How to Stalk and Capture an Agent

Posted by: Jessa Slade

Currently working on: Revisions for Book 2 of The Marked Souls series

Mood: Woozy from lack of chocolate

Have you ever seen steer wrestling? Landing an agent is kinda like that. Only it's more like moose wrestling from the skids of a helicopter.

Terrifying, yes. Maybe even stupid. But it is possible to rope, wrestle and hog-tie an agent even if you aren't the secret baby of a millionaire sheik cowboy.

1. Know your prey. While most moose look a lot alike, agents are surprisingly different if you can sneak up close enough to examine them. If you want a moose, don't think you'll be happy with an elk or whitetail. Or, God forbid, a jackalope.

Speaking of God and prey, it doesn't hurt to just pray to the universal creative force of your choosing.

2. Carefully consider your bait. While moose urine and camo bikinis are all the rage in some circles (it'd be fab on you, darling, just fab) when hunting an agent, you should research her habits and hunting grounds. Agents like to eat, so baiting them with unmarketable storylines and unpalatable characters can be problematic. Instead, consider offering them just a few tempting morsels... at least until you have them hooked.

3. How big a hook? This is the time to bring out your big guns. Longline fishermen put out lots of hooks, hoping to make that catch. Dangling contest wins, or a special knowledge of your topic, even the big juicy worm of a real-life editor on the line, can catch a wary agent's wandering eye. Still, agents are wily and may nibble all your hopes down to the nub, which is why you should always have another line out with another hook and a fresh new story still dripping your blood, sweat and tears.

Admittedly, this isn't a sport for the queasy -- or for any card-carrying member of PETA (People for the Ethical Treatment of Agents). When you grab this bull by the horns, you'll have to be ready to wrestle 'er down for the count. And if she slips out of your reach... no worries, there's always next season. Plus, I hear there's a cute new elephant stun gun coming out in NYC basic black.

GOOD AGENT, BAD AGENT, NO AGENT AT ALL

Posted by: Genene Valleau
Currently working on: promotion for STARS IN YOUR EYES
Status: Joyful

Since I blog late in the month, it's always interesting to look back over blog posts on our monthly topic. By the end of the month, I wonder if there will be anything witty and enlightening left to say on the topic.

Right up front, I will say that I don't have an agent and don't plan to look for one in the near future. I've sold three books to an e-publisher--including today's release, STARS IN YOUR EYES--have a novella in the works for another e-publisher, and have plans for a series of books also targeting an e-publisher.

I will also say if I wanted to sell a single title manuscript to a traditional print publisher, I'd probably look for an agent.

If you are searching for an agent, there are many good suggestions from previous bloggers. In addition, you might want to check out these Web sites:

--The well-known Preditors and Editors which lists, among other things, the names of agents with recommendations for or against signing with them.

--Writer Beware, which is maintained by the Science Fiction and Fantasy Writers of America, Inc. This site includes warnings about literary fraud and other schemes and scams, as well as links to case studies of unscrupulous agents. Among their warnings are agents who require a reading fee with a submission, require an evaluation fee with submission and promise a detailed critique, run a contest that funnels writers into a fee-charging agency or an editing service, refer writers to a freelance editor or editorial service. In other words, Writer Beware warns about agents who charge fees other than their commission for selling your book (not including some office fees for postage and copies they should reveal upfront).

Writer Beware also suggests what to look for in a good agent: a professional background as an agent or in publishing, membership in a professional agents' organization, no upfront fees--his/her income should come from commissions on sales, a Web site and correspondence that are free of grammatical errors and typos, as well as enthusiasm about your work without making extravagant promises.

There are other Web sites and blogs with suggestions on what to look for in an agent and what to watch out for. And, by all means, talk to other writers. As you can see from previous blog posts, each writer has a slightly different perspective on agents and most are willing to share their experiences to help you avoid any disasters that could damage your writing career.

If you are at a point in your career where you don't need an agent, your energies can be focused on writing. :)

If you're looking for an agent, I wish you luck. Just be careful out there--I don't want you to end up as a case study for a bad agent!

Serial Monogamy

Posted By: Lisa Hendrix
Currently Working On: Workshops for Whidbey Island Writers Conference
Mood: Scattered

This is going to be short and sweet. I have too much to do in the next 24 hours to dither.

