21 QUESTIONS FOR AGENTS
courtesy of CaitLondon.com
courtesy of CaitLondon.com
NOTES: This is my recommended list. It is a lot of information to separate because different questions apply to both published and unpublished, and some are specific to each. Consider your personal situation and make lists pertaining to such. Really work on your research here. Network with other writers. Not every agent is knowledgeable, and can make a bad impression on editors. If they represent you, that negative first impression washes over on you. Writers Digest Books does have a Guide to Literary Agents, and you can find them in a local library's LMP (Literary Market Place). Sifting for an agent is not easy; usual means would be a query letter with SASE. Now, with email and if you are in the know that this agent will accept general queries via email, a tentative probe would be acceptable. Many professionals do this. Be upfront about your publishing history, and include: "Would you be interested in looking at my work for the purpose of possibly representing me?" Always include SASE, if it is material you wish returned.
Today's literary agents/agencies are also in flux, so call first if you are not certain who in that agency handles what and if they are taking new clients. Often this is posted on various websites. Also visit agentresearch.com or agentquery.com
THE BARE FACTS: Be prepared to change agents if necessary. Very few writers remain with the same agent their entire career. It is usually a process of either moving up in your career, or changing directions. Some agents are just better adapted to certain publishing treads. Be aware that the more you help your agent, the better they will be able to work for you. However, do not "cross" your agent, that is, deal when they are dealing. If you are uncertain about the separation of who does what, ask. FYI: Some writers prefer the agent to do absolutely everything, they do not want hands-on. Other writers are very much involved in the actual business and contracts.
IF YOU ARE GOING TO A CONFERENCE: Try to make contact with the agent prior to the conference. This saves time from a "cold start." If first contact seems amenable, then set up a discussion. There is much to be said for a face-to-face "take" on the person who should be a partner in your career. This is the best and recommended; however many writers get along fine and never actually meet their agents. "Pitches" are standard, too, but the former is far better if you have actual interest and the agent does wish to speak to you at the conference.
However, pitches to an agent are really good practice for pitching to editors.
PREPARATION FOR A TELEPHONE DISCUSSION/INTERVIEW:
1. Have a bottle/glass of water, a note pad and pen by the telephone.
2. Make a list of your questions.
3. On your notes, date the interview. Throughout your career, you may need to take notes on business discussions.
4. Prepare a written practical/specific list of your goals.
5. Be courteous, but do not waste time with chit-chat. Your time and the agent's is very important.
ESSENTIALS TO ASK A POTENTIAL AGENT:
1. Do you carry romance authors (or specific area)? Be specific if you write SciFi, historical romance, contemporary, womens fiction, etc. Agents usually deal with specific areas. Make certain the agent you query handles what you are marketing. Some fiction agents will not handle childrens or nonfiction, etc. If you want to write a broad spectrum, ask if the agent can handle a variety of work. Define then, if they want commissions for articles, etc.
2. To which publishers have you made sales? This because of the agent's ability to sell to "houses" or publishers changes; some specialize more in sales to one publisher, than another. If you do not recognize the publisher, investigate.
3. Do you charge reading fees? I recommend against this and referral to book doctors . Do you have another business?
4. Are you a member of the Association of Authors Representatives? This organization has a code of ethics for agents.
5. What are your charges for mailing, phone calls, etc.?
6. Your commission? Today, most are 15%.
7. Do you keep me informed, and how, of where the ms has been sent?
8. Do you require a written agreement between us? What is the time frame of the agreement?
9. Should we find that we are not compatible, what do you require to sever business? If you have marketed a ms for me, how long before it can be marketed by someone else? (Severing is painful, but keep it businesslike, with a proper certified letter. Usually the agent stipulates something like 90 days after severing before another agent can handle your work. However, if a sale is in progress, that sale commission belongs to the agent, unless otherwise agreed in writing. Always put everything in writing at this stage.)
10. Will you help me get revision of rights, even if we are separated?
11. Define working roles. Does that agent send in the proposal, or do you? Do they want to see the completed ms? Are they going to be your advocate so far as covers, promotions, etc.? (Some agents prefer not to enter this realm.) Do they input editorial-wise into your work? *This is very important, because some writers do not want anyone else in their work. Others like input.
THE FOLLOWING APPLY TO AN AGENT'S "STABLE": Be prepared. An agent might spend more effort on a higher paid client (not always). It is reasonable that they would since their commission would be higher. On the other hand, some agents represent clients equally.
