Blogger: Janet Kobobel Grant
Location: Books & Such Main Office, Santa Rosa, Calif.
Yesterday I had a conversation with Dee, a potential new client, and our chat turned to different approaches agents take to teaming up with authors. I explained to Dee some of those methods. I think they’re instructive in understanding how an agent can help to structure an author’s writing career.
You have your Just-Show-Me-the-Money Agent. This person is all about the business side of the equation and can be downright indifferent to the creative side. She wants to work on the financial stuff and not cross over into the right-brain territory.
That means, in terms of career planning, that the focus will be on getting more money for the next book. Such an emphasis is inevitable because the agent isn’t tuned in to helping to shape the project so that it not only satisfies the author’s vision of what it should be but also appeals to the market. That’s way more nuanced than this type of agent wants to be. In turn, that means the agent can gauge only one way to grow the author’s career–through the size of the next advance.
I was an editor for a couple of decades before I became an agent; so this approach is anathema to me. If I can’t help to fine-tune an idea or direct a client to the next great idea, I’m not being the kind of team player I want to be. I want a holistic view of a writing career, not just a left-brain approach.
Move-‘Em-in, Ship-‘Em-Out Agents receive a proposal from a client, put a cover note on that proposal with the agency contact info, and then ship the proposal out to every editor on the agents’ address list. Funny thing about this type of agenting: All the editors know which agents operate this way.
How? First, by the mere number of projects submitted to the editor, many of them inappropriate for that publishing house. Second, the proposals aren’t adequately focused, don’t contain all the elements that should be in them, and the writing is flawed–often containing grammatical and spelling errors. This agent is unlikely to want to work with clients to create a plan for future writing projects. Taking each proposal as it comes in works better for him.
Then there’s the I’m-in-for-a-Chapter Agent. This agent stands aloof from the author by agreeing to represent one project at a time. If all goes well, then the agent wants to continue the relationship; if not, the agent is ready to slip away quietly.
I find such an approach unsatisfying. Why would I want to team up with a writer for one “chapter” of a writing career when I can sign on for the entire “book”? I expect the author to make a long-term commitment to our relationship, which gives the two of us time to build a career. Shouldn’t I make that same commitment?
To be fair, I know I’ve painted approaches to agenting that differ from mine as if it’s hard to believe anyone would want to work that way, but each type of agent appeals to different authors. If you don’t want your agent to mess with your creative business, then you want a Show-Me-the-Money Agent. If you don’t want feedback on your ideas, then a Move-‘Em-In, Ship-‘Em-Out Agent is for you. And if you want someone who will be involved in all phases of your writing career, than a Book-vs.-Chapter Agent is for you.
The best adage to help guide you in selecting an agent–or changing agents– is simply this: To thine ownself be true. Form an alliance with an agent who’s a good match for your expectations. And don’t be afraid to ask agents how they function with their clients. It will help to avoid disappointment all the way around. Oh, but don’t use the labels I’ve assigned to the different types. The conversation might not go so well; know what I mean?