisite degree of emotional involvement. The kind of ms you get fantastic rejections letters about. "I didn't quite love it enough..." It's not quite connecting down there, viscerally.

Advice / suggestions? I didn't catch your voice here. I'm aware of a brilliantly fertile mind scheming away behind the scenes. I'm not aware of who you are, your passion, your essence. It feels a bit like a writing exercise, something intended to show off your creationary brilliance. Maybe a bit too calculating and cold-blooded. I would willingly trade a lot of that sparkling creativity for some authentic voice and zeal. I suspect a lot of that has been slowly edited away.

I'd focus on developing that, actually. Finding your voice can take time, can't be forced. Can be accelerated by the right project, something you have no choice but to write.

You may have got to the point of diminishing returns on this. What are your priorities as a writer at this moment? Developing this -or developing yourself? The two may not be the same.

Imagine my excitement at such a response.

Anyhoo, as you all know by now, my final project has engaged me in plotting and writing the open to a Young Adult novel which is essentially Noughts and Crosses meets Harry Potter. The pitch to Agent Pete produced this response:

I really like this. Good style & pace, very page-turning. Nicely odd, too.

Only a few minor points, nothing major or structural.

Nicely disturbing! Feels surreal, very engrossing.

Nice Lynchian imagery, very powerful.

Basically, I think it’s great – there’s a maturity, assurance and control about it that impresses me. Your writing has very clearly developed. Congrats, and keep it coming!

Yippee. So, while I thought this project would end here with the final project and I'm to move onto pastures new, it actually has legs.

I've been writing towards this for 12 years now, 6 of those with Litopia holding my hand. Hold in there people, keep reading, keep writing, and keep learning.

If I can get this kind of response, then you can too. It just takes time and commitment. Anyone fancy a drink to celebrate?

PS: My big-big thanks to Peter for everything he's done to make Litopia such a supportive environment, and for giving me all these chances.

Masterclass with the Agent Luigi Bonomi

Some facts

The market is overcrowded – very competitive.

• of 200,000 books sold per year, 190,000 sold less than 3000 copies.
• of 85,000 new (first-time) books published – 60,000 sold an average of 18 books
• it costs a publisher £7500 to publish a book (printing, marketing, design, distribution) and that doesn’t include any advance – generally it is reckoned that 20,000 must be sold to cover costs

As a result lists are being dramatically cut.

The new writer therefore has to stand out. The question is how? First look at the market – what is selling?

The market is divided between literary fiction and commercial fiction (a distinction that is beginning to dissolve)

• Literary Fiction takes about 5% of the market. Important to have a big concept, big theme, not parochial small town ideas. Often what sells it is Prizes, and programmes like Richard and Judy (which is ending). Original structure and good writing is important – e.g. The Book Thief.
• Commercial Fiction takes about 95% of the market. Despite reports sales are vibrant – but in specific areas – sci-fi is quiet, crime is overcrowded, thrillers and romance are thriving. The pending recession suggests that like in the 80s (look at trends then) ‘sex and shopping’ is a likely to make a comeback. Other strong areas: (post Dan Brown) adventure and history (with esoteric references), male relationships (with father, with son, with woman).
• Children’s market is strong – especially 7-12 years

How do you get an agent?

The agent’s goal is to find the next talent – but they are overworked so they aim to reject – to weed out. The writer’s aim is therefore not to give the agent a chance to reject you.

Provide – a synopsis (3-4 pages maximum), 3 chapters or less, 1 short page covering letter. Luigi’s agency receives approximately 5000 submissions a year (100 a week). – of these they will look at 60 (5 a month).

What happens when a submission is received?

The parcel is opened. If there is anything more than a simple rubber band for binding it is rejected.

The cover letter is read. If there are any spelling mistakes or it is badly presented it is rejected.

The first paragraph of the first page of the text (not the synopsis) is read – then the second paragraph – if it looks interesting it is put aside, otherwise it is rejected.

In half an hour he will process 40 submissions and put aside possibly 4, of those he will read pages 2 and 3 – and probably reject – resulting in perhaps 1 a week.

He will then read that submission (the first three chapters – or less).

If he likes it he will ask to read the rest of the book.

There will be no feedback or suggestions re-revision – though if he is really interested he may send it to a reading agency for a critique.

The language, style, rhythm, sound – is very influential. So it is important to listen to other people reading it (reading aloud to yourself is valuable, but hearing other people read shows better how it will be received).

Then plot, storyline and characters.

‘Me too publishing’

There is a tendency for (especially big) publishers to follow a successful trend. He gave the example of Atlantis by David Gibbins. This was initially rejected by many publishers, so was sold to a small publisher. It became a best-seller, and the big publishers went back to the agent to ask for some the same (not similar but exactly the same!). Then they went back through the slush pile to find something – and did.