12. Who are your clients? Can you provide me with a list? (Most can't, but it's worth a try. Some agents have more clients in one area of nonfiction or in fiction than others. Focused on one area, they may be stronger in sales. On the other hand, you may be lost amid a bog of like authors.) If they do list clients, see if you can find and request information on that agent from the client list. When interviewing a past client, ask the reason for severing. In most cases the answer will be guarded; in that case, ask how long they were with former agents. Based on logic and general circumstance: If a writer was with one agent for 8 years, and another for 1, then another for 3, the 1-year agent probably represented a problem, stated or not.
13. How many clients do you handle? (If this agent is overloaded, you may not get the best representation; however, not all business happens at once for all clients, so it is spread/evened out.) For published authors, be aware that if an agent is handling a competing client for some time in a publishing house, this gives them an "in" for you; however, you might be competing with that writer for the publisher's and the agent's attention. Some writers cannot tolerate this and either move houses or agents.
14. Who are your largest clients? This gives you some idea of the agent's selling ability/stature.
MORE--
15. Do you handle epublishing (if that is your intended area)? Define commission again, etc.
16. How are your overseas sales handled? (Most agencies have a subrights agents. Ask how that commission works with the agent's.)*
17. How do you handle movie rights? (Most agencies have a Hollywood subagent. A few have their own within company.)*
18. If you see a ms that is movie-worthy, at what stage do you start marketing? (Some market at the proposal stage, some at the finished stage.) These rights are becoming very important. See that they are handled well, especially if you are published.
15. How is your accounting handled? Do you have an accounting department? Do you send 1099s?
16. Splitting monies. Some agents do not want to split fees, that is, the publisher sending one check to you and the other to the agent for their commission. Be aware that if you have several agents with split monies, the bookkeeping on your part is intense.
17. Does the agency have a contract/legal department? (Also, query former or current clients about the quality/their satisfaction of the agent's contract work.)
18. If you are unable to handle your business for a lengthy period, i.e. illness/accident, who has the authority to handle it for you?
EVERYDAY BUSINESS PROCEDURES:
19. Are you on email? How do you prefer to communicate? Today, email serves well; however, always place very important dealings in letter form, i.e. severing with an agent should be certified.
20. Do you have an office? A full-time secretary? Do you have lunches, etc. with editors New York? (This scene has changed a little, due to email, faxes, etc.)
21. After submission to an editor, how long do you wait before querying them for an answer? How long do you let an editor consider a ms?
FINAL AGREEMENTS:
What are your expectations from me?
Be very upfront about your expectations of yourself and of them, especially if you are published. Stress your goals.
If the agent pushes you for a prompt decision, take some thinking time. Tell them that you appreciate their time and consideration, and will get back to them about your decision. Then, as a courtesy, even if you decide against them, always send a brief letter clearing the path.
*RECOMMENDATIONS FOR MORE INFO: http://www.sfwa.org/beware/agents.html
Today's literary agents/agencies are also in flux, so call first if you are not certain who in that agency handles what and if they are taking new clients. Often this is posted on various websites. Also visit agentresearch.com or agentquery.com
THE BARE FACTS: Be prepared to change agents if necessary. Very few writers remain with the same agent their entire career. It is usually a process of either moving up in your career, or changing directions. Some agents are just better adapted to certain publishing treads. Be aware that the more you help your agent, the better they will be able to work for you. However, do not "cross" your agent, that is, deal when they are dealing. If you are uncertain about the separation of who does what, ask. FYI: Some writers prefer the agent to do absolutely everything, they do not want hands-on. Other writers are very much involved in the actual business and contracts.
IF YOU ARE GOING TO A CONFERENCE: Try to make contact with the agent prior to the conference. This saves time from a "cold start." If first contact seems amenable, then set up a discussion. There is much to be said for a face-to-face "take" on the person who should be a partner in your career. This is the best and recommended; however many writers get along fine and never actually meet their agents. "Pitches" are standard, too, but the former is far better if you have actual interest and the agent does wish to speak to you at the conference.
However, pitches to an agent are really good practice for pitching to editors.
PREPARATION FOR A TELEPHONE DISCUSSION/INTERVIEW:
1. Have a bottle/glass of water, a note pad and pen by the telephone.
2. Make a list of your questions.
3. On your notes, date the interview. Throughout your career, you may need to take notes on business discussions.
4. Prepare a written practical/specific list of your goals.
5. Be courteous, but do not waste time with chit-chat. Your time and the agent's is very important.
ESSENTIALS TO ASK A POTENTIAL AGENT:
1. Do you carry romance authors (or specific area)? Be specific if you write SciFi, historical romance, contemporary, womens fiction, etc. Agents usually deal with specific areas. Make certain the agent you query handles what you are marketing. Some fiction agents will not handle childrens or nonfiction, etc. If you want to write a broad spectrum, ask if the agent can handle a variety of work. Define then, if they want commissions for articles, etc.
