SHALLA Q&A with Literary Agent Robert Brown (transcript)
Hello!
I'm Robert Brown, an agent with Wylie-Merrick Literary Agency,and hopefully I can answer questions you've always wanted to ask an agent—questions about publishing in general, querying and what I lookfor in both queries and samples. So just cut loose and ask away, butplease be gentle.
;)
To find out more on what Robert Brown is looking for:http://shalladeguzman.blogspot.com/
Our Q&A is at:
http://groups.yahoo.com/group/ShalladeGuzman/
Message #'s 1067-1088
I would like to ask you about editing. How do you suggest we edit our manuscript? What are editors and agents looking for, that most writers miss (editing)?
There was a time when agents helped edit author's manuscripts, however, that time has long passed.
We at Wylie-Merrick do sometimes help our clients with requested revision edits; however, we expect a novel or book to be "print-ready" before we consider a client for representation. Editors look at everything, and agents, because we filter for our editors, also look at everything. A small item like a misspelled word in a sample, for instance, can cause us to reject. Why? Because we assume that there are others within the MS.
We very closely scrutinize a novel's opening. Openings that are filled with dry narrative or exposition are not going to catch a reader's eye, so a weak opening is also cause for rejection. As I stated above, agents do not edit. It is the writer's responsibility to make sure his or her manuscript is the best it can possibly be before seeking representation.Also, when going through your work, look for timeline and storyline problems, check your dialogue (use "said" rather than other tags except for in a few places), look for POV shifts (you should know what POV you will use for your story before you start writing), and anything in your story that will distract your reader. Another major issue is to know what you have written and stick with the elements of fiction or nonfiction that make your book what it is. There is nothing more frustrating than a solid mystery that changes in the middle to a mainstream novel.
Thank you for asking this great question. I could go on and on for this one, but I hope my answer was adequate---Robert
I'm wondering about what editors seem to like nowadays. It seems they like a mix between two or more genres. Like romance mixed with paranormals, chick lit mixed with mystery, etc.
Am I getting the info right? And where do you think commercial fiction is heading?
Your question is actually pretty complex. Editors like stories that are fresh, new and original. The some old thing does not work, especially if you are a new, unpublished writer. I don't feel that the genres are being mixed as much as new elements are being added within them. Writers should take care to not go too far when writing, for example, a romance with a mystery sub-plot in it, and end up with something that is termed to be midlist or mainstream because the romance, mystery, and other elements get equal time. These types of novels do not sell well because there is no place for them on bookstore shelves.The romance genre has been changing for quite some time. There are historical romances, sci-fi romances, suspense romances and so on. They are still romances and not mixes as you stated in your question. The formula has not changed, just elements within the story. Chick-lit, however, because it is a new genre, is changing and growing constantly, but chick-lit is still chick-lit with a mystery element. Chick-lit is also growing upward and outward. As its reader base ages, so do its characters and each generation spawns a new subcategories--mommy-lit, hen-lit and granny-lit(I made up the last one, but I'd imagine there will soon be this subcategory too).Commercial fiction will always have an audience. There are more readers now than ever before. Mega bookstores are locating in smaller and smaller towns throughout the world. At present, fiction is in strong competition with non-fiction, but that won't last forever. Non-fiction spoils fast--fiction lasts forever. Thank you for your question. I hope this answer helps—Robert
I would like to ask, can we query more than one agent at a time? Or do I have to query one, wait for their response, then query another?I'm thinking of querying about a dozen agents at the same time, and see if anyone likes my submission.Thank you.
Thanks for your question. Yes, you should query more than one agent at a time unless the agent's guidelines specifically state otherwise. If you query agents one at a time, it will take years to reach those who might be willing to represent you. We assume when we receive a query that the writer is sending out to many agents--this is a given in our industry. I would send out a dozen queries and then when some come back, send an equal number back out. This way you have a constant number out there all the time. If you get requests for partials or full manuscripts, you are on the right track. If, however, you send out a full group--say twelve in your case--and you get no hits, reanalyze your query or writing, for there might be a problem. Another item to consider is Web sites. Many agents have them now, so you should always go there first to see if you are sending what each agent is looking for. I can't stress enough to research an agent BEFORE sending to him/her. Sending twelve queries blindly is useless, but twelve targeted queries will net you some results.Thank you for this great question. I hope my small contribution helps.Robert
What I want is to find out just exactly how do I get an agent to actually want to see more of my work. I have researched agents and followed their guidelines, but honestly, the rejection letters keep coming. I would like to be able to pitch my stories to agents successfully.
