A Three-Way Conversation: The Authors-Agent-Editor Relationship

Author Nova Ren Suma (IMAGINARY GIRLS), editor Julie Strauss-Gabel (Dutton) and agent Michael Bourret (Dystel & Goderich) are talking about the three-pronged relationship between author, agent and editor.

RELATIONSHIP BUILDING

Julie stresses that these relationships work different for everyone--no one starts their journey in the same way.

Michael and Julie have none each other for approximately a decade. Michael says Julie was someone he really respected and really wanted to work with. But he wanted to sent her the RIGHT project, something with the kind of voice she's looking for.

Julie says she trusts Michael's knowledge or her taste, Michael's taste, and the way Michael does business, so when he sends her a project, she looks at it immediately.

Julie stresses that choosing an agent is a critical decision for your career--it's important to find one who helps you develop your strength and work on your weaknesses. Be sure to ask questions, talk with an agents clients, and don't rush.

Michael says that it is worth your time to take is slowly and think about what you're doing. An agent doesn't (shouldn't!) expect you to make a decision in 24 hours.

Michael points out that once the editor and author strart working together, he's still involved in the process. He's copied on editorial letters. He answers questions an author will have. He gives pep talks.

THE DEAL

Michael says at this point, there are way more agents than there are editors. An editor recently told him that she got 20 submissions from agents last week. He wants his to rise to the top--and his relationship with editors helps facilitate that. 

Nova published her first book with S&S without and agent. When she was ready to shop her second book, she wanted to work with an agent. Michael told her he thought they could sell the project, but he wanted to find her an editor that would really push her. "That scared me," Nova says. And that's why she knew that's what she had to do.

Nova said she rewrote her synopsis some five times so they could get the propsal in the best shape possible. When she started working with Michael, she only had 20 pages written.

Michael took Nova's book to auction with a short list of editors. Julie was at the top of the list, and she also won the auction.

Julie points outs that she didn't get the project just because she had the highest bid. Once there was a short list of editors interested, Nova had conversations with all of the publishers who were interested. Julie says even if you're not in an auction situations, it's important to have that conversation before you deal is made.

Julie says the relationship betweenn the three of them works so well, is because it's really about the book that ultimatley came out of it (not about the deal).

Julie and Michael say this like to be really clear and honest with writers when it comes to the work that needs to be done with a manuscript.

THE EDITORIAL PROCESS

Nova says IMAGINARY GIRLS went through four or five rounds of revisions and it was the hardest work she never did. "I thought at times Julie knew my characters more than I did."

Julie learning, via a conversation with Micahel, that Nova has been a short story writer, gave Julie an insight that allowed them to get through a revision hump. Nova says that plot is her weak point. Julie took the novel and divided it up into four stories, illuminating everything for her.
 

Jill Alexander and Michael Bourret: Your Manuscript is Ready, But are You?

I jumped at the chance to come to this breakout! First, I'm a huge fan of Jill Alexander who I met just this weekend. She is LOVELY.

But she's not a chicken. This is the cover of her fabulous book, The Sweetheart of Prosper County.

Then, to make the workshop even better, her agent, Michael Bourret is speaking too. He's okay, I guess.

Kidding! Michael is fantastic with three exclamation points!!!


Before they started, Aaron Hartzler spoke about how Jill and Michael met each other at a conference. The room was laughing and immediately drawn in to listen to these two charismatic speakers.

Jill's tips to prepare for publication:
*Have a web presence.
*Think about your office hours and how much time to dedicate to writing, whether you have an agent or not.
*Get a calendar system because you might need it for school visits, conferences, etc...

Michael says that writers have a lot of work to do even once the book is sold--and it isn't just to write. For example, think about the types of interview questions people will ask.

Jill shared a great story about a speaking engagement. She felt overwhelmed by the jumbotron, the microphone, and the sheer size of the crowd. Jill is so funny! The crowd is just cracking up!

They spoke about edits and how they'll be more than you might expect. You should prepare by studying up on copyediting symbols and get familiar with the process. Expect to read your manuscript ANOTHER 6 to 10 times.

Jill knew that Michael had repped Sara Zarr, so she knew she'd love to work with him. She says to find an agent whose client list is something you're interested in.

There was a great question from the audience, "What happens when it's time for the second book?"

Jill said that with her background as a creative writing major, she's always writing. Plus if she stopped now, her husband and son would throw pencils at her and make her get back to work. Michael said that it's different for every writer. "And for some, like the person in here blogging this, they already have 800 things ready to go." :-)

This was an amazing workshop!! Perfect mix of information and humor!

-Suzanne

NY Conference Photos

SCBWI official photog Alan Baker (spouse of Executive Director Lin Oliver) always takes tons of terrific conference pics. I've picked out a few of my favorites. Click here to view the whole lot of them taking during the Friday intensives and VIP party; the Saturday keynotes and breakout sessions; and the Sunday panels, presentations, and autograph party. You'll almost feel like you were there.

(All photos: Alan Baker, Copyright ©2009, SCBWI.)

Writers exchanging work during the Friday intensive.

Illustrators and their glowing laptops during
the Friday intensives.

The crowd takes in an engaging speaker on Friday.

Listening to Jay Asher. (That's Bruce Hale in
the hat, Jarrett Krosoczka to his left.)

SCBWI Illustrator coordinator Priscilla Burris
congratulates portfolio winner Dave Ercolini.

SCBWI staff members manning the table on
Sunday morning.

Agents look to Lin Oliver as she offers a question
during their Sunday morning panel.