So, yeah, what everyone else has said. If you don't love negotiations, if you don't live for legal terminology, if you don't read PW cover to cover and Publisher's Lunch top to bottom and remember who sold what to whom for how much, if you want a career and not just a sale—get yourself an agent.

That said, I've had three. The first was a junior agent at a big deal agency. When she went her own way, so did I. The second agent was a fairly big deal on his own and was okay for some people...but not for me. After I learned he'd said exactly the same thing to another author—in exactly the same words!—and discovered that my work was going out in bulk with other authors' works under a single cover letter, I said no thank you and again went my own way. (Neither of these, I must add, ever sold a book for me; I, however, sold three by myself: 2 before either one, and one after both. This should tell you something.)

Agent #3 is a winner, all the way around. She's sharp, prompt, effective, and learned the business at one of the premier agencies. She represents a wide range of clients, and has brought some up from mid-list to bestseller-list, so I know she knows how to build careers, get the bigger contracts, sell to Hollywood, handle foreign sales, etc. Now I just have to do my part and write my ass off (working on that).

So, as in dating and marriage, keep your eyes open so that you know when it is or isn't working. Love yourself enough that if it's not working, you don't stick around in a bad relationship. Take responsibility for your own career by realizing your own talents and limitations. And always, always, always remember that anyone who tells you that "any agent is better than no agent" is lying to you.

A good agent, on the other hand, is gift for which to be grateful every time you open your royalty statement.

Angie's theory on agents

Posted by: Angie Fox

Currently working on: the third book in the Accidental Demon Slayer series

Mood: slap happy

So I was thinking about doing a general post about why some people choose to have agents, while others would rather go it alone. There really is no right way because every writer is different. But… I'll bet you're reading this blog to get the down and dirty, to hear what someone else really thinks. Right? Well, okay. Pull up a chair and let's talk. I'll tell you exactly why I'm darned glad to have my agent and why I'd be shaking in my boots to go it alone. You might be like me, or you might not. I'm not saying my way is right for everyone, just one author's point of view.

#1 reason why Angie needs an agent: I drove a Saturn for 12 years

How is this relevant, you say? Well, dear reader, besides the fact that my little Saturn was gold, cute and got great gas mileage, I bought that car because I didn't want to negotiate. I can't stand going back and forth with a car salesman on a price, always second guessing myself, wondering if I'm making the best deal. After I bought that Saturn, I kept it for more than a decade - for the same reason.

As you can imagine, this makes me a very bad person to negotiate my own book contracts. Not only is there more emotion involved in a book I love vs buying a huge chunk of metal, I actually know less about book contracts that I know about cars.

Yet my agent lives for this. She loves it. I can hear it in her voice when we're in book negotiations. It goes something like this:

Me: Err…any news? (even talking about negotiations can make me queasy)

Jessica: (gives update with glee)

Me: When do you think we'll have a deal? (when will this be over?)

Jessica: I'll keep you updated. Just keep writing.

And I do, because that's what I like to do. Jessica worries about the contracts because that's her area of expertise. Thank goodness.

Plus, even though contracts are written in English, it doesn't always feel that way. As I worked my way through the details, Jessica was right there to answer my questions and explain just how we could hammer out a contract that worked for everyone. I sure appreciated how smoothly it went, and I'll bet my publisher did too.

So can you be a successful author without an agent? Sure. Would I recommend it? Not if you drive a Saturn.

What do you really want?

Working on: same coming of age paranormal Mood: hopeful

This months topic has been one I've been studying for five years, have interviewed at least 40 agented authors about, personally interviewed at least fourteen agents, and listened to countless tales of woe from both unpublished and published authors about their agent status. I've come to the conclusion that the problem with the agent hunt is unreasonable expectations. In my mind an agent is someone you hire for a specific reason--to keep on top of the publishing industry, to network with editors and publishers, and to negotiate contracts. Nothing more, nothing less. Just as I would hire a contractor to build my house because of his/her expertise, I would not expect that contractor to become my friend or to have dinner with my family. So, I have the same expectation of an agent. But I find I am often in the minority about this.

So, I ask the question? Why do you want an agent? What do you think will happen that is not happening now if you find one? Will you write more because you have an agent? Will you write better because someone is telling you what to write? Will you suddenly gain confidence in yourself, feel vindicated because someone besides you and your mother likes your book? Sadly, I think those are the expectations of many unpublished writers who paper the united states with hundreds of queries. Querying constantly instead of writing the next book.

