For Jeff King: Literary Agents

Jeff King asked: Does getting a literary agent help with the odds of getting published? And would you recommend getting/using one?

Again, as I've mentioned before, I have not been published (and don't have an agent at the moment), but I feel comfortable in saying, yes. Why?

First, having an agent opens up markets that are not available to the unagented writer. Publishers that accept unagented submissions are flooded with (no offense) a great deal of garbage. Because of this, several publishers don't even look at a submission unless it comes from an agent. Why?

Because most agents are nearly as selective as publishers (and are also looking for salable clients and work), an agented manuscript is effectively "screened." When a publisher receives a manuscript from an agent, he should be confident that the caliber of the submission will be a few steps above the bulk of the slush pile. Additionally, especially if he's worked with the agent before, he should have some expectation that the work he's been forwarded is appropriate for his publishing imprint and market. So, not only is the publisher more likely to look at the manuscript, he is also more likely to expect something and might, perhaps, give it a more thorough or open reception.

The agent also brings her contacts and expertise into play by only sending accepted manuscripts to markets he think are a good fit, reducing wear and tear and increasing the chances of making a sale. In my experience, an agent is a little more likely to work with a prospective writer with promise to fine-tune their work or at give a little feedback if they reject it (though certainly not always).

But, aside from increasing the chances of making a sale, they also bring expertise in making sure you get the best sale possible, best terms, best options for you. Truth is, being even an exceptional writer doesn't make you an expert in the publishing business and, having someone knowledgeable in your corner can make a difference.

But it costs you in terms of some of your profit and it's yet another hurdle on your way. There are ways of "becoming your own literary agent," but, if you're confident you have a publishable work, an agent can definitely increase your chances of getting published.

As for where to find them, I can't improve on Richard Perkins' article here . He's giving precisely the sort of advice and links I would give you.

One word of caution (and you'll find them in links to reputable agent sites). Do not use any agent that charges you up front. Time after time, prospective writers find out, to their sorrow, that it's all a scam. A good agent will get the payoff when you do, by making sure you get a sale.

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For MA Fat Woman: Agent or Editor?

MA Fat Woman asked: I'm been shopping around trying to get an agent to represent me and my proposed MA Fat Woman book, should I continue that or try what you are doing, perhaps to find an editor? What do the cards say?

There's an element of uncertainty in every question like this. Some people are successful without the "middle-man," many people aren't. But that's true of those with an agent as well.

I don't write non-fiction and I know the markets are different. I'm also unpublished (at least with books), so I'd take anything I say with a grain of salt. I urge you to get advice with some of the folks down at Agent Query or Writing World or Writer's Digest. I'm a relative amateur.

I think there is a distinct advantage, when trying to sell an idea or a finished work, to having an agent. Publishers tend to see you as prescreened. Some editors won't even look at unagented work, so you have more options. But there are still editors out there that will look at unagented work, or so I've heard. Marketing is sadly not my strong suit.

I will ask the cards for their opinion, though. Since this is a specific question, I'm changing things a bit.

Where you are now - 0 The Fool - Don't be fooled by the name. This card is all about beginnings, naivete rather than stupidity, innocence, great potential. It's a card that talks about taking chances and making changes, starting off on an adventure. Really, a propitious card.

Best course of action - Coins VIII - Coins VIII is all about craftsmanship and skill, building your work effectively. It also clarifies with leadership and career knowledge. What this argues to me is that searching for an agent is a good course for you, not only for their expertise in marketing but to provide you with the tools you'll need to write your best book.

End Result - Wands III - trade negotiations, agreement, travel, contracts. Clearly, the cards are thinking this path is the path that is most likely to lead you to what you seek. It's a path you're already on.

Ironically it mirrors my own advice (that should be taken with a grain of salt, remember) - keep looking for an agent, use reputable information and, when you find one, you'll have your best possible chance of success.

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For Davida: Writing a Novel

Davida asked: How long did it take you to write each of your books? What was your inspiration? Did you follow a particular format (like writing an outline or making sure each chapter was perfect before moving on to the next or some other method)? How many queries (I think that's right) did you send out and what happened? What would you do differently, as far as getting one published, the next time?

This is a nontrivial question and it deserves a nontrivial answer. But first, some caveats. First, although I've published three short stories and some technical papers, I am not a published novelist. I can point you to some directions for publishing advice, but I wouldn't put much stock in mine because, hey, it hasn't worked yet. I also am not qualified to answer that last question, but maybe someone who is published can chime in.

