Jeff Abbott is an international bestselling author and Curtis Brown client. He has been nominated twice for Edgar awards, and his most recent novel, COLLISION, was published in July by Dutton.
Obviously, you know you need an agent, or you wouldn’t be stalking Nathan, er, reading his blog. But I have found that too many new writers eager (or desperate) for representation are not thinking beyond the agent’s sale of their first book. And some aspiring authors balk at surrendering fifteen percent (or more) of their income to an agent. Others feel sure that their lawyer brother-in-law can cast an adequate eye over their contracts with publishers. (After all, using a lawyer for representation worked for President Clinton.) And with all the free agenting advice on Nathan’s blog and elsewhere, can’t smart, savvy authors just represent themselves?
Here’s some reasons why having an agent is crucial to your long-term career—and what an agent can do for you that you may not have even considered.
Advice you can use. A great agent does not just get you a solid advance and favorable contract terms for that first novel. A great agent will help you think about what your strengths are as a writer, and how to develop those strengths with each new book you write. For instance, I had written two successful crime series when my publisher suggested I might write a standalone thriller. A common thread in my mysteries was family relationships twisted by past secrets—not an obvious component of a novel of international intrigue, which was what I was envisioning for my standalone thriller. After my agent said, “you really do family relationships well, and you might consider carrying that over to a thriller, even though it’s a rather different kind of book.” I thought about it and realized he was right. I kept family secrets as a cornerstone of the standalone novel—it was a way to offer my existing readers a facet of my writing they already knew and liked. At the same time, it brought a fresh sensibility to an “innocent man on the run” novel. My agent had the wisdom to remind me family dysfunction would be an element I would love to write about—whether writing a small-town mystery or a global thriller. The result was Panic, a novel that has sold a half-million copies around the world, and is in development at The Weinstein Company.
Sound advice is not just about markets; it is about you, as a writer.
Subrights matter. A greater than anticipated amount of my annual income comes from subrights: foreign sales (my books are popular in the UK, Ireland, France, Portugal, and other European countries, and there is no single explanation for this) and from film options (either new, in the case of Collision, or renewed, in the case of Panic) and from screenwriting work that my film agent got for me (rewriting a treatment for a film that will most likely never be made—but I still got paid). Most new writers don’t think for a moment about the potential of their foreign or subright sales, or for additional writing work that their agents can negotiate for them. (Imagine an agent hearing that an editor would like to buy more historical fiction, and knowing that one of their clients has a burning passion for all things medieval, for instance.) New writers tend to think only of their agent’s relationship with American publishers. But an agent who is prepared and experienced in dealing with subrights negotiations—and works with overseas agents who know their markets—can have a profound effect on your bottom line. Authors representing themselves, or relying solely on local lawyers, are at a staggering disadvantage in these markets.
The quality and nature of the meeting. Most authors attempting to represent themselves are going to get only one kind of meeting: with an editor. (This assumes they’re extremely lucky enough to get that.) And of course, no meeting is more critical; the editor is every author’s first advocate inside the publishing house. But the best agents don’t just meet with editors. They also meet with editorial directors and publishers. Here I mean publisher as an executive title—the person who is the head of the entire publishing firm or imprint. In other words, the editor’s boss. Editors can only approve deals up to a certain dollar level; beyond that, it must be approved by the publisher. The agents who can get meetings with those executives are at a decided advantage in furthering their client’s careers. As well, truth be told: editors don’t want to negotiate with authors. They’d much rather deal with agents. Editors would prefer not to muddy the waters of their relationships with their authors—which involve a lot of creative feedback, revision, and trust—by haggling. Let an agent take point on those rough-and-tumble negotiations; you can focus on having the best creative relationship with your editor.
Your long-term relationship. I have been fortunate in having had the same agent now for twelve years. He took me on just as I hit a very unproductive streak: my father was terminally ill and I was working full-time and taking care of him, and not writing. I didn’t sell a book in the first two years of working with my agent. I wrote proposals that garnered no offers. Many agents would have dumped me. He stuck by me, constantly encouraging me, never giving up. When I started publishing again, I went through three wonderful editors in the course of six books. My agent has been the constant: through editors coming and going, multi-book deals, tough negotiations, setbacks and leaps forward, foreign sales to twenty countries, film options. An excellent agent can be not just your representative, but your rock.
These thoughts are based only on my own experience. But I urge you to think about your agent as more than a sales rep for your first book. And if you think you don’t need one—think again.
I just checked in to read the comments and had one random remark to add to the mix.
Ever since I discoverd this site, after it was made “blog of the day”, I’ve grown to appreciate the people who comment here on a regular basis. And, in case you guys didn’t realize it, you each have a distinct voice. For instance, I can tell an “Erik” , “Scott”, “Marilyn P” or “Deaf Brown…” comment at 40 paces. Even if your names weren’t there for all to see, your consistant way of writing, and expressions, come across loud and clear.
You each have a distinct voice. There are other’s I recognize but the list is too long to mention.
Once in a while someone will leave an anon comment and I’ll think “That sounds like so-and-so.” Even those who regularly comment anon have distinct writing voices.
So, I guess I’m interested in what all of you have to say/write. 🙂
j
You’ve heard the old standby that every rejection gets you closer to a yes? Well, I hated that statement too, but I found it to be true when finding my agent.
If you want an agent, go to conferences. Networking will get you further than blind queries. At the conferences, introduce yourself to EVERY single agent in attendance. If possible, sit by them during lunch and be polite and engaging. Don’t be weird about it. There just people–most of them really nice. If they’re busy, tell them you have a few questions you’d like to ask them if they have a moment, and then make yourself available (don’t stalk them–if they have to go to the bathroom–let them).