I think many unpublished writers believe if they get an agent then their manuscript will sell, they will never have to market again, and their weary days of working for no pay or little pay are over. That's a nice fantasy, but it is as unrealistic as the one about finding the perfect husband, having two children (one girl, one boy), living in the house on Leave It to Beaver street with the white picket fence, comfortably cooking dinner in heels and pearls while the entire family claps at your efforts and rewards you greatly.

This fantasy life is equivalent to the kid who runs away from home with his two best friends (his dog and his teddy bear) because when he finds a new home everything will be better, the new people will understand him and give him the opportunities he so rightly deserves. Okay enough with the metaphors.

An agent cannot make you a better writer, a better editor, or give you confidence. An agent cannot be the one you look to in order to validate that you ARE a writer or that what you write is good. Only you can do that. An agent cannot make a bad manuscript good, point you to the trends, or sell something (no matter how much she personally likes it) that no one is buying.

The reality is that agents, like any other businessman or woman, are highly variable. There is no requirement for a specific educational level, a specific experience background, or even a requirement for specific training to become an agent. All it takes to become a literary agent is to get a business license and let people know you exist. There are a lot of people out there that fall into this first category. I've met some of them and it's scary. I signed with one fifteen years ago and wasted an entire year with my book until I realized I knew more about the publishing business than she did.

Some agents were editors at major houses then left to be an agent. Yes, they probably have some pretty good contacts, but are they good sales people? Are they good negotiators? Other agents were English majors who decided to become agents, and if your lucky they actually interned in a reputable agency before actually hanging out their shingle. But how many contacts do they have? Do they know how to negotiate a great contract? Some agents come from a purely sales background. They know how to close the deal, but do they know what's best for your career? And yet others ran small businesses (perhaps a bookstore, a small press, or an art gallery). They may have business sense but what do they know about the publishing business?

Any of the above may become great agents or lousy agents. That's the thing, it's really hard to know. And putting all your hopes and dreams in the hands of someone you don't really know and haven't really researched can be disastrous. Maybe you'll get lucky, but most people I know who don't do the research don't get lucky.

Even the very best known agent could be the worst agent for you. Four years ago, I had a well-known agent who loved my book and had all kinds of ideas about where to send it. I had been recommended to her by another author. The problem is at the same time, she got another new client--someone who's book was picked up at auction (six figures) and set for bestseller status. In all the negotiation and follow-up for the six figure book, this agent completely forgot I existed, completely forgot my book was out there, didn't get back to me or the editor who was interested in buying it. The editor left the house and six months later I finally pulled the book. Is this agent still a good agent? Sure. She represents some major best sellers. But she didn't work for me. I wasn't a big enough fish for her to spend time on. So, she wasn't the right agent for me no matter her stellar reputation.

I'm not down on agents at all. In fact, like any business person I hire--I think the right agent is worth her weight in gold and the 15% they take is very reasonable. However, the wrong agent will likely harm your career and, in some cases, I've seen it turn a writer off the business for a long time or forever. You CAN sell novels without an agent. You can sell to ebooks, Harlequin, St. Martin's, Tor, NAL, Tyndale, and most small presses without an agent. I think it's important to not to put all your eggs in the agent basket. I think it's important not to wait for an agent to be the only one who sends your manuscripts to editors. I think it's important for you to query both.

To me an agent is a business partner--someone I hire for her expertise in networking with publishers and for her contract negotiation skills. However, as with any business partner, I don't ignore that part of the business either. I also keep up to date on contract negotiation and networking just in case she misses something. In turn, she keeps up by reading widely, giving me feedback on my manuscripts, and giving me an honest opinion of their likely sales.

I've sold four non-fiction books and one children's book without an agent and negotiated darn good contracts for them. Am I looking for an agent? Yes? Am I submitting directly to editors myself? Yes. If I get a call for a single-title novel will I find an agent to negotiate my contract? Yes. But it may be only a one-time negotiation. There are several reputable agents who are happy to do that without a commitment on either side.

Do I want an agent for the longer term? Yes, but I'm going to be careful, do lots of research, and only enter into a longer term relationship when I know this is the right one for the long haul. When I know that we both think the same way about the business, that we both support the same goals for my career, that we both understand that I am ultimately responsible for my career and I ultimately make all the decisions about my career. Then I'll choose.

