Tag s | Pitching

Three Questions About Agents

In meeting with writers on the cusp of their careers or flush with new success, we find that three big questions come to the forefront. Today, Tamela shares her answers:

How do I find a literary agent?

(1)      First and foremost, visit the agency websites to see which ones are actively seeking the type of work you write.

(2)      Talk to your agented friends to learn about their agents. Referrals are a big part of our business.

(3)      If time and finances allow, attend a conference or meeting where your preferred agent will be appearing and meet the agent.

(4)      Make sure to abide by the agency guidelines when submitting your proposal. Attention to details can distinguish your submission from less-professional offerings.

(5)      If you don’t hear from the agent after a couple months, follow up with a respectful email.

 

When do I need an agent?

(1)      You have completed a manuscript and it is, without a doubt, ready to be submitted to agents.

(2)      In nonfiction, you have established an outstanding platform of significance. For example, an ongoing speaking ministry, a strong internet following, and a demonstrable fan base will help convince an agent (and later, a publisher) your book will sell.

(3)      In fiction, your book is written to the current market. Contest awards of national significance demonstrate that industry professionals recognize your talent.

(4)      Through conferences and/or contests, editors have asked to see more of your work; this is a plus, though not essential.

(5)      You have been offered a book contract. (Just don’t accept the offer until you talk to an agent.)

 

Once I start working with an agent, how do I enhance the relationship?

(1)      Don’t be afraid of your agent. If you are, you will never have the ideal working relationship. When you need your agent, make contact. No exceptions. (We really don’t bite. At least not very often.)

(2)      Know yourself. If you want to trust an agent with secrets and be a personal friend, choose someone with the accompanying personality. If you are an “all business” type, choose accordingly.

(3)      If you feel your agent is ignoring you, let that feeling be known. When you do, the relationship will become stronger. As in any relationship, communication is key.

(4)      Publishing is a small industry. Never burn a bridge. The associate copy editor you scream at today will be the vice president of acquisitions tomorrow.

(5)      Always abide by the Lord’s guidelines known as The Golden Rule (Luke 6:31).

 

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Saving the World, One Romance at a Time

Often I will receive submissions of novels tying in an element of mystery and suspense with romance. Writers targeting the romantic suspense market will find difficulty in placing this type of story. Why? Because romantic suspense readers have certain expectations that won’t be met with a mere element of mystery and intrigue.

In my experience trying to sell and market romantic suspense, I have found that the readers of this genre want all-out adventure and crime solving along with compelling romance. The suspense is foremost, with the romance being tied in so deeply that the story won’t survive without it.

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What Caught My Eye


Last week we talked about the hook, the sound bite, or the ability to “say it in a sentence.” One reader asked for examples so I thought I’d give you a few.

Below are the short pitches of proposals that have caught my eye over the years from debut authors. Please realize that the sound bite is only one of many factors that goes into a great proposal. Ultimately it is the execution of the concept that makes for a great book. For example, The Help by Kathryn Stockett would not have succeeded as a word-of-mouth bestseller if the writing did not support the story. (No, we did not represent that title, I’m only trying to make a point. :-))

Your challenge will be to see if you can identify which books these sound bites are pitching. Each one has been published. One is obviously non-fiction, the other two are novels. The answers to each of these will be provided later this week in the comments section. along with a link to the title so you can see it in its final form.

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Say It in a Sentence

Can you present your book idea in one sentence?

Can you present that idea in such a way that the reader is compelled to buy your book?

What motivates someone to spend money on a book? It is the promise that there is something of benefit to me, the reader.

Books are generally purchased for one of three reasons:

Entertainment Information Inspiration

If your book idea can make me want to read it, whether it is for entertainment, information, or inspiration, then you are well on your way to making a sale.

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Would You Buy Your Own Book?

When I ask a room of writers if they would buy their own book if they saw it on the shelf at a major bookstore I am met with a variety of reactions. Laughter. Pensiveness. Surprise. And even a few scowls. How would you answer that question?

But the question is meant to ask if your book idea is unique. Whether it will stand out among the noise of the competition.

It is not a question of whether your book is important or valuable or even well written. It is ultimately a question of commercial viability.

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That Conference Appointment

You snagged one of those valuable 15 minute appointments with an agent or an editor at the 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? What if you blow it?

Many excellent posts have been written on this topic (see Rachelle Gardner and Kate Schafer Testerman for example) but thought I would add my perspective as well.

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.

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Brainstorming: How and With Whom?

Brainstorming is one of the fun parts in the development of a book. The key for the author is a willingness to hear other ideas. The second, and most critical key, is discovering those with whom you should brainstorm. Those people need to be willing to have their ideas rejected in the discussions and be willing to let an idea they created to be used by someone else. It takes a special person…many times a professional…to achieve that.

I’ve heard complaints from some authors who try this in a critique group only to be frustrated. Egos get in the way or the ideas generated are singularly unhelpful. Or the discussion doesn’t move the project forward, instead it gets sidetracked by numerous differing opinions on the direction of the piece.

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The Ultimate Sound Bite

Can you boil the essence of your novel or non-fiction book idea into twenty-five words or less?

This is one of the keys to creating a marketing hook that makes your idea sellable in today’s crowded market.

You have less than a minute to make that hook work.

It is also called creating the “elevator pitch” or the “Hollywood pitch.” The goal is get the marketing department to exclaim, “We can sell that without any problem!” And ultimately to get a consumer to say, “I want that” or “I need that” or “I know someone who should have that.”

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