I have gotten positive feedback from several publishers, I have two children's books that will be due out, and one is sitting still at Avalon (my romance) I just want one of my non-fiction books based on my life with my ex, be noticed. It would make a good Lifetime for Woman story. I would appreciate any help you can help me get this story noticed.
Thank you for your question. This could go many ways, as this same question has been asked by writers since there have been writers. So where do I start? The first thing I see here is that you write in many different areas at once. In my experiece, it is very difficult to get enough proficiency in one area, let alone many, to gain the interest of an editor, let alone an agent. Take Steinbeck, for instance. He concentrated on his area of expertise, which was the Depression, and characters impacted by it. He wrote, as far as I know, only adult fiction. This worked for him because he was able to build an audience of adult readers who bought his books. Nothing has changed today except the players. A writer still has to build an audience, and you are making building this audience much more difficult by changing areas. So, my suggestion would be to focus in one area and become an expert in that area, and then you can build your audience there and switch later. By the way, don't worry about one of your books being a Lifetime for Women feature, since dramatic rights are a different ballgame. Many writers query me and say how well their work will translate into the dramatic field, but I have to have a book to sell first. Focus on an area where you enjoy writing and are the strongest in your skills. I hope this helps you. I really enjoyed trying to help here—Robert
What do you like to see in submissions?What do you like to see in the query letter? The writer's experience?The writer's voice?
To answer your question, I prefer a very simple three-part query letter. The three parts should be in about three-five paragraphs. The first should state what category (fiction or non-fiction)you are querying about, the work's approximate word length, and, if fiction, its genre (mystery, romance, suspense, etc.). The second paragraph should contain a short (one or two paragraph) overview (sometimes called the jacket copy but with the ending). The third paragraph should contain something about you--your writing experience--publishing credits, whatever. If you have never published, just say, "I'm a new writer." Lastly, I would need your contact information. When sending anything to me, also include the first ten pages of your book or novel. To me, the writing--and only the writing--will determine my interest in representing you. If you interest me in your writing, (the writer's voice) we will then determine if you and I can work together toward geting you published and beyond. Thank you for your great question. Robert
I'd like to know what the proper etiquette is for re-submitting a query (or partial) to an agent who has already rejected that same project. This would be approximately a year later with extensive editing to the manuscript. Would most agents even remember something they'd looked at a year earlier?
A good question that needed to be asked. The proper etiquette for re-submitting to an agent is to always remind him or her, in your query, what transpired before. If he or she asked to see a revision, then include this request with your resubmission. If the agent didn't ask to see your work again, then begin the query process anew, reminding the agent that he or she had seen the project before and asking if they would like to see the revision.Many times I receive email queries from writers I rejected but had added that, if they revise, I would like to see the revision. Months later, I receive pages or a complete from a person whose name sounds vaguely familiar but of whose work I remember nothing. Sometimes, as I'm reading, I remember. However, what would make it easier for me would be to have something in front of me to go by, like the reason I rejected the work in the first place.Hope this helps. Good luck! Robert
I have a book that at least one agent is interested in representing but it has been suggested I do a little editing before it is submitted to a publisher. It has been difficult for me to "self-edit" so I queried two freelance editors as to fees. Both charge what I think is a ridiculous amount. (And I have worked as a reporter and freelance journalist/editor for a number of years.) They also significantly changed my voice in the sample pages submitted.
What is the best way to locate an editor who will work as an editor and not try to re-write the novel in his or her voice?
Thank you for your time.