Unlike the mother in Leave it to Beaver, I've been through the marriage ringer. I did finally find the right man and the right relationship for me. But I had to overcome my own unreasonable expectations first, and I had to understand more about marriage and relationships, and I had to be comfortable and confident in my own right and know I could survive well on my own first. I think business relationships are very similar. If you don't know what you are doing going in, then you are likely to get burned.

If you enter into any relationship as an equal then you are likely to choose well and both of you will prosper. Oh, and if you get lucky, there may even be fireworks on occasion. :)

Speed Dating Agents By Suzanne Macpherson

Working On: undisclosed project (ooooh)
Mood: Fun

When I saw this topic I had a “reaction” sort of like a “rash.” Thus I am a day late, so whoever is the 18th, just bump me when you’re ready. ;-)

Agents- As Charles Dickens wrote:
“It was the best of times, it was the worst of times. “ I wonder if he was referring to his agent. :-0

This is my new philosophy about agents. Sometimes, it’s not you. Sometimes it’s them. Move, stretch, grow, find a kindred spirit who shares your vision. They’ll share that for about five minutes while they sell your project, so catch the wave. They only want you to do one thing. Produce a sellable product. They don’t want to be your best friend, or even talk that much. They don’t REALLY want to hear about your writing angst. Just show them the juice and they’ll make a smoothie out of it.
That said, finding and living with your chosen agent is the closest thing I’ve ever seen to an arranged marriage. Remember, you are going to be dealing with them FOREVER. Really. Your little books are your children, and you have joint custody.

Don’t assume a lot here- I had a terrific agent for my first seven books and we get along great, even post breakup. We still celebrate our successes.

Sometimes I can’t believe the process we use to find agents. It’s like bad internet dating. I‘ve found myself Googling pictures of the person to see if I like the way they hold themselves and if they seem kind. There are plenty of sources to do your homework about your prospective “BRIDE” or “GROOM” so like—do it! Talk to their EX’s as well as their current mates. This is what has worked the best for me. Meet them, talk with them (it is possible, you just have to stalk them a bit- check their conference schedules and sign up for an appointment.) Watch how they interact with others. Ask your editor if you have one, who their favorites are.

Make a list like you would when you’re mate shopping. A) must like dogs B) loves my humor C) emails faster than lightening D) well respected by editors. E) Patient. D) Killer deal cutter. E) Personal Life under control. LOL
Whatever you value in an agent/mate/friend.

Whoa it really is speed dating isn’t it?

To Agent or Not To Agent...

Posted By: Pauline Trent
Currently Working On: thank you cards for wedding presents. the novel is on hold for another week or so.
Mood: a little crazed but mostly excited (did I mention there's a wedding...)

To Agent or Not To Agent, that is the question. Whether 'tis nobler in the mind to suffer...sorry. But surely I wasn't the only one thinking it. Anyway, onto the more or less serious topic of agents ~ or at least the assigned topic of agents.

This is a hard subject for me because, up until this new contract that's being negotiated, all of my contracts have been presented, signed and completed without an agent (although my first novel just came out, I've got three other published works of nonfiction). How much of a difference will there be in this agent-negotiated contract and the ones before it? A lot, I hope ~ but I don't know. Will publishing houses be willing to read my submissions faster because they come from an agent than when they just came from me? I don't know. And if they do read them faster, will it be because I have an agent or because I am now a published novelist? I don't know. Can you tell there's still a lot I don't know?

Here's what I do know...I know I am breathing easier and stressing less over this contract than any of the others. I know there's a comfort in saying "my agent", even before I know if she's a good agent or not. I know I feel less like I'm alone in an industry I'm still learning than I did before. I know I am nicer to my fiance', my friends, my family and even my dog when I have someone "official" at my back.

All of these may be quirks of mine that you don't share. Fair enough. Still, for me, if this is the first of many contracts she negotiates for me or the first and the last, I'm glad I've got her. My reasons may be quirky but they're my quirks and I can live with them.

Something else to mull over while you curl up with a good book.

~ Pauline

Agents

Working on: Just about everything except writing

Mood: Pretty harried

Sorry, here I am bringing up the rear again. My thanks to Lisa Hendrix for a friendly nudge about my turn at the blog.

