|
|
 |
 |
|
|
|
|
The Scoop on Agents
by Lisa Ekus-Saffer |
|
|
|
career
center
the scoop on agents |
|
|
|
|
|
|
|
July 2007
You’ve got a great cookbook idea, have put together an outline,
and believe there’s no other book like it on the market, now
what? Allow Lisa Ekus-Saffer founder and president of The
Lisa Ekus Group, LLC (formerly Lisa Ekus Public Relations
Company, LLC) to explain.
You’ve got a GREAT cookbook idea,
have put together an outline, and believe there’s no
other book like it on the market. You excitedly send material
to a publisher, and eight to ten weeks later you get a form
letter stating that the publisher only reviews submissions from
a literary agent. That’s if you get an answer at all...
So how do you find an agent, and why do you need one?
Look to the IACP, the Literary Market Place directory, and a
variety of online resources. Talk to your colleagues. Read the
acknowledgement pages of cookbooks. Network.
But that’s just the beginning. You have to understand what an
agent does. Then you have to select the right person with whom
you can create a fruitful, long-term relationship.
Why an Agent?
Simply put, the literary agent’s role is to represent you, your
book, and your best interests. Your agent is the first person
to truly understand what makes your idea and vision of your
book special, conveys that message to the appropriate editor,
and eventually sells your book to a publisher. Agents know the
players, the field, the ins, the outs. By having representation,
it tells an editor that you and your idea have already been
vetted by a professional who thinks enough of you and your book
project to "take you on." Agents offer third party endorsement
and respect in the industry.
Crafting Your Proposal
I review inquiries within four weeks of receiving them, and
I turn down better than 50 percent of what I receive. Why? If
it’s a good idea and a well-written proposal, but I don’t personally
like it, I’ll reject it (nicely). The material must also be
well written, well presented, and interesting to me. Sometimes
it’s a good proposal but a conflict with another client and
project I’m already representing. In that case I may give an
author other agents to approach. But often I receive proposals
that are incomplete, not well researched, about a subject that’s
been done to death or even illiterate. Those are easy to reject.
Do your homework — know what your competition is, do a marketing
and PR summary, have a full list of the recipe titles and a
reasonable representational sample of actual recipes — fully
tested! And, spell check and proof your material numerous times.
If I’m intrigued with a concept and feel it’s viable in the
marketplace, I will then work with an author to create a solid
proposal package. This often includes collateral material that
helps support your position (article clippings, press releases,
a press kit, or a video tape). The bottom line: Your agent should
work with you to produce the best possible package to interest
a publisher. This can take a few weeks, months, or over a year.
Keep in mind that your agent should know:
What books are on different publishers’ lists and submit proposals
that enhance those lists.
When to send a proposal as either an exclusive or multiple submission
and to look for the best fit for you, starting with an initial
list of publishers, based on their personal interests and publishing
program. Within 48 hours of a proposal’s return, it should be
out to another editor. It can take anywhere from a few weeks
to a year or more to sell a proposal. Proposals should always
be "out there" circulating. If it’s sitting on your agent’s
desk, it can’t sell.
How to communicate with you regularly on the status of activity.
This includes reviewing rejections, giving you necessary pep
talks, making revisions that may be requested by a publisher,
and knowing when to revise or terminate a project.
A Publisher Is Interested: Now What?
Once a proposal is accepted, negotiations begin. Most new authors
come to realize that an agent is there to negotiate the finer
points of their contracts. As an author, you want your relationship
with your editor to be as positive as possible. Contracts are
best left to a third party. Think of it as the division between
the creative (you and your editor) and the business (your editor
and your agent) side. An agent is your buffer, but also your
advocate, always looking for more: more advance money, more
public relations and marketing, more design input, more photographs,
and so on. Your agent is also your reality check as to what’s
reasonable and possible.
Your agent will review the whole contract and consider
questions like:
- What is the advance? Are there any bonus clauses?
- What about royalties and the splits on subsidiary rights
sales?
- What kind of discount will an author get on buying books?
- Will there be an option clause and what will it cover?
What about electronic rights?
These are just a few of
the many issues covered by contracts.
After a preliminary discussion about an author’s preferences,
the agent goes back to the publisher with requests. Each
publisher has certain clauses they will not change (called
boilerplates), but most are flexible within reason. It’s
a give and take, and I know where I can give, as does an
editor. Remember, your agent works for you and should be
communicating regularly and often through the negotiation
process. Authors have the final say on what we accept or
reject. I will give my opinion when I think we have obtained
the best possible deal. Once a deal is set, on average it
takes two to three months from verbal agreement to signed
contracts and the first advance check. All of these are
factors to consider, discuss, and negotiate. A good agent
will then work with you and on your behalf through all stages
of the publishing process, not just the sale and contract
negotiation. They are your advocate for all issues and concerns.
Building Your Relationship
I continually work with both already established authors
and new voices to develop ideas. These ideas either originate
from an author or they start out as a concept that a publisher
has initiated. Agents are often called to find "the right
author for a project." Make sure your agent knows all your
areas of expertise. Knowledge of the industry, editors and
publishing houses, as well as key trends are the significant
areas of expertise that an agent lends to your project.
Advice, recommendations, inspiration, and consolation are
also necessary components of a strong author-agent relationship.
I think of myself as a combination pitch woman, negotiator,
and mother — which includes nurturing and nagging! Find
the person you work best with, someone who is accessible,
responsive, and reliable; and most of all, someone you trust.
Written By: Lisa Ekus-Saffer founder and president of The
Lisa Ekus Group, LLC (formerly Lisa Ekus Public Relations
Company, LLC)
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
|
|
|
|
|
|
|
Message
Boards