This is an interesting question for many reasons. First, you don't say whether your book is fiction or nonfiction. If it is fiction, then that would explain your difficulty in self-editing, since writing in these two categories requires two completely different sets of skills. Or you could be like many writers and just be too close to your book to edit it on your own. The second reason it is interesting is that you bring up finding a freelance editor, which can be extremely difficult. A good, legitimate editor is worth his/her weight in gold, but there are many editors out there who just aren't good at what they do, or they are only good in one area, such as fiction, and can't really help a nonfiction writer. I would suggest getting in touch with other writers who have utilized the services of a freelance editor and gotten published to get their feedback on who they hired. You can do this through newsgroups, writer boards, critique groups, conferences, etc. You will be able to hear their experiences and decide whom you might like to contact. Years ago, I tried to work with writers just a little bit before taking them on, but found the same problem you express--their work suddenly became mine. This is why I am an agent. Finding a good editor who can give professional advice without letting his/her own creativity interfere can be arduous, but worth it. Get referrals from successful writers, and I think you will find what you seek that way. The only problem you might have is that those editors are usually VERY busy and they can be expensive too. Do your research and only go with a freelance editor who has a proven track record, in addition to being recommended by other writers.Thanks for your question!Robert
Do you personally represent all of the genres listed on your site, or do you and your business partner, Ms. Martin, divide the genres?Do you have a reader reading submissions?
Sharene and I specialize in different areas, and I am pretty sure we listed that somewhere on our blog, which you can link to from our site. Also listed there is what each of us is looking for right now. Yes, we do have a couple of readers for some submissions; however, we still go through the bulk of them. We also have an agent in training in CA who reads as well.Best,Robert
Also, I was wondering how much you interact with your clients - are you just an email away (within reason of necessity, of course and not to be abused).
Yes, you could say that I am just an e-mail, phone call or fax away from my clients and the editors I work with as well. Technology is amazing and lets me keep in contact with clients as much or as little as necessary. I also get with them at writing conferences and other events whenever possible. Sharene and I both like to share in their successes or even their failures. Some clients don't want or need contact for many months while waiting for a book to come out, while others like monthly or even weekly updates on their book's progress. I go by what is comfortable for the client and doable for me.
Robert
When working with your clients in building a career do you also include/consider PR/Marketing plans as so many agents seem to be doing nowadays?
Yes. I always work toward educating all my clients in all aspect of marketing. Most writers do not understand that most publishers expect authors to understand that marketing is also the writer's responsibility. In many cases, if the writer does nothing to market his or her book, it will not be marketed to any great extent and again, in many cases, the book will fail. A writer's future hinges on sales numbers. This is especially true for that first book. However, even after a writer is established, a low sales number can cool their publisher's eagerness to produce that next book. So it is essential that writer's understand the marketing and public relations aspect of the publishing world. I do my best to make sure my clients are aware of all the pitfalls they may encounter before and after they are published.
I was wondering how difficult is it to sell and market cross-genre novels? For example, a novel with a Chick Lit voice/attitude combined with the Travel genre. As one of the other members mentioned in an earlier post, the "hybrid" novels seem to be what the market and publishers are looking for, but there still seems to be a reluctance for many of these books to be published. What are your thoughts on this and how do you suggest a writer tackle this cross-genre manuscript when querying agents?
Thank you once again for taking the time to be with us.
You're welcome. This has been fun. These questions are great and I've enjoyed answering them.You are right, anything new and different is sometimes hard to sell. But I don't know if I would call these books cross genre novels, exactly. As I stated earlier when answering another question, in most cases the genre elements are still intact, but parts of other genres are mixed in to make the novel more unique. This is really what it's all about. Editors are looking for novels with different flavors so writers are stretching the boundaries and adding different characters and settings that make this happen. For example, a vampire in a romance or a romance that takes place in a different galaxy and in a different time. In the romantic suspense, there does not have to be a happy ending; the standard genre romance ending. Editors want and accept these changes because readers have embraced them.There is one thing I'm having a problem with and that's the Travel genre. But I think I understand what you mean here. I believe you are talking about the Roadtrip Chick-lits that were popular a year or so ago. Novels do not have be static. We are a society on the move so what better way to keep a book flowing than to place it on a moving storyboard. I think the reluctance to publish comes about because there too many writers jumping on what's been done before. Once a couple of traveling chick-lit novels hit the big time, everyone wanted on that bus and agents and editor were deluged with hundreds of the same old thing. It's the fresh and unique that sells. With Harry Potter, we were (and still are) covered with Harry knockoffs. With DaVinci we were again covered with DaVinci look-a-likes. This isn't the way it works. A novel must be something someone else has not thought of yet to make it in this crowded marketplace. Push those boundaries and take chances. You may fail but when you win, you'll win huge!!
Thanks for great questions.