Although I am currently between agents, I have never entered into a book contract without one. If you've never seen a literary contract from a traditional print publisher, well, they can run 15-20 pages. I always read mine before signing them, but it was after an agent had vetted it for me. Not only is an agent paid to shop your work around, they also earn their money by making sure that a writer gets the best possible deal. Some of the changes they make are just fine-tuning (50 author copies instead of 25, for instance), or they might be more significant, ones that entail marketing cooperation from the publisher, certain audio/film rights, etc. You know, things that might not even cross our minds until it's too late.

Years ago, a keynote speaker I saw at National noted the fact that she didn't have an agent. She'd written for the same editor at the same publishing house for twenty years and couldn't see the point of representation. Most of us will never know that kind of stability. Editors come and go--I had a different one for each of my first four books--in these days of consolidation, a writer could suddenly find herself writing for a completely different house, or the same house with all new policies. Or she might want to write a completely different kind of book under a pseudonym for a different house. I personally feel that someone looking out for my interests is a must.

That said, getting an agent can be as difficult as finding a publisher, especially in these times of economic upheaval and technology change. Many agents now accept submissions via e-mail. Unfortunately, in my experience, that doesn't necessarily mean they will respond. There are about five I queried last year who have never acknowledged me, even after two follow-up e-mails. It's hard to know what to make of that: was the submission so horrible they didn't even feel it necessary to punt it back with a withering rejection? Did they receive it at all? Are they so inundated with submissions that mine was lost in the shuffle? Who knows?


My life is about to settle down again very soon, and I'll take up the search again.

Alexis Harrington

Agents

Posted by: Heather Hiestand/Anh Leod

Currently working on: adding some suspense to a romance novel that I'd like to finally finish after, oh, ten or so years.

Just out: Ex Factor by Anh Leod, a sci fi erotic novella at Ellora's Cave

Waiting on: first edits from an editor at my new publisher

Mood: worried, hungry

When I was first writing I targeted category romance publishers, unlike my critique group, and therefore didn't query agents because I figured I didn't need one. My single title writing critique partners seemed to get agents as they finalled in contests, but that never happened to me though I did final in contests at times. When I finally sold a single title novel, I did make a brief attempt to get an agent, and was even offered representation but I turned it down because it didn't feel right.

Sometimes agents have done wonders for my friends, for their confidence if not for their careers, and some have done nothing but collect a check, or nothing at all. The agent experience seems to be all over the place. They can make you, they can do nothing much, and on horrible occasions they can even break your career.

One thing I think is wise is to keep a ever-updated "Top 5" or "A" list of those agents you'd like to rep you if you ever got your big break. When I got the call unexpectedly only 18 hours after sending in my full manuscript, my only preparation was a list of maybe 4 agents who'd sent encouraging rejections to me in the past, when I'd pursued a different kind of publisher. I wasn't prepared at the moment my career was hot, and my lack of an agent now reflects that. Be prepared - we're writers, we're good at fantasizing, and why not dream through a scenario where you've written the hottest partial of 2009 unexpectedly, and your perfect agent will want to rep you. Who is that agent? Figure it out!

Judge A Book By Its Cover Contest Winners!

Congratulations to RCRW's JABBIC contest winners, Elisabeth Naughton & Angie Fox!

Romantic Suspense
STOLEN FURY
Elisabeth Naughton
9780505527936
Dorchester Love Spell
December 2008

Science Fiction/Fantasy/Paranormal
The Accidental Demon Slayer
Angie Fox
0505527693
Dorchester
August 2008

To Agent or Not?

Terri Reed

Currently working on: Chasing Shadows, a December 2009 release

Mood: Upbeat because I just got the cover for my March Classics release (a two in one volumne of my first two Love Inspired Romances) and there's a quote from Romantic Times! How cool is that!

When people find out I’m a writer the conversation usually goes something like this:
Person “Really? What do you write?”
Me: “Inspirational Romantic Suspense and Romances.”
Note: I get a few different reactions to this:
A)I didn’t know there was such a thing.
B) Oh.
C) That’s wonderful or something to that effect—Hey, at least they may have heard of the genre.
Person: “Are you published?”

Me: “Yes. My publisher is Steeple Hill which is the Inspirational Fiction line under the Harlequin/Silhouette umbrella.”
Note: I usually give this info because most people have heard of Harlequin. At this point I get a few different reactions:
A) a raised eyebrow or a widening of eyes
B) Oh.
C) How nice or something to that effect
Person: “Where can I find your books?”

