Agent Interviews

We talk on the phone or meet in person.
Talk about dirty laundry/no crazies.
Establish best ways of communication, nuts and bolts etc
Sign an agent author agreement.
Discuss strategy for book/proposal.
Ask them what is their wish for in an ideal agent/author relationship.
Ask them to write down their idea of success.
Submission

Entering into an agent/author relationship is a mutual decision, so I like having a conversation or two before officially offering. At that point, I feel it's important for the author to have the opportunity to ask questions, look over our agency agreement, and notify any other agents. I am comfortable with this process taking quite a while - publishing is often not a race even when we want it to be. I will be up front with whether I think the project is ready for submission as-is, or if I think there is editorial work to be done beforehand so that the author can factor that into their decision.

I will set up a call to discuss my vision for the book and submission process. If the author and I are on the same page and have the right chemistry to work together, I will offer representation. If they accept, we will work on revisions necessary, prep the manuscript for submission, craft the pitch and then go on submission. While on submission, I will encourage the author to start or finish their next story.

I'm a talker, so I set up a phone call. I like to know what else the author is working on and what their long term plans are. I might give them editorial notes on what I think could make the manuscript sell better in the market. I want to see how receptive they might be to revision. If I decide to represent, I send an offer and a soft contract that they can review and ask questions. If they decide they want to sign with us (Metamorphosis), then I send an E-signature contract, followed shortly thereafter by a welcome packet.

I send them an email suggesting we have a chat over zoom. We have the chat and I verbally offer representation. In the chat, we usually talk through how the agency operates, how I operate as an agent, what editorial work needs doing, whether our visions for the book align. Often. the author needs time to think about it and sometimes they let other agents know about the offer, in case another agent wants to offer representation, too. If they decide to accept my offer I send them our basic agency author agreement and we agree on a date we can announce the partnership on social media.

We sign a Letter of Agreement laying out what we expect of them and what they can expect of us (the agreement can be terminated by either party at any time). We help them, using our long editorial experience, to get their story (whether fiction or non-fiction) finely tuned, and make their voice as clear and distinctive as possible. Then we enthuse about their book to publishers, and go on trying, however many rejections we may receive, until we run out of road. We make deals that are fair to both parties, and we fight our authors' corner, so that they know we are there for them.

I'm an editorial agent, so once I decide to represent someone—we chat on the phone, I make an offer, and they accept—we'll dive right into revisions. The first step is for me to send the author an email describing my developmental edits, suggested changes, and the reasoning behind them. Everything I suggest is for the author to accept or reject or question; it's an entirely collaborative process. But if we’re on the same page, they'll make work on making changes, and when it's ready, they'll send the manuscript back to me. As I read the manuscript once more, I often make comments and track changes on the page for a second round of edits. This may include anything from suggestions to draw out a specific scene and its emotional resonance to line edits. This, again, returns to the author for their input or acceptance. We may go back and forth with minor changes once or twice more, but once we’re both happy with the strength of the finished product and everything it has to say, it’ll be ready for submission! While we revise, I'll work on creating a list of editors I think would be a good fit for this book, the genre, the characters, and the themes. I also make sure I have a strong pitch ready to send when the manuscript is polished. Then it's up to me to make sure the manuscript is given its best chance to be published, while the author starts their next project! And the process starts again.

Once I decide I'm seriously interested, I consider sales potential, including making a preliminary list of editors who come to mind for the project (manuscript). If that looks good, I contact the writer to set up a phone call to talk about representation for the project. In that call, I discuss the rep agreement with the agency, what the person can expect in terms of communication from me, how an offer is typically made from publishers, contract negotiation, and other matters. I encourage the person to ask whatever questions s/he may have and we both get a sense as to if it is a good match to proceed.

The writer and I meet first; they might not want to be represented by me, once they've met me. It's a two-way street. We discuss how I would sell the book, and how they want this done. We also talk about their other work that might be unsold, their future plans, etc, looking about 2-5 years ahead. Then I send them a letter of representation. After that, I discuss the submission plan with them in more detail, according to which publishers I think would be right and who they want to have their book submitted to. Often I work on the submission letter with the writer, to make sure they're satisfied with how the book is being presented to the publisher. Writers often come up with better phrases than I do. Then I start submitting. We check in as I start to get responses, and over time review the plan for their work.

We offer them representation, share the agreement, go from there.

We work with the writer to make the manuscript the best it can be, and then submit to as many publishers as appropriate

I will reach out and set up a phone call. We will speak about the work and get to know each other, and then discuss representation.

I help the individual get the proposal in the best shape possible. I'll send notes on the entire manuscript. Once it's a go, I'll send a couple submissions out to hopefully get a bit of feedback. Once we're on the right track, I'll send out more and pray for a BIG YES! from the publisher!