Agencies
The Agents Association has a list of accredited agents – and it is best to look for agents on the list (marked in the Writer’s Handbook).

If you are lucky enough to have different agents interested, look at how you feel you could work with that agent, the types of book they have sold, their market share etc.

The agents work really starts when they take you on – then they or an editor may work with you, though the publishers too will often want a further level of editorial input.

The relationship is essentially with the agent – not the agency. If the writer work on different types of book it is acceptable to use a different agent – though often in consultation with the initial agent.

The going rate is 15%, though there are moves to try and increase this. Advances are very variable – and there has been a suggestion that the agent’s commission should be on a sliding scale linked to the advance.

The Writers Yearbook , and the Writer and Artists Yearbook have lists of agents – but to find who represents a specific writer look initially in the acknowledgements page of the book or contact the publisher (or Google the writer).

Small versus large agencies

Small agencies are more responsive, more accessible, and you get to know the team – and they may promote you harder.

With larger agencies you may have less contact, more competition but possibly larger advances.
However in most cases you will go with the one who will take you on.

Are Agents proactive in looking for new talent?

The masterclass wasn’t a proactive exercise to find new writers. He stressed that people should not think that agents are charities or see promoting new writing as their role. They simply don’t have the time for that. They operate a business.

Remember however that the selection is very much a matter of personal taste – so it is important to send out to as many agents as you can. Don’t worry if agents have rejected you in the past – they will not remember your name.

- My thanks to Roger for his notes

Masterclass - The Necessities of an Agent, with Ben Mason

Shiel Land Associates are a literary agency based in London, England, boasting a number of big name writers and celebrities:

Including Peter Ackroyd, Melvyn Bragg, Stephanie Calman, Steven Carroll, David Cohen, Anna del Conte, Elizabeth Corley, Seamus Deane, Erik Durschmied, Alan Garner, Robert Green, Bonnie Greer, Susan Hill, Richard Holmes, HRH The Prince of Wales, Mark Irving, Simon Kernick, Richard Mabey, Steve Rider, Martin Riley, Tom Sharpe, Martin Stephen, Jeffrey Tayler, Andrew Taylor, Alan Titchmarsh, Rose Tremain, Phil Vickery, John Wilsher, Paul Wilson, Chris Woodhead and the Estates of Catherine Cookson, Patrick O'Brian and Jean Rhys.

Before you ask... their website doesn't work - not very forward thinking in this day and age I know, but we can't assume reasons for this. Many agents still haven't got a proper web presence.

Ben Mason, one of their agents, who came to speak at NAW this week, has 45 clients that he looks after personally. Having started from a psychology background Mason is primarily interested in finding unpublished newcomers . Most agents, he says, are 40+ years-old, have high levels of workload and their client lists are full, and though all will say (as publishers do) that they aren't looking for new clients, none of them can be so picky as to not entertain a submission pile.

Getting new authors off the ground, he says, required far more effort than an established author. The breakout novel, the new book, it needs a hard push and cannot rely on any of the tactics in place for those established in the trade - not in word of mouth, prime shelf positions, marketing, tv or radio time.

The Agent's Primary Role

Mason's main aim today is to prove why an agent is more important to a writer than a publisher (a publisher, of course, is essential but there is a time and a place... do pay attention).

Authors are their own best editors. They know the work, should know their own style and are best place for critiquing their own work. There are always holes and in particular, as Mason pointed out to us, our work on the NAW course isn't intended for the marketplace yet and we aren't pitching to that level. The agent will help prepare the full submission package, assisting on editorial input.

Agents know publishers. They understand the breakdown of these companies; who works where and for whom. The book... your book, the agent knows, will be broken down by five separate units within a publishing house, each of them considering whether or not the book is worth publishing. It is essential, therefore, to be able to boil everything down to single or double sentences. If you can't pitch your work concisely then you're not necessarily going to appeal to anyone and the entire submission will fall through the floor.

After the big submission to the publisher, the agent will guide you through the process of publication and the contract (which has become more and more difficult what with audio books, eBooks, and all the foreign rights). The agent hopes to carve up the rights allowing them to be managed separately between the UK and Commonwealth (inc: Australia and Canada), the US, and Foriegn Rights (translations - selling rights in Germany, for example, can generate as much as those sold in the UK).

The author is given an advance, which is payable in segments; money on signature, on final publication, on release and on the separate rights. This can be released over as much as 4 years. It therefore helps to generate buzz, and requires a great deal of understanding and knowledge on the agent's behalf.