Note: Find my books? They’re not hiding under a rock. I keep my snarky comment to myself.
Me: “Borders, Barnes and Noble, WalMart, some grocery stores—Fred Meyer in the Pacific Northwest.”

Person: “I’ve always wanted to write a book. How did you get started? Do you have an agent?”
Note: I usually don't address that first statement. I mean really, what do you say to that? It’s easy, you should do it? Not. It’s hard, you should do it? Double not.

Does this person really want the rundown of my ten year long and rejection filled, huge learning curve journey to publication? They must not have anywhere they need to be. I usually settle for, "I joined a writers organization called Romance Writers of America and through that learned everything I could." That seems to satisfy most people.

Do I really want to explain why I have no agent when ‘everyone’ knows you need an agent to be published?
At least that was what I thought until I joined RWA and starting doing some researching. There are a handful of publishers that will work with unagented authors. Some times an author will start submitting to a publishing house sans agent but then go on the agent hunt once the editor makes an offer. I have had several friends do this.
So in answer to the question, do I have an agent—the answer is no. Not at this time.
Hopefully one day I will when I’m ready to try something new. And believe me, I am taking notes all the time on different agents. I'm listening to the industry news, studying client lists, book lists, publisher lists and going to every panel and workshop I can to find out more about as many agents as possible so when the time comes, I'm prepared to embark on the great agent hunt.
But for now I am more than content with my business relationship with Steeple Hill. The company has treated me well. I’ve enjoyed working with the editorial staff. I love writing my books. And I get to do it from home while the kids are at school and then I get to be with them at the end of the day. I consider myself a stay-a- home-mom who is also an author.
What more could a girl ask for?

Agent Schmagent

Posted by: Jenna Bayley-Burke

Currently working on: revisions on the category partial, polishing the ST

Waiting on: inspiration to start the category over...again, and edits on the erotica novella

Mood: frustrated, spacey

~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-~-

This month we're talking about literary agents - why you'd need one and why you'd want one and how to find one. An agent should come with knowledge and relationships with editors at the publishing houses you're targeting. They can tweak contracts, finagle publicity, and help you polish a manuscript until it sells. You can find them all over, from web searches to conferences to writers guidebooks. Finding an agent who believes in your work is hard enough; finding an agent who meets your own set of wants and needs is even harder.

Agent Query is a great place to start your agent search. But simply querying agents who are aquiring what you write isn't enough. You need to research every agency you submit to. Who do they represent, how often do they make sales (check Publlishers Weekly) and how long have their clients been with them.

Whenever possible, talk with authors currently with the agent you're considering. And talk to them off the record. How do you know who's with whom? Publisher's Weekly, the agents website (or blog), asking around, and the deditcation page of the authors books.

Personally, I'll never sign with an agent I haven't met in person. It's expensive to make it to conferences, but invaluable when it comes to making an agent match. Just because someone requests your work doesn't mean you'll work well together long term. Your best idea of that comes from instict, and mine work better in person.

Do you need an agent? Probably. It depends on what you write, where you want your career to go. For ebooks and category romance, they don't have a lot of room to groove. With bigger contracts, an agent can be worth their weight in platinum.

Remote post!

DELLE JACOBS
CURRENTLY WORKING ON:
Second/third drafts of SIDHE, Medieval Paranormal
SIREN, sea fantasy.
MOOD: Jet-Lagged

I'm in frozen Louisville Kentucky, visiting family and attending my son-in-law's graduation from police academy. Since Louisville holds one of the most intensive training programs for police in the nation and I'll be attending both an information session and the graduation (which I'm told is a bit elaborate), I'll have lots to tell you when I get back.

On to the topic: Agents.

Some people do better with agents, and some less well. Some kinds of writing seem to require them more than others. I've had one who wasn't much good for anything except sneezing, maybe. one who was a crook, and one who has a very good reputation, but who hasn't worked out particularly well for me. I still do have a supposed working relationship with the last of these. But since I'm not aiming anything at her at this time, it can hardly be said to be working.

The difficulty for me is that I don't seem to need an agent right now. Several of my projects and planned projects are aimed at the ebook industry, and I can sell to an epublisher better than an agent can. But my medieval paranormal is one that might go either way. So I'm kind of caught in the middle.

