Tag s | Get Published

That Conference Appointment

You snagged one of those valuable 15-minute appointments with an agent or an editor at a writers conference. Now what? What do you say? How do you say it? And what does that scowling person on the other side of the table want? You’ve heard the reputation of that agent as being rough and gruff. What if you blow it?

What advice would you give to a beginning writer about attending a writers conference and meeting with an editor or an agent?

Go in with realistic expectations. The biggest mistake is thinking that this is the guaranteed method for getting a book contract and that you have one chance to make or break your entire writing dream. Modify those expectations. Instead, see it as a learning experience and a place to listen and absorb the sights and sounds around you. It can, in some ways, be a safe place to fail.

Over the years it is estimated that you’ve conducted more than 2,000 of these appointments. What are you looking for in a new author or client? Is there an element in a pitch that you look for?

This a VERY difficult question. Reading anything is an extremely subjective experience. If I like the pitch I may not like the writing. And sometimes the pitch is weak, but the writing is great. And furthermore, what gets me excited may cause another agent’s eyes to glaze over.

In the appointment I’m looking at the person as much as the pitch and the writing. It is the connection made with their personality and their passion and their overall presentation of themselves. That is as much a part of the pitch as the actual words in the manuscript. It is one of the reasons why agents and editors go to a conference: to see firsthand that “snap” or “spark” which makes that person stand out. Hopefully, the execution of the writing delivers as well.

Understand that I’m not saying that someone has to be a “bigger-than-life” personality. That would be a rather shallow perspective. Instead, it is reading the person behind the page. It is hard to explain and impossible to teach to someone else. But those of us on this side of the table know what I mean. The successful agents and editors have the ability to pick those few from the crowd..

So, please understand I’m not talking about a song-and-dance routine. But instead, I’m talking of the internal fire, that God-given spark that says, “Steve? Pay attention.”

What is the one thing that drives you crazy about people when they pitch. What is the one thing you wish they would do?

On the one hand is the person who tries to tell their entire novel or book idea with excruciating detail. That is either a case of nerves or a case of failing to practice ahead of time.

On the other hand is the person who is so precise that they sit down, smile, and hit me with their 25-word blurb. Then they close their mouth and expectantly wait for my august pronouncement, as if that is considered a conversation. That “interview” has lasted for all of two minutes at that point, and the silence is rather awkward. (Realize I haven’t read anything yet.)

The key is a strong balance between being over eager and talkative and the sterile precision of a practiced speaker. Remember, this is a conversation. I am not only listening to your pitch, I’m also listening to you. I am also meeting you. 

But if I say, “No. This doesn’t work for me,” that doesn’t mean I don’t like you. It is like the sidewalk vendor who shows me their turquoise jewelry and I say, “No thanks. Not today.” I am declining a business proposition, not crushing your soul.

Is there any sort of unwritten protocol to which you can clue us in?

Use your common sense. The jokes about slipping a proposal under a bathroom stall door are based in fact. Imagine my surprise while standing in the bathroom doing my business when a fellow comes up to me and starts pitching his book idea. I turned my head and sternly had to say, “Not now! Do you really want me to associate your book idea with this experience?”

At one conference a woman followed me into the men’s room while making her pitch. I had to ask her if she would mind waiting outside for a moment.

I’ll never forget another lady who came up to the appointment table, stood over me, and shook a finger saying, “Now you be nice to me!” And then gestured aggressively at another editor in the room and said, “Because that man over there made me cry.” I timidly asked her to take a seat.

Once a writer was so nervous about the appointment that the moment she sat down she burst into tears.

My advice to every writer is to r-e-l-a-x. Be yourself. The editor/agent is not necessarily an ogre. (However, after watching me at a writers conference a few years ago, Thomas Umstattd gave me the title “The Harbinger of Grim Reality” or “ogre” for short. Gee, thanks Thomas.)

If you run into an editor/agent in the hall or the elevator, it’s okay to talk to them! We are not rock-star celebrities, for goodness sake. We have come to the conference with the goal to find new talent and to nurture relationships.

Try not to argue with the editor/agent. It’s okay to disagree and state your case; but if you let it devolve into a snit, you need to apologize–and so does the editor/agent. Civility should reign. If I make a statement regarding the receptivity of the market to your book idea, I’m not asking for a debate. (“But mine is so much better than Harry Potter!”) I’m merely expressing my observations about the marketplace.

It’s been said that some editors and agents request everything pitched to them at a conference. What is your take on this, and how often do you make requests?

There can be the problem of the “false positive” at a conference. By “false positive” I mean the editor/agent says, “Send it to me,” only to later send a stock rejection letter. It is a problem of which there is no real solution. Editors/agents cannot fully evaluate a project in a 15-minute meeting, or walking down a hallway, or over a group dinner table. Back in the office they can weigh your project against the others they are considering. But at least you are being considered! If you had not gone to the conference, you would not have had that chance. I can name numerous times in my past where I contracted someone after reading the proposal in the office. Of course, the majority receive the “no thank you” letter. Just because the faculty member says, “send it” doesn’t carry with it a guarantee of a sale.