Agent Michael Stearns answers (Lin to his
left, Alyssa Eisner Henkin to his right.)

Michael Bourret smiles as Edward Necarsulmer
addresses the audience.

Michael B. talks with a group of writers
following the agents panel.

The multi-talented Bruce Hale sings.


Richard Peck and Lin Oliver happy after the
sneak peek of Peck's Master Class DVD.

SCBWI staff: Sally Crock, Aaron Hartzler, Kim Turrisi,
Liz Brown, Gee Cee Addison, Brandon Clarke.

Conference goers in line to meet Leo and Diane
Dillon during the Sunday autograph party.

Parting Shots from the Agents

Michael B: Hope. Remain hopeful and look to the future with eyes wide open.

Alyssa: You're all here to be writers and artists. Don't let the doom and gloom of the industry take away from your creative endeavors.

Michael S: Success comes for some writers and for some it does not, and it might strike by lightning, but it will never strike there person how isn't all consumed with writing. (I'm paraphrasing him quoting.)

Edward: Quoting Bob Dylan--if you know what you're doing in your heart and you don't stop and you're going to mystify a lot of folks. Keep writing. Write something superlative. And things will go your way.

Do Illustrators Need Representation and Do You Rep Them

Edward: He's expanding this part of his agency. He thinks is can be a home run.

Michael B: He doesn't represent illustrators.

Alyssa: She represents author-illustrators.

Michael S: He represents two illustrators, one who started doing covers. It's different for him and learning to do it has been difficult

How Do Feel About Mutiple Submissons to Agents?

Michael S: It can be frustrating for agents, but he understands why writers want to do it. But by all means say so.

Alyssa: We definitely need to know if it's a multiple submission.

Micheal: He hates hearing from someone whose work he's reading that they are going with someone else. He encourages writers to talk to agents to make sure they're a good fit before you agree to work with them.

Edward: No problem with multiple subs with full disclosure. It's heartbreak when you don't know and hear someone got representation elsewhere. He hates when a client has sent his or her manuscript to every editor in town before he gets to it.

The rule: full disclosure with your agent. Always be above board when you approach agents.

Are You Seeing Differences in the Advances Today?

Edward: We will see fewer acquisions. The days of super high advances is behind us. They are correcting and are "earn-outable." Buzz-worthy books will remain but won't be so off the charts. Where the smart money is is royalties.

Alyssa: Remember advances are advances. In the ideal sence, your book will earn out and make money in royalties.

Michael B: We're going to see advances going down and royalties and profit sharing going up. This will trickle down to children's publishing.

What's Involved in Signing Someone?

Alyssa: She signs clients on a term-by-term basis with yearly contracts. It gives the agent ample opportunity to work with the client editorially then sell. There's a written agreement.

Michael S: They have a contract that's not on a term basis. It's not binding forever, just as long as we're both happy. It gets the business out of the way and let's them focus on the revision and selling of manuscripts.

Edward: He works on a handshake. He doesn't want to be held hostage and doesn't want to hold people hostage. Some clients want some sort of outline of terms in which case he'll write a letter. (Adults side of his agency does use contracts.) Finding a real book is like falling in love, he says, and this applies more in 2009 than ever.

Michael B: They sign an agreement for first book, then work on a handshake after that. They want to lay out how the buisness aspects of the agreement works.

What are the Effect of Layoffs?

Micheal S: It doesn't mean the end of the market

Michael B: There are a lot of problems in publishing that need to be fixed. But in times like this it's more important to have an agent than ever. We know what's going on and we can work to make sure you have the best editor out there. He said: Children's books are fairly helpful.

Edward: It's scary that there are so many talented people let go, but he acknowledged that there were sames changed needed. This does not signal the end of publishing in any way. The publishing houses in the end will be stronger. But it's more important to have an advocate than ever.

First Question for Panel: Large vs. Small Agencies

Lin Oliver (reading question from the audience): What do you thing the advantages and disadvantages from smaller vs. larger agencies?

Michael B: There are 8 people at his agency. The advantage of a small agency is the personal attention you can get. There's discussion and collaboration possible. He handles all his own clients without assistants and interns. We have a personal touch and a different philosophy.

Edward: If you get him as an agent, you get him. He tries to read everything that comes accross his desk. The advantage of a larger agency--fully functioning film/TV/stage dept. inhouse. The more proliferation of choices, there's more opportunity for writers to find the right fit. Interview your agent, he recommends.

Allyssa: About 35 people at Trident. One great things about being part of big agency is that since she has a full audio and foreign dept., it frees us her time to devote to her clients. Also, they don't use sub-agents for foreign deals in most territories.

Michael S: At Firebrand he is the dedicated foreign rights person. The great thing about a small agency is that everyone in the office is weighing in. They are all editorially minded and do a lot of editorial work. They pool their wisdom.

Michael Bourret

He's been at Dystel & Goderich for 8 years. He says the market has always been difficult. There's not a lot of money to go around. That's where organizations like SCBWI can be so helpful to writers.

It's also important that writers use the internet to promote themselves and keep up on industry news (for example, Twitter).

There are opportunities in this market. There's a lot of really good stuff to come.

Agents Are Assembling

Next up: Agents Panel: Selling Your Work in These Economic Times. Here are the agents who will address this topic and take questions from the audience:

• Michael Bourret, VP/Agent at Dystel & Goderich Literary Management
• Alyssa Eisner Henkin, Agent with Trident Media Group
• Edwards Necarsulmer IV, Director, Children's Dept., McIntosh & Otis
• Michael Stearns, Agent, Firebrand Literary

They are taking the stage and will begin in a few minutes...