Even if those agents DON’T represent your genre, they know agents who do. Don’t be afraid to ask them if you can use them as a reference.
Also, introduce yourself to all the visiting authors. They are great sources of information and resources. Ask them questions.
Now in saying all this, please, please, please remember not to be pushy or condescending. The first conference is the worst, but it gets easier.
Good luck, and keep working!
Kim: You and I are on the same page, but one clarification I think is important; I don’t think agents necessarily help you find your “niche”, I think a good one can help you build on your strengths. That’s two different things. Niches can be good, I suppose, but they can also be limiting. (Put yourself in too small a niche and you limit your audience.) What I mean by writing to your strengths is that if there is an element in your writing that is strong or appealing–clockwork plots, sharp dialogue, a delicate touch with romance–that they can help point out and make sure that you make the most of that strength. At the same time, they can help highlight your weaknesses as a writer so you take more care with those elements as well.
Mr. Abbott
Thank-you for the great post. It is nice to have this kind of information passed on to those of us who don’t know how to get from A to B, I am refering only to me with they’re book.
Regards,
JB
Jeanne –
Wow, thank you for your very kind words. You really made my day!
I love the intense discussions about books and writing on this Blog, plus this week’s incredible opportunity to chat with accomplished guest bloggers. It’s awesome.
Jeanne rocks. 🙂
Jeff, many thanks for the advice. I can’t agree more; however, finding an agent is like chasing the rainbow to find that pot of gold!
I live in the Far East and agents (who know their craft, anyway)are non-existent and US/European agents only accept established authors!
So where does one go from here?
Hi Virginia: US and European agents do not only accept established authors. (I believe Nathan has some debut authors among his clientele, and a few debut authors had noted in the comments they have been able to find agents.) There may be agents who only work with established authors, but there are many agents eager to find fresh talent. Living overseas should not be an impediment; what matters is the book. That trumps all. Keep at it and good luck.
I won’t sign anything without an agent. I ended up having to find a new agent right after I’d submitted a new MS to my editor and had to put off signing anything until I had an agent. Even though I’ve sold several books to this editor and I’m comfortable with her, I’m not comfortable signing anything without an agent. Agents think of so many things, the small details, that just don’t occur to authors-unless it’s after the fact and it’s turning around to bite them on the tail.
The way I see it, we either take what we can get or we get nothing at all.
Kimber An, the sad thing is that sometimes taking what you can get ends up costing you so much more.
I’ve known people who signed without agents and it ended up costing them a great deal, money yes, but more than that-it affected future works, their ability to have their books considered for translation and the list goes on.
Some writers have enough biz savvy, I’d imagine, to do it without an agent. But it’s not a risk I’d want to take.
Looks like the new babysitter took away our commenting privileges. 🙁
Thankyou, that was very enlightening! 🙂
Again, thanks Jeff! It’s comforting to know that hope is to be found somewhere out there. One of these days, I will get back to you and say: Jeff you made me!
Cheers, VB (also stands for Victoria Bitter!)
(A little late in responding since I haven’t been online much the past week.)
Kimber An: I can understand your frustration well, but I couldn’t disagree with your conclusion more. I have many online writing friends and aquaitances who signed with agents for their debut books, and then went on to get book deals. In fact, I was lucky enough to sign with Nathan’s agency-mate Ginger Clark back in March, and I am thrilled to say that she sold my debut urban fantasy to Penguin/Berkley in a three-book deal, at auction.
Keep in mind, however, that this was my fourth completed adult manuscript, NOT my first–not to mention the various and sundry partial manuscripts I have clogging up my computer and the many efforts I made as a child/teenager. I queried each successive manuscript more widely than the last, and learned a ton with the writing of each book. It CAN be done–but it DOES take persistence, determination, and hard work. Good luck!
Mr. Abbot;
This is such a good article.
I’m married to an I.P. attorney and have always assumed that when I felt it was time to get an agent, I’d just push everything across the kitchen table.
Now I’m thinking maybe that’s not such a great idea . . .
I’d love to hear more stories like this, particularly of how some authors first took on an agent. How did they find them, what made them decide it was time, and what mistakes did they make in the process.
— G
Wow.. All I have to say isssss bravvvvoooo! Honestly, most people look @ life and really see that there is just sooo much to accomplish that they don’t even know where to begin. And then, years down the line they end up regretting not taking the first steps to help them excel in their career. But you, you are the definition of true efforts and really, I think you got to where you want to be by ‘planning’
Planning is something that sounds so simple, but while in Oxford, we learned that if you want to make it big in life just like those wealthy people, you have to A) Start Young (and) B) Plan ahead
And literally planning ahead got me to where I want to be in life with a six figure income and I bless every day that I live, really. All I have to say is kudos to another individual that lives his life successfully like I do 🙂
Dear Jeff,
This is really great advice! I do have questions which might reval some quirks in my nature. Although I have been writing steadily for the last 18 years, I have not published anything away from my position. It's strictly for an music related magazine printed in Great Britain where people compliment me profusely. I have a gathering in a a popular singer's fan club where what I write is a favorite with the fans. Many have suggested I should write a book on a series I did for a blog called "A Few Thoughts On…" Would anyone care to give me any contacts or further advice?
Yours truly,
Richard Jessen
Two days ago, I got an agent. Many sites tell me what an agent does, but my question is a little more tricky: what does an agent NOT do? If they constantly help an author in their career, should I show her everything I produce? (I assume, here, that if I'm writing short fiction the answer is "no".) Will she contact me from now or should I contact her? It seems that the author/agent relationship is quite personal, but I'm afraid of being a pest.