Secondly, I truly believe there is not one right answer, one right method, one perfect tool for writing a novel. Some people live and die by the outline. Others do it in fits and spurts. Others sit down and write a minimum number of pages whether they feel like it or not. Some write through and then revise. Others constantly revise and tweak as they write it. I'll be happy to tell you what I do, but don't throw out a method that's working for you because I do something differently. In fact, you might have to try a dozen or so different things before you find out what works and what doesn't.

However, there are some rules I think apply to darn near every writer (this is to write good stuff, not necessarily to get published - though it sure would be nice if those two synced up, eh?)

1. Write stuff you like to read. Many say write what you know - that's fine if it's what you like to read, but not if it's not. You will never be happy as a writer unless at least you like your own stuff.
2. Read stuff of the type you want to write. Mix it up, try a few more authors. Find what works for you (and no adopting a style that makes you uncomfortable just because a popular writer adopts it - you have to like it).
3. Read your stuff out loud (preferably with an audience that is willing to tell you if something sounds wrong). Not only can you catch more typos and grammatical errors this way than you ever though possible, you can find sentences and dialog that sounds awkward. And, if it sounds bad, it can almost undoubtedly be written better. I do this multiple times. Always.
4. Get someone to read it when you have a working draft and after each revision. Get someone willing to tell you what they really think. If they do nothing but gush (or just say, "not my style"), you need a different reader. No first draft is perfect.
5. When your reader has taken the time to read your novel, give them the courtesy of taking each suggestion and comment seriously. That doesn't mean you have to agree with it or change it, but think about it. Perhaps they are the only person on earth who would see it that way, but they might not be. If you can address their suggestion without changing your book essentially (or compromising your vision or your voice), consider doing so. Come up with a compelling reason for every comment you decide not to implement and if, at the end of the day, you've implemented none of them, either your reader was just not right or you need to reconsider (and I'd check you first). :)
6. When you think you've finished a draft or a revision, while others are reading it or not, let it lie for at least two weeks, preferably a month or two. If you jump right back into it when you've just finished it, it will either be perfect to you or it will be crap. You need a little distance to look at it objectively. NEVER send off a novel or a book the day after you finished a major rework. Wait, read it again and clean up small stuff, but, if you find you need major rework, you'll need another cooling off period.
   

Those are all recommendations I'd given any writer and that I follow myself.

Now, to actually answer your questions.

I have completed three novels, all while working full time. Cumulatively, they have taken me 20 years. However, the first one is in serious need of a major rework. One is only on the second draft and one has gone through several major revisions and is, I think, "done". The "done" one, with all the reworking, took me twelve years. The first one, I worked on for about six years, off and on. This last one, complete with its first draft, less than two years. During the first two books, I took off multiple years several times. Life happens.

Note also that I work on eight or so novels at one time. While I have three completed drafts, I have 5-15 chapters completed in at least five other novels. I grow stale on one, I'm quite likely to switch to something new (or, heaven help me, a new novel).

Note however, that the first novel, in serious need of a rewrite, taught me a great deal about character development and dialog. The second helped me with plot and world-building. And, with each one, the first draft improved immeasurably from the first draft of the book before. I'm actually quite pleased with my newest novel despite it being in first draft form. That one, by the way, I wrote the first half (~50,000) in one week. I was inspired. I wrote like five more chapters than Vista ATE the whole thing (OFF the hard drive; I'd backed it up) and I had to reconstruct it. It was so disheartening, I didn't touch it for a year (oh, and I had a baby and revised the other "done" novel and started another one and got 12 chapters in).

I write in spurts and don't write every day; for me, writing stale makes my work so bad I get disgusted and put it away, sometimes indefinitely. I don't use an outline, but think up characters in detail, then put them in situations that interest me than generally stand back. I sometimes make character cheatsheets, but usually to make sure I don't mess things up and change eye color or something. I often have ensemble casts so it's easier than you think to get mixed up. You will not be surprised to note that plot is still not my strong suit.

I tend to write along gangbusters until some plot twist comes along I didn't see (or I find a useful change) and then I'll stop moving forward and rework what I've already done to make it work. Many prefer many revisions, but only doing it as a whole. I really do both. I'm too anal to leave something I know is broken behind.

As for queries, there are many websites devoted to that kind of thing and it depends on whether you want to troll for an agent first or try your hand at publishers. There are advantages and disadvantages to both, but I think most publishers would tell you that, if you can get an agent, do so. Kinda like having a lawyer when going to court.

I hope that helped you. Remember, there are dozens of different ways and speeds to write. There are very successful authors that generate half a dozen books a year or more. Others take years for each. Pick your own speed.

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