Robert
I'm Robert Brown, an agent with Wylie-Merrick Literary Agency,and hopefully I can answer questions you've always wanted to ask an agent—questions about publishing in general, querying and what I lookfor in both queries and samples. So just cut loose and ask away, butplease be gentle.
;)
To find out more on what Robert Brown is looking for:http://shalladeguzman.blogspot.com/
Our Q&A is at:
http://groups.yahoo.com/group/ShalladeGuzman/
Message #'s 1067-1088
I would like to ask you about editing. How do you suggest we edit our manuscript? What are editors and agents looking for, that most writers miss (editing)?
There was a time when agents helped edit author's manuscripts, however, that time has long passed.
We at Wylie-Merrick do sometimes help our clients with requested revision edits; however, we expect a novel or book to be "print-ready" before we consider a client for representation. Editors look at everything, and agents, because we filter for our editors, also look at everything. A small item like a misspelled word in a sample, for instance, can cause us to reject. Why? Because we assume that there are others within the MS.
We very closely scrutinize a novel's opening. Openings that are filled with dry narrative or exposition are not going to catch a reader's eye, so a weak opening is also cause for rejection. As I stated above, agents do not edit. It is the writer's responsibility to make sure his or her manuscript is the best it can possibly be before seeking representation.Also, when going through your work, look for timeline and storyline problems, check your dialogue (use "said" rather than other tags except for in a few places), look for POV shifts (you should know what POV you will use for your story before you start writing), and anything in your story that will distract your reader. Another major issue is to know what you have written and stick with the elements of fiction or nonfiction that make your book what it is. There is nothing more frustrating than a solid mystery that changes in the middle to a mainstream novel.
Thank you for asking this great question. I could go on and on for this one, but I hope my answer was adequate---Robert
I'm wondering about what editors seem to like nowadays. It seems they like a mix between two or more genres. Like romance mixed with paranormals, chick lit mixed with mystery, etc.
Am I getting the info right? And where do you think commercial fiction is heading?
Your question is actually pretty complex. Editors like stories that are fresh, new and original. The some old thing does not work, especially if you are a new, unpublished writer. I don't feel that the genres are being mixed as much as new elements are being added within them. Writers should take care to not go too far when writing, for example, a romance with a mystery sub-plot in it, and end up with something that is termed to be midlist or mainstream because the romance, mystery, and other elements get equal time. These types of novels do not sell well because there is no place for them on bookstore shelves.The romance genre has been changing for quite some time. There are historical romances, sci-fi romances, suspense romances and so on. They are still romances and not mixes as you stated in your question. The formula has not changed, just elements within the story. Chick-lit, however, because it is a new genre, is changing and growing constantly, but chick-lit is still chick-lit with a mystery element. Chick-lit is also growing upward and outward. As its reader base ages, so do its characters and each generation spawns a new subcategories--mommy-lit, hen-lit and granny-lit(I made up the last one, but I'd imagine there will soon be this subcategory too).Commercial fiction will always have an audience. There are more readers now than ever before. Mega bookstores are locating in smaller and smaller towns throughout the world. At present, fiction is in strong competition with non-fiction, but that won't last forever. Non-fiction spoils fast--fiction lasts forever. Thank you for your question. I hope this answer helps—Robert
I would like to ask, can we query more than one agent at a time? Or do I have to query one, wait for their response, then query another?I'm thinking of querying about a dozen agents at the same time, and see if anyone likes my submission.Thank you.
Thanks for your question. Yes, you should query more than one agent at a time unless the agent's guidelines specifically state otherwise. If you query agents one at a time, it will take years to reach those who might be willing to represent you. We assume when we receive a query that the writer is sending out to many agents--this is a given in our industry. I would send out a dozen queries and then when some come back, send an equal number back out. This way you have a constant number out there all the time. If you get requests for partials or full manuscripts, you are on the right track. If, however, you send out a full group--say twelve in your case--and you get no hits, reanalyze your query or writing, for there might be a problem. Another item to consider is Web sites. Many agents have them now, so you should always go there first to see if you are sending what each agent is looking for. I can't stress enough to research an agent BEFORE sending to him/her. Sending twelve queries blindly is useless, but twelve targeted queries will net you some results.Thank you for this great question. I hope my small contribution helps.Robert
What I want is to find out just exactly how do I get an agent to actually want to see more of my work. I have researched agents and followed their guidelines, but honestly, the rejection letters keep coming. I would like to be able to pitch my stories to agents successfully.