Once someone has accepted my offer of representation, then our first focus is getting the manuscript ready for submission. First I'll give big picture notes on developmental changes the project needs. These things are typically discussed on the introductory call to make sure we're on the same page. Once those are incorporated, then I'll give at least one or two more rounds of more in the weeds edits. Sentence-level line editing and things like that. For picture books, we often have sort of a ping pong match where we pass it back and forth many times prior to submissions, tweaking things here and there. And then once we're ready for submission, I prepare a sub list for my client to review, which is something they have access to throughout the whole submission process. And then we begin knocking on doors until the right one hopefully opens!

In offering literary representation to a writer, I will first reach out with a phone call to them to share my enthusiasm for their writing and to discuss what their hopes and dreams for the future might be. We discuss what the editorial needs of the manuscript might be if there are any. I also like to tell the prospective client a few things that make our literary agency unique and I tell them a bit more about myself, beyond what they might have ready on our website about Trident Media Group and me. We then memorialize our working relationship in email or via an agency agreement. After that point, I set to the task of constructing a pitch and a submission list of editors at various publishing houses where the manuscript can be submitted.

I make them an offer of representation. If I'm lucky, I sign up a new client. Sometimes a good author will get multiple offers of representation. You win some, you lose some. It's a bit difficult to compete in a "beauty contest" with a bunch of other agents. We are all similar, yet so different. Sometimes it comes down to whether your personalities mesh or not. I have an author-agency agreement for authors to look over but I don't force anyone to sign it. I have a handshake agreement with 99% of my clients and it works just fine. But the agreement spells out how we'll work together. Next step--prepare the work for submissions. It might need a round (or multiple rounds) of editing. Sometimes I'll do it, sometimes I'll recommend a freelance editor be hired. Once we have the final manuscript (or book proposal for Nonfiction), then I draft a pitch letter, and put together a submission list. Authors get input on the pitch letter, but the submission list will usually be like looking at a cuneiform tablet--sort of meaningless. As an agent, my job is not just to shape and sell books, but to manage my clients' expectations, and interface between them and their publisher if need be.

If the query letter and sample pages spark my interest and are in my wheelhouse, I request the full manuscript. It usually takes me about two months to get to it in the reading queue. If I fall in love with the story and feel that it will be competitive in the current market, then I set a call with the author to discuss further!

I usually request to speak to the author, either in person or via zoom. It's always good to chat about the book in more detail to ensure we have an aligned editorial vision for the work and what the author's ambitions are for it. I also like to discuss ideas for the author's future work and make sure there is plenty of time to answer any questions they may have on myself as an agent and our agency.

We will work on the manuscript editorially if I love the voice but the pacing or story need some work. I want it to be in strong shape before I take it to my buyers. Once it’s ready to go on submission, I send out a pitch letter for the manuscript to a select group of editors and hopefully, we go with the best offer. Then it goes into the book making process!

I’m sure that’s fairly standard. You send an agency agreement for review and signature, and then, depending on the work that still needs to be done, you work with the author to make it the best it can be. Once ready, you start crafting a submission list of editors and publishers to send to, and if you have interested parties you move to a sale or auction and negotiate the strongest contract and advance you can for that author. That’s the short version. Because the work of a successful publication is just getting started after those items are done.

A detailed conversation about their expectations and how they best like to work.

I arrange a get-to-know-you call and once we both agree to moving forward, I will send forms that need to be filled out for our contract to be sent over. We then send a contract for Books & Such representation and start to integrate the author into our community and my client list. I then work with my client to get the proposal/manuscript into shape before setting up a submission plan with my client. And then we're on a roll! :D

For non-fiction: I work with author to ensure the manuscript is "clean." I do little content editing as I rely on the author to ensure the content is accurate/truthful/and up to date. It must pass the editor's scrutiny, so normally the proposal is well-written and needs only a cursory review for typos/formatting, etc. Once the proposal is on submission, we work on the manuscript--essentially to catch typos or other inconsistencies that an editor will be sensitive to. Depending on the material I include the manuscript with the proposal, but not always.
For fiction: We do an edit/rewrite based upon my notes when evaluating the manuscript. It varies with the manuscript and how much work has to be done, but I do not put the manuscript on submission unless the author and I are both satisfied it is the best it can be. When submitting, I normally reach out to 5 of the editors I feel would be most receptive to the work (all "big-five" publishers). The query to the editor consists of a pitch that the author and I devise--normally including elements of the author's query to the agency--and the full manuscript. I submit the manuscript every 2 weeks to select editors and then we wait for responses.