The author's work is edited by the agent, working with the author for a time before even attempting contact with a publisher, so as to ensure the best possible iteration of the book. Once accepted, the book is edited by the in-house editor (which can possibly be a tricky process as publisher's are buying the author's book and have a lot more authority). Editors are creative people, says Mason, and not business people. Working relationships between writers and editors can be great but have to be a match in order to work. If the editor's demands for the work doesn't meet the author's then the agent may need to support and massage the author. Just remember that publishers are gamblers. They take a gamble on every new author and new book they release.

Jacketing

The book jacket is very important and it isn't the case that the author gets to choose. gave examples of some authors wanting their child's artwork on their cover... but it's not possible. Authors headed for publication are in a business environment, despite their creative roots, and though covers may be a bone of contention, the author has (again) sold the book to the publisher. Waterstones and Tesco now have the power to tell a publisher that they don't like the cover of a book and the publishers do go back and redesign and reprint.

Harry Bowling released a book in which, on the first page, the child of the protagonist is killed off. The publishers made the brilliant decision to depict a child in a parent's arms on the jacket! Go figure.

Marketing

Publishers, says Mason, don't generate big expenses for marketing, adverts, the web or book clubs - these are all useful and available, but for the first time author much of the onus for this is put back to the author. Author's are advised to create their own web presence and get them selves about (it's worth a look at Robert Ronsson's Masterclass on Self Publishing for some brilliant and pertinent advice in this respect). There are book signings, festivals, and Mason places much emphasis on authors building relationships with other authors (there is nothing like networking).

The Selling

It is important to get on with the marketing as soon as possible. Waterstones in particular have a short shelf life for those books not selling well - and a book that doesn't sell well in hardback isn't going to get accepted for sale as a paperback. And despite the trade bodies growing into the web market place (Amazon in particular) the high street is still the main location for book purchases.

The process of selling begins with the surveying of certain (key) buyers in the book trade, to find out what they think of the "product". Testing the buyers' reactions is essential. The publishers are trying to appeal and please. If, for example, Waterstones buys 3000 copies for a new writer, this is considered good.

The Slush Pile

Shiel Land receives roughly 300 unsolicited manuscripts a week. The majority of them are decided upon in their first lines or on the weakness of the covering letter. Mason has received bribes, chocolate, pictures and more. Even our own Peter Cox has received a manuscript in a glass case (it turned up smashed).

In your covering letter you should attempt to communicate your own identity (whether or not that is similar to other authors). Show your place in the market (you have to do your research here, both in terms of where your book goes on the shelves but also which agent, particularly within an agency, is the right fit for your genre). Avoid CVs, an agent's interest lies in the writing, so get straight to it asap. A 1 page synopsis is preferable and it doesn't have to give the ending - this of course is all at the whim of the agency, and you must do your research and submit what is requested.

Literary or Genre

The industry doesn't, Mason says, talk about literary and genre delineations, however literary books are far more difficult to publish. The problem with them is that they can inspire or be really awful. The signal from the trade buyers may be to commercialise the cover.

Literary writers, says Mason, must be brilliantly inventive. Don't get blinded by panic half way through and beam the characters to the moon (more wildly wacky ideas have passed his eyes). These works must contain their creativity.

And, for every definitive way in doing things there are others. The independent publishers were set up as a way of railing against the conglomerates (an Orion for every Random House), and are more prepared to try Literary works. Mason gave us an example of one book that he'd loved that had sat in his bottom drawer for five years - no one wanted it. On the off chance, two weeks ago, a guy he knew had left a publishing house to set up his own, and Mason submitted the piece to him only to discover the guy loved it. Sold!

Agents can accept on the basis of a single page, or on three. A submission can be made, accepted and then the agent receives 1 chapter every month from the author, edits it and waits for the next. MG Harris was accepted by Peter Cox based on her writing, her initial maniscript was scrapped and she had to write a new one.

Publishers, unlike agents, want a completed manuscript. As Mason puts it, agents represent people, but publishers publish books.

Sales

2000 copies sold in hardback is considered a respectable first sell for a new author. The review of a book in trade magazines and papers used to be on hardbacks only, but this is changing. Note: it is not respectable for an established author to sell only 2000 copies.

20,000+ sales in paperback is thought of as respectable for a first time author, but books have a small window (shelf life). If they aren't selling, they will be pulled. And, as with the hardbacks, this number is only respectable for the first time author.

Remember that submitting to an agent gives you support. An agent can often work for an author for free for up to two years (working on spec) with no idea that the book will sell to anyone. That is invested trust you don't get from a publisher.

Contract

A final note, contracts and authors are protectected by the Association of Authors Agents. And quite often these contracts can include a 6 weeks termination aspect. Either side may, at any time, end the agreement with 6 weeks notice.