I have gotten positive feedback from several publishers, I have two children's books that will be due out, and one is sitting still at Avalon (my romance) I just want one of my non-fiction books based on my life with my ex, be noticed. It would make a good Lifetime for Woman story. I would appreciate any help you can help me get this story noticed.
Thank you for your question. This could go many ways, as this same question has been asked by writers since there have been writers. So where do I start? The first thing I see here is that you write in many different areas at once. In my experiece, it is very difficult to get enough proficiency in one area, let alone many, to gain the interest of an editor, let alone an agent. Take Steinbeck, for instance. He concentrated on his area of expertise, which was the Depression, and characters impacted by it. He wrote, as far as I know, only adult fiction. This worked for him because he was able to build an audience of adult readers who bought his books. Nothing has changed today except the players. A writer still has to build an audience, and you are making building this audience much more difficult by changing areas. So, my suggestion would be to focus in one area and become an expert in that area, and then you can build your audience there and switch later. By the way, don't worry about one of your books being a Lifetime for Women feature, since dramatic rights are a different ballgame. Many writers query me and say how well their work will translate into the dramatic field, but I have to have a book to sell first. Focus on an area where you enjoy writing and are the strongest in your skills. I hope this helps you. I really enjoyed trying to help here—Robert
What do you like to see in submissions?What do you like to see in the query letter? The writer's experience?The writer's voice?
To answer your question, I prefer a very simple three-part query letter. The three parts should be in about three-five paragraphs. The first should state what category (fiction or non-fiction)you are querying about, the work's approximate word length, and, if fiction, its genre (mystery, romance, suspense, etc.). The second paragraph should contain a short (one or two paragraph) overview (sometimes called the jacket copy but with the ending). The third paragraph should contain something about you--your writing experience--publishing credits, whatever. If you have never published, just say, "I'm a new writer." Lastly, I would need your contact information. When sending anything to me, also include the first ten pages of your book or novel. To me, the writing--and only the writing--will determine my interest in representing you. If you interest me in your writing, (the writer's voice) we will then determine if you and I can work together toward geting you published and beyond. Thank you for your great question. Robert
I'd like to know what the proper etiquette is for re-submitting a query (or partial) to an agent who has already rejected that same project. This would be approximately a year later with extensive editing to the manuscript. Would most agents even remember something they'd looked at a year earlier?
A good question that needed to be asked. The proper etiquette for re-submitting to an agent is to always remind him or her, in your query, what transpired before. If he or she asked to see a revision, then include this request with your resubmission. If the agent didn't ask to see your work again, then begin the query process anew, reminding the agent that he or she had seen the project before and asking if they would like to see the revision.Many times I receive email queries from writers I rejected but had added that, if they revise, I would like to see the revision. Months later, I receive pages or a complete from a person whose name sounds vaguely familiar but of whose work I remember nothing. Sometimes, as I'm reading, I remember. However, what would make it easier for me would be to have something in front of me to go by, like the reason I rejected the work in the first place.Hope this helps. Good luck! Robert
I have a book that at least one agent is interested in representing but it has been suggested I do a little editing before it is submitted to a publisher. It has been difficult for me to "self-edit" so I queried two freelance editors as to fees. Both charge what I think is a ridiculous amount. (And I have worked as a reporter and freelance journalist/editor for a number of years.) They also significantly changed my voice in the sample pages submitted.
What is the best way to locate an editor who will work as an editor and not try to re-write the novel in his or her voice?
Thank you for your time.