My current release, APHRODITE'S BREW, is a perfect example of my dilemma. I originally wrote it as a Traditional Regency, and the first version which I submitted to the Golden Heart almost under protest since it was so totally un-ready, was barely 63,000 words long. I knew the market was failing, and I had just returned from England with no time to polish the book to submit. But it looked liek there wouldn't be enough entries for the category to survive, so I sent it in, knowing it wouldn't possibly final, so my anonymoty was protected. It finaled. Then it won. I knew it was going to win because two of the judging editors let it slip to me, and didn't realize I'd picked up on it. Both asked for and held the complete manuscript while they then watched the masrket crumble to their feet. I got my agent based on this manuscript, and of course I re-wrote it as a historical. But she had no luck selling it anywhere. Those two editors and another all wanted it, but it just didn't work out.
So I've really done a bit better than any agents have with my books. But I can't really blame her. The market was just awful then.

The trouble with agents is also what's very good about them. They don't want to take you on unless you look like a really good money-maker for them. That phrase, "not commercial enough", was the one thing that opened my eyes. They can love you work, but if they don't thinks some editor is going to offer big bucks for it, chances are excellent they'll keep going through their piles looking for the one manuscript that shows this possibility. And why shouldn't they? It's a business for them, and money is the currency of survival in our culture.

So I think, in a way, that's where I see the difference. Agents don't believe they can make money off some books, or they don't see the author as productive enough in the long run, for some reason. It's also true that they have to make quick decisions, and sometimes do rely on superficial information. That may not be fair, but that's the way it is.

Frankly, I don't see the point in writing a book that has only books that have widely commercial appeal if they aren't books I can enjoy writing. If I have a narrower audience for the books I write, but I'm not ripping my guts out writing a book that my soul detests, then I'd rather have that. It means less money for me. It also means an agent isn't going to be interested because he'll see less market appeal. For him, it must have both writing quality and saleability. And these days, they don't just want sales, they want big sales. High volume.

If you believe you need an agent to hit the market of your choice, then you need to also be assessing your work for that high volume sales potential. It's a slightly different thing than loving and believing in your book. It's a strong critical analysis of what will play well in your chosen market, and whether you are hitting that target. If you're getting there, then you should be looking for agents who have the ability to sell to your market because they can do more than just sell your authorship. Negotiation is one of their great strengths, and they can get the best possible contract that will work for you. If you're aiming at one of these markets, get an agent. Better yet, don't just take any agent, get one who is good for you.

To Get An Agent...Or Not

Posted by: Susan Lute
Currently working on: revisions, researching a new story idea
Waiting on: a green light from an editor, and a high five from my agent on a single title contemporary proposal I sent her last week.
Mood: impatient, hopeful

The question of whether to get an agent or not is one that occupies every writer’s mind. There are pros and cons. Everyone who’s been writing for any length of time has heard them all, so I’m not going to go into them here. What I will do is tell you why I like having an agent.

I’m published in category romance. Standard contract. Very little wiggle room, not that I’m inclined to wiggle much. Most say an agent isn’t needed to write for Silhouette. For the most part, I think that’s probably true, but one day I wrote a single title women’s fiction novel...okay, not in a day...but when I submitted it to my agent, she read it fast and said it made her cry. That’s why I signed on with her and I’ve been very happy I did.

That story didn’t sell, the market flattened, and the next two didn’t get her okay, but here’s what I like about having her for my agent. She tells me when I’ve hit the nail on the head, and when I don’t, as well. She won’t represent something she can’t say she's a hundred percent behind. That integrity means a lot to me. When she does like a project, she’s my biggest advocate, even when I get crazed by how this business goes. Knowing she can’t sell a manuscript if she doesn’t have it to shop keeps me writing even when I find myself wondering if it would be easier to make a living as a door to door saleswoman. She’s my ra-ra section. She’s my kick in the pants. She’s not my mother. She’s my business partner. For all these reasons, even if my next contract is with Silhouette, she’s worth every penny I’ll be paying her.

Falling In Love

Posted by: Pauline Trent
Currently Working On: kinda-sorta the next novel but a little distracted by wedding plans IRL
Mood: Happily Overwhelmed

Wow. Featured author for my debut novel. I’m still having a time getting my head around this concept. It’s lovely in a surreal, when do I wake up? kind of way. See, I never dreamed of being a writer. I didn’t read romances as a teenager. Honestly, I didn’t even much care for fairy tales. Yet here we are. In this surreal, when do I wake up kind of place. I am a writer. I do write romances. And my first one, FALLING IN LOVE, comes out in two days. Holy…cow.