It is especially difficult with fiction because the reading is more of an experience than an evaluation. I’m not afraid to say, “This needs work” to any writer; and many of you reading this blog have heard those words from me. But at the same time, our agency’s door is always open. We are always in the hunt for the “next best.” I can’t know if that is the “next” unless I get it reviewed and read it myself in a different context outside the conference.

Have you ever signed an author after meeting with them at a conference?

Many, many times. Both as an agent and back when I was an editor at Bethany House. It does happen. I can safely say that every editor or agent would agree that if they find one (only one) new talent from a conference, it is considered a success.

I’ve had many times where nothing specific came out of that conference, but years later it bore fruit. For example, Paul Robertson attended a conference where I spoke in the late 90s. He said he sent something afterward that I rejected. Eight years later he sent me a proposal that was published (The Heir) with Bethany House. So while I didn’t necessarily see anything at the time, it had results nearly 10 years later.

Have you ever rejected someone who later became a successful author?

Of course! Ask any editor/agent about the “one they let get away.” They’ll be “happy” to tell you their story.

Ask any number of established authors, and they will all tell their stories of rejection by agents and editors.

A lot of writers deserve their initial rejections! Often they start out with a half-baked pitch or with an idea that just landed on the bestseller list written by another author.

Jack Cavanaugh went to writers conferences for ten years before he sold the first of his 25+ novels. During those years he learned the craft, he learned the industry, and he became friends with editors. And when the time was right, his novel was accepted and a career was born.

 

[An earlier version of this articled was posted in 2010.]

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Who Gets Paid in Publishing?

With all the talk about Independent publishing vs. Traditional publishing and the talk about how writers can get rich if they follow a certain plan…I got to thinking. Maybe we should do a quick look at the Economics of Publishing to see if anyone is making off like a bandit. Sorry for you non-numbers people, but it is critical to understand the infrastructure (i.e. the lifeblood) that keeps your ideas in print.

The detective in the movie says “Follow the money,” so we shall. But first a disclaimer. These models are estimates based on years of reading contracts, profit and loss sheets, spreadsheets, and royalty statements. Your mileage may vary.

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Many Happy (?) Returns!

by Steve Laube

Every first-time author is confronted by the reality of “Reserves Against Returns” as part of publishing economics. It is usually a shock and elicits a phone call to their agent crying “What happened to my money?”

Did you realize that book publishing is the only “hard goods” industry where the product sold by the supplier to a vendor can be returned? This does not happen with electronics, clothing, shoes, handbags, cars, tires…you name it. If it is a durable good the vendor who buys it, owns it (which is why there are Outlet Malls – to sell the remaining inventory). Except for books. Somewhere along the line the publishers agreed to allow stores to return unsold inventory for credit. In one sense, publishers are selling their books on consignment. Bargain books are actually resold by the publisher (after getting returns or to reduce overprinted inventory) to a new specialty bargain bookseller or division of a chain (which buys the bargain books non-returnable).

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How to Know if Self-Publishing is for You

Technology and Amazon.com have opened up the world of book publishing, making it far more “democratic” than ever before and allowing anyone with word processing software and connection to the internet, to become a published author. The traditional publishing industry is a $25 billion or more industry in the United …

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Amazon Rank Obsession

Admit it. You’ve checked your Amazon.com sales ranking at least once since your book was published. You feel the need to have some outside confirmation of the sales of your book. And Amazon’s ranking are free to look at.

I’ve even seen book  proposals where the author has gone to great lengths to include the Amazon ranking for each title that is competitive with the one the author is proposing. A prodigious amount of wasted effort.

Publishers rarely pay attention to Amazon rankings unless yours gets below 1,000 or if you get in the top 100.

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Promotion: Faithful or Self-full?

“What’s the difference between promotion and self-promotion? How do we promote ourselves/our books so that we honor God, respect others, and use common sense?”

The constant tension between marketing and ministry has plagued the Christian author, speaker, bookseller and publisher forever. Why? Because Jesus threw the money changers out of the temple. Because we are commanded to die to self and to humble ourselves in the sight of the Lord….

And yet, our society…our culture insists, even demands, that we market and promote our message.

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How an Agent Reads

I’m seldom at a loss for words (though often at a loss for something of value to say), but the question took me aback for a moment. I was on an agents-and-editors panel at a writers’ conference within a few months of becoming an agent. I’d done this sort of …

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Author Says / Agent Hears

Many aspiring authors communicate things they think are positive, or at least in the spirit of honesty and transparency, but end up being understood entirely different than the intended message. In an attempt to show commitment, an aspiring author says, “I’ve been working on this book for ten years.” An …

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The Wild Pitch

In honor of the upcoming baseball season I thought it would be fun to explore the art of pitching.

A couple years ago I was watching a Major League baseball game and the pitcher unleashed a horrific throw that sailed about eight feet behind the batter. It floated to the backstop without a bounce and everyone in the stadium wonder what had just happened. It looked like the pitcher lost his grip and could not stop his delivery. In baseball terms this is classified as a wild pitch.

Unfortunately many writers unleash a pitch on an agent or an editor before it is ready to deliver. Let me list a few actual letters I have received.

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