This is an interesting question for many reasons. First, you don't say whether your book is fiction or nonfiction. If it is fiction, then that would explain your difficulty in self-editing, since writing in these two categories requires two completely different sets of skills. Or you could be like many writers and just be too close to your book to edit it on your own. The second reason it is interesting is that you bring up finding a freelance editor, which can be extremely difficult. A good, legitimate editor is worth his/her weight in gold, but there are many editors out there who just aren't good at what they do, or they are only good in one area, such as fiction, and can't really help a nonfiction writer. I would suggest getting in touch with other writers who have utilized the services of a freelance editor and gotten published to get their feedback on who they hired. You can do this through newsgroups, writer boards, critique groups, conferences, etc. You will be able to hear their experiences and decide whom you might like to contact. Years ago, I tried to work with writers just a little bit before taking them on, but found the same problem you express--their work suddenly became mine. This is why I am an agent. Finding a good editor who can give professional advice without letting his/her own creativity interfere can be arduous, but worth it. Get referrals from successful writers, and I think you will find what you seek that way. The only problem you might have is that those editors are usually VERY busy and they can be expensive too. Do your research and only go with a freelance editor who has a proven track record, in addition to being recommended by other writers.Thanks for your question!Robert
Do you personally represent all of the genres listed on your site, or do you and your business partner, Ms. Martin, divide the genres?Do you have a reader reading submissions?
Sharene and I specialize in different areas, and I am pretty sure we listed that somewhere on our blog, which you can link to from our site. Also listed there is what each of us is looking for right now. Yes, we do have a couple of readers for some submissions; however, we still go through the bulk of them. We also have an agent in training in CA who reads as well.Best,Robert
Also, I was wondering how much you interact with your clients - are you just an email away (within reason of necessity, of course and not to be abused).
Yes, you could say that I am just an e-mail, phone call or fax away from my clients and the editors I work with as well. Technology is amazing and lets me keep in contact with clients as much or as little as necessary. I also get with them at writing conferences and other events whenever possible. Sharene and I both like to share in their successes or even their failures. Some clients don't want or need contact for many months while waiting for a book to come out, while others like monthly or even weekly updates on their book's progress. I go by what is comfortable for the client and doable for me.
Robert
When working with your clients in building a career do you also include/consider PR/Marketing plans as so many agents seem to be doing nowadays?
Yes. I always work toward educating all my clients in all aspect of marketing. Most writers do not understand that most publishers expect authors to understand that marketing is also the writer's responsibility. In many cases, if the writer does nothing to market his or her book, it will not be marketed to any great extent and again, in many cases, the book will fail. A writer's future hinges on sales numbers. This is especially true for that first book. However, even after a writer is established, a low sales number can cool their publisher's eagerness to produce that next book. So it is essential that writer's understand the marketing and public relations aspect of the publishing world. I do my best to make sure my clients are aware of all the pitfalls they may encounter before and after they are published.
I was wondering how difficult is it to sell and market cross-genre novels? For example, a novel with a Chick Lit voice/attitude combined with the Travel genre. As one of the other members mentioned in an earlier post, the "hybrid" novels seem to be what the market and publishers are looking for, but there still seems to be a reluctance for many of these books to be published. What are your thoughts on this and how do you suggest a writer tackle this cross-genre manuscript when querying agents?
Thank you once again for taking the time to be with us.
You're welcome. This has been fun. These questions are great and I've enjoyed answering them.You are right, anything new and different is sometimes hard to sell. But I don't know if I would call these books cross genre novels, exactly. As I stated earlier when answering another question, in most cases the genre elements are still intact, but parts of other genres are mixed in to make the novel more unique. This is really what it's all about. Editors are looking for novels with different flavors so writers are stretching the boundaries and adding different characters and settings that make this happen. For example, a vampire in a romance or a romance that takes place in a different galaxy and in a different time. In the romantic suspense, there does not have to be a happy ending; the standard genre romance ending. Editors want and accept these changes because readers have embraced them.There is one thing I'm having a problem with and that's the Travel genre. But I think I understand what you mean here. I believe you are talking about the Roadtrip Chick-lits that were popular a year or so ago. Novels do not have be static. We are a society on the move so what better way to keep a book flowing than to place it on a moving storyboard. I think the reluctance to publish comes about because there too many writers jumping on what's been done before. Once a couple of traveling chick-lit novels hit the big time, everyone wanted on that bus and agents and editor were deluged with hundreds of the same old thing. It's the fresh and unique that sells. With Harry Potter, we were (and still are) covered with Harry knockoffs. With DaVinci we were again covered with DaVinci look-a-likes. This isn't the way it works. A novel must be something someone else has not thought of yet to make it in this crowded marketplace. Push those boundaries and take chances. You may fail but when you win, you'll win huge!!
Thanks for great questions.
Robert
posted by Shalla at 12:41 AM
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