2. To which publishers have you made sales? This because of the agent's ability to sell to "houses" or publishers changes; some specialize more in sales to one publisher, than another. If you do not recognize the publisher, investigate.
3. Do you charge reading fees? I recommend against this and referral to book doctors . Do you have another business?
4. Are you a member of the Association of Authors Representatives? This organization has a code of ethics for agents.
5. What are your charges for mailing, phone calls, etc.?
6. Your commission? Today, most are 15%.
7. Do you keep me informed, and how, of where the ms has been sent?
8. Do you require a written agreement between us? What is the time frame of the agreement?
9. Should we find that we are not compatible, what do you require to sever business? If you have marketed a ms for me, how long before it can be marketed by someone else? (Severing is painful, but keep it businesslike, with a proper certified letter. Usually the agent stipulates something like 90 days after severing before another agent can handle your work. However, if a sale is in progress, that sale commission belongs to the agent, unless otherwise agreed in writing. Always put everything in writing at this stage.)
10. Will you help me get revision of rights, even if we are separated?
11. Define working roles. Does that agent send in the proposal, or do you? Do they want to see the completed ms? Are they going to be your advocate so far as covers, promotions, etc.? (Some agents prefer not to enter this realm.) Do they input editorial-wise into your work? *This is very important, because some writers do not want anyone else in their work. Others like input.
THE FOLLOWING APPLY TO AN AGENT'S "STABLE": Be prepared. An agent might spend more effort on a higher paid client (not always). It is reasonable that they would since their commission would be higher. On the other hand, some agents represent clients equally.
12. Who are your clients? Can you provide me with a list? (Most can't, but it's worth a try. Some agents have more clients in one area of nonfiction or in fiction than others. Focused on one area, they may be stronger in sales. On the other hand, you may be lost amid a bog of like authors.) If they do list clients, see if you can find and request information on that agent from the client list. When interviewing a past client, ask the reason for severing. In most cases the answer will be guarded; in that case, ask how long they were with former agents. Based on logic and general circumstance: If a writer was with one agent for 8 years, and another for 1, then another for 3, the 1-year agent probably represented a problem, stated or not.
13. How many clients do you handle? (If this agent is overloaded, you may not get the best representation; however, not all business happens at once for all clients, so it is spread/evened out.) For published authors, be aware that if an agent is handling a competing client for some time in a publishing house, this gives them an "in" for you; however, you might be competing with that writer for the publisher's and the agent's attention. Some writers cannot tolerate this and either move houses or agents.
14. Who are your largest clients? This gives you some idea of the agent's selling ability/stature.
MORE--
15. Do you handle epublishing (if that is your intended area)? Define commission again, etc.
16. How are your overseas sales handled? (Most agencies have a subrights agents. Ask how that commission works with the agent's.)*
17. How do you handle movie rights? (Most agencies have a Hollywood subagent. A few have their own within company.)*
18. If you see a ms that is movie-worthy, at what stage do you start marketing? (Some market at the proposal stage, some at the finished stage.) These rights are becoming very important. See that they are handled well, especially if you are published.
15. How is your accounting handled? Do you have an accounting department? Do you send 1099s?
16. Splitting monies. Some agents do not want to split fees, that is, the publisher sending one check to you and the other to the agent for their commission. Be aware that if you have several agents with split monies, the bookkeeping on your part is intense.
17. Does the agency have a contract/legal department? (Also, query former or current clients about the quality/their satisfaction of the agent's contract work.)
18. If you are unable to handle your business for a lengthy period, i.e. illness/accident, who has the authority to handle it for you?
EVERYDAY BUSINESS PROCEDURES:
19. Are you on email? How do you prefer to communicate? Today, email serves well; however, always place very important dealings in letter form, i.e. severing with an agent should be certified.
20. Do you have an office? A full-time secretary? Do you have lunches, etc. with editors New York? (This scene has changed a little, due to email, faxes, etc.)
21. After submission to an editor, how long do you wait before querying them for an answer? How long do you let an editor consider a ms?
FINAL AGREEMENTS:
What are your expectations from me?
Be very upfront about your expectations of yourself and of them, especially if you are published. Stress your goals.
If the agent pushes you for a prompt decision, take some thinking time. Tell them that you appreciate their time and consideration, and will get back to them about your decision. Then, as a courtesy, even if you decide against them, always send a brief letter clearing the path.
*RECOMMENDATIONS FOR MORE INFO: http://www.sfwa.org/beware/agents.html
