The Forest for the Trees by Betsy Lerner

Author:Betsy Lerner
Language: eng
Format: mobi, epub
Published: 2011-04-21T04:00:00+00:00

More than a few writers whom I've met at conferences have complained to me that it's harder to get an agent than it is to

interest a publisher, which is surprising, given how many agents there are. Some tell horror stories of agents who agree to take them on but never return their calls. Agents who, after making a few submissions, lose interest if the project doesn't sell and stop submitting it. Agents who take months to read new work. Agents who care only about making the deal and don't act as advocates for the book. Agents who fail to sell the author's foreign, audio, film, and serial rights. The worst accusation I ever heard was of an agent who reportedly held on to an author's advance monies and royalty payments until the author threatened to sue. As in every profession, there are a few people who give the industry a bad name, but unless you already have a publisher interested in your work and feel reasonably certain that you can handle any disputes that may arise, you should spend whatever time and energy it takes to secure the services of a good agent.

Do not, however, let an agent's interest in you or your work keep you from taking certain precautions. A writer is entitled to a reasonable amount of information when he or she signs on with an agent. You should ask who else the agent represents, what books he or she has sold and to what publishers, what his or her percentage, or cut, is, and what, if any, additional charges will be billed back to the client, such as the cost of messengers, copying, and foreign submissions. You need to know what the contractual obligation is between you and the agent and whether you are required to sign a contract. As a client you should be apprised of the general game plan, including where the agent plans to send the book and whether he plans to send it out to just a few publishers or widely. If the first six publishers turn it down, will the agent give up, advise you to revise, or keep plugging until he finds one? What plans does he have for the exploitation of secondary rights, meaning film, foreign, audio, and electronic rights? I know some young writers who are afraid of their agents, who don't want to bother them or appear needy and insecure. It's understandable that they don't want to alienate the first person who actually seems to like their work. Still, you should feel a bond of trust with the person representing you and your work. If at all geographically possible, meet with any agent who expresses interest in representing you and bring a list of questions. Whether through letters, conversation, or an actual meeting, it should become clear if the agent is interested in your long-term career or just a one-night stand.

For as long as I live, I will never forget an incident at the agency where I first worked.

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