Once I decide I want to offer representation, I send the author back their manuscript with any notes that I have. Then I schedule a getting to know you call. This call is with an eye to offering formal representation but it's really a chance for the author and I to talk and ask each other questions to determine if we think we want to work together. After the call, if things go well, I follow up with a formal offer of representation.

I confer with Anne-Lise as we curate our client list together. If we all agree the author is an appropriate addition, I contact the author and ask them if they would like me to represent them.

I'll email to let them know I'd like to discuss representation. We schedule a call to discuss their manuscript & how I work, answer any questions. I'm always happy to offer client references and give the author up to 2 weeks to circle back to any other agents/think through their decision, etc. Once they accept, I send detailed manuscript notes and we begin work on revisions.

It unfolds like true love.

Conversation, retainer, edits, submission, a good deal and support all the way. A close, successful association hopefully over many years.

We talk about the book, about what changes we can make to make it stronger,. Very often this is a combination of understanding what the author was trying to do and suggesting a better way that can achieve what author understands and agrees is a better way of getting where they wanted to get to.
We sign an agency agreement. Once that is done, I submit the book to the editors I know, and look for others who might be interested in acquiring the work. Once we get an offer, I negotiate that offer in collaboration with the author, we handle the contract negotiations, and from then on we begin the work of being that author's business partner, creative consultant and booster.

We get to know each other's work and communication preferences. We work on the proposal together until it sparkles and we've eliminated an editor's reasons to say no. We may spend time building the author's platform or smoothing out author quirks in their writing (comma trouble or overwriting or redundancy) before submitting. I study the best fit for that project, as far as publishing house AND editor. Then I submit and the waiting begins.

We usually have a phone call to make sure we're a good fit. After the call, the author has to wrap things up on their end and make a choice. If they do choose me, then we work together to get started on edits/the submissions process to editors.

I usually set up call with them to explain how "agenting" works and to ensure that the author and I mesh well. Seeing as the author-agent relationship is a long term one, it's important that we get along, our work processes don't clash, and that our visions for the book align.

Before the final decision is made, I have at least one virtual meeting with the client. From there, if we move ahead, I put together a brief author agreement, and we discuss any questions the author may have about it. Once the agreement is signed, I'll go over manuscript/proposal edits and then proceed to build a submission list.

I would usually have a call with someone before offering representation, but assuming that goes well, I offer representation and they agree then we would start work on any editorial points I think need addressing - sometimes these are fairly broad and we'll already have discussed as part of that initial chat so the author will start work, sometimes it's more of a line edit in which case I'll work on that and send it over. There can be one round of edits, there can be several - it very much depends.
While that work is happening I'll start talking about the book to potential editors when I see them so that I can start building my submission list ready for the edits being finished.
I discuss the submission list with the author and share my submission note with them for comment. Once the book is on submission I ask authors how they want to hear about responses - passes can come in quite quickly as they're the easiest for an editor to action where taking a book to acquisition involves several other people reading it so I always warn people that this can be a bit dispiriting. Some authors opt to only have good news unless they ask for it, some ask for a weekly round up and others are happy to hear as and when news comes in.

I will give that person a call to just chat. I'll ask them several questions to get a feel for how they work, if they're open to revisions, what they want their career path to look like, what type of books they want to write going forward, etc. Then I also like to give the author an opportunity to ask me questions. I want to hear and address any questions the author may have for me. Plus, what they ask me tells me a lot about what they're looking for in an agent so that I will know if we could be a good fit. I explain the editorial and submission process, generally, as most authors want to hear this information. If I feel good about the conversation, I'll then offer representation.

I will set up a phone call to tell them how much I love their work and my vision regarding the book and their career. We'll discuss the details about what it would be like to work together, what editors I think would be a good fit, the best strategy moving forward, etc. It's also an opportunity for the author to ask any questions of me.

If it's great work, I love it and I have a spot for it on my list, then I ask for a Zoom. I also have to feel it's someone I can talk to and communicate well with and I like some back and forth about what they want and need and what I want and need. Only then it is a match and only then do I offer. The rest is just paperwork, going over the contract, getting them set up for our website and then really digging into the project to see if it needs any revision or tweaking. Then send it out!

Make sure we're on the same page editorially and in terms of vision for the book, formalize our agreement with a rep agreement, get to work editing! And once we've made it absolutely as shiny and wonderful as we can, share with editors.

I schedule a call with the author to discuss their project, ensure our visions for the book align, and get a sense of whether we'd be a good long-term professional match. I then offer representation and give them some time to consider my offer (two weeks is standard), during which I'm available for any questions they have. After they accept my offer, we sign an agency agreement, onboard them with the agency, and begin preparing their book for submission to editors.