The official write-up for FALLING IN LOVE from Kensington Books is: Lambert Falls, North Carolina, is a small Southern town where the past and present effortlessly mingle. Here, the pace is sweet and tranquil—but life can still offer up its share of surprises…

After years in the military, Chris Montgomery is looking for somewhere to relax and recharge, and Lambert Falls, with its tree-lined streets and picturesque town square, seems ideal. Chris expected that a stranger in town would attract suspicion and gossip. He didn’t expect to meet someone like Angie Kane, with her warm, open smile and self-contained air that are instantly intriguing.

Angie has built a satisfying life for herself, one she’s not willing to uproot for someone who’s just passing through. But Chris is quietly persistent—not to mention handsome and charming. Against her own better judgment, Angie finds herself falling deeper than she ever intended—until one phone call forces her to choose between the town she’s always loved, and a man she can’t imagine living without…

The one in my heart is more along the lines of: I’m going to write the story of the woman who isn’t a size 2, doesn’t want to be a size 2, enjoys her ice cream and her cheeseburgers and still gets the gorgeous guy! Even though she’s sometimes tired, sometimes grumpy, and doesn’t always say the right thing, she’s worthy of the good life she’s built, the friends she has and yes, the handsome Green Beret, who is the talk of the town. 'Cause I'm wicked tired of couples where he's a goof/idiot/comic relief/unattractive/insert whatever here and she's gorgeous, talented and perfect. Seriously, dude.

So, it's not as well-written as Kensington's. It is just as honest.

My blog, Curl Up With A Good Book…and Live a Champagne Life on a Beer Budget, actually deals with a similar vein. It acknowledges we aren’t all perfect with perfect lives. That we are stressed and short on time and far from perfect. Yet we all still carry the dreams of the lives we read about ~ whatever we read ~ when we were girls. That we are worthy of treating ourselves well, of taking time for ourselves, of creating those lives, in little steps and little ways, every day. Be sure to check it out at: www.PaulineTrent.com. I’ll be posting new tips every Monday, with the occasional contest, too! Unfortunately, there is no Green Beret as a prize.

And there you have it. My featured author blog for my debut novel, FALLING IN LOVE. It's available a lot of places, including Borders, Powells and online…until I wake up, anyway.

Remember, curl up with a good book and live a champagne life...even on a beer budget!

~ Pauline

Upcoming Events

February 3rd
JD Tynan Hosts a Book Launch party at
Blackstone
in Vancouver
5:30-7:30 pm

Willamette Writers
The Old Church, SW 11th and Clay 7 pm

Elisabeth Naughton Speaks about Stealing Time to Write
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Carving time out of a busy schedule is something Naughton knows well. The former Junior High science teacher was already busy with kids and family when the writing bug bit her. But long before her debut release, Naughton has been busy on blogs, with her critique group, and as the President of the Mid- Willamette Valley Chapter of the Romance Writer's of America. At our February 3rd meeting where she will talk about her journey and how to balance writing and life.

February 14
RCRW chapter meeting & workshop
HT123, Portland Community College Sylvania Campus
10:00 a.m

Cassiel Knight presents
Body Language: It's more than a gaze
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It doesn’t matter whether you are a beginner or an advanced writer. Trying to think of different ways to show your character’s body language is a struggle. After all, how many times can you use the words gaze, glance or look just to name a few? This workshop was born of necessity. It focuses on how to communicate your character’s actions through creative use of body language using real life examples from photographs and pictures.

RCRW Authors Booksigning
After chapter meeting, before the workshop

Signing authors include ::

Delle Jacobs Aphrodite's Brew (Tales of the Laughing God)
Jenna Bayley-Burke Her Cinderella Complex & For Kicks

February 27 - 28, 2009
Whidbey Island Writers Conference

Lisa Hendrix is a presenter at one of the finest regional general writing conferences around. Events take place at various venues around Whidbey Island, and include fireside chats that are hosted in some of island’s spectacular private homes. A unique, relaxing way to brush up your writing skills. More info at the Conference website.

February 28 - March 1, 2009
Celebrate Romance, The Benson Hotel, Portland, OR

RCRW Authors scheduled to attend ::
Lisa Hendrix (Sunday only)
Delilah Marvelle
Jenna Bayley-Burke
Delle Jacobs
Elizabeth Naughton