Blogger: Wendy Lawton
Location: Books & Such Central Valley Office, CA
So what is one thing your agent doesn’t want to hear? How about, “I just had a long talk with my editor?”
On the surface that doesn’t seem to make sense, does it? As an agent I’m happy when a client forms a strong bond with her editor, so you may wonder why it makes me cringe when I hear that they had a long talk.
Let me explain. . .
One of the things that can be worrisome is when the editor and author brainstorm new ideas together. Your agent should always be part of that conversation. It’s not that we know better than either of you, it’s just that career-wise we may have a certain path marked out for you. If you are working with more than one publisher it becomes even more complicated since we may be trying to balance two complicated relationships or even trying to stay within the bounds of two or more non-compete clauses. Sometimes it’s nothing but positive and, if you mention to us in advance that you are going to talk with your editor about the next book, we’ll tell you to go ahead. But always let your agent know in advance. Just in case.
Another thing that gives us hives is when an author picks up the phone to tackle sticky issues with the editor. That’s our job. If you hate the cover, let us know and we’ll handle it. If you feel concerned because you couldn’t find your book in the local Barnes & Noble talk to us, not the editor. We are happy to be the heavy in a game of good cop/bad cop. We don’t want you sacrificing your relationship over problems. And we never want you to seem high maintenance.
Don’t ever talk money with your editor or anyone at the publishing house. Ever. It goes without saying that your agent needs to do all the negotiating but there are many subtle things as well. If things are tight for you money-wise and, say, you are hoping to speed up the approval process so you can get the second portion of your advance, talk to your agent, not your editor. You need to maintain a professional relationship business-wise with your editor even if you are on friendly terms otherwise. We can check on things in a way that doesn’t make anyone uncomfortable. A financially needy author raises red flags– fair or not– and may unwittingly sacrifice some of his standing in the eyes of his editor.
When you get your edits back have someone hide the phone before you even open the email or the envelope. Knee jerk reactions can ruin relationships. Chances are your first read through will make you crazy. You need to plan for a little distance and reflection. After the initial shock it’s always far less than it first appeared. If there’s a real problem guess who you call? Not the editor.
And it’s not just phone calls. When I was a brand new author I was so excited about every little piece of good news that I emailed my editor and copied everyone– sales, marketing, author relations, and anyone else who came to mind. I blush to think about it now. An email that goes to multiple recipients becomes a problem because each recipient needs to coordinate to make sure someone takes the lead in replying or handling whatever issue is raised. It’s a logistical nightmare. I was probably a pest and didn’t even know it. Your agent will keep you from any unintended faux pas.
Part of the job of an agent is to handle the hard stuff, manage complicated careers and allow the writer to maintain a warm, professional relationship with her editor and the people at the publishing house. You help that happen by keeping us in the loop and never inadvertently making an end run around us. Editors appreciate that we do this. They know that we mitigate many a potential problem and that they can count on us to work with them to solve problems in a professional, unemotional way. It allows them to separate the thorny business stuff from the creative stuff and makes for great relationships all around.
Your turn: Does it seem frustrating at times to use a go-between? What are some of the things you are glad to have your agent do? If you write without an agent, how do you handle having to do the tough stuff and still maintain a warm relationship with your editor?
I have to say hearing that an agent handles all these sticky issues is a HUGE relief! It’s like going to a fancy dinner and having someone sitting bedside you who will tell you which fork goes with which course. And elbows off the table! Thanks for further outlining the importance of an agent.
This is such important information to have. I thank you for sharing it. Cheryl
Thank you for sharing this Wendy. Great practical wisdom on the writer/agent/editor dynamic that I don’t think we could glean any other way except from doing it wrong ourselves and learning the hard way.
Thank you for the great information, and I agree that I’d much rather not have to learn the hard way. 🙂
The “unintended faux pas” — blog posts like this that help us know what NOT to do. Thanks, Wendy.
So important! Janet stresses this with me. At least weekly I send her a note, “Just so you know …” It’s fun when an editor says, “What do you think about this?” or “Would you consider writing such and such.” I’ve learned to say, “Let me talk to my agent first.”
I worked without an agent for many years. I think it takes a certain personality, and a willingness to let go of the small stuff and focus on what’s really important when you’re discussing issues with an editor on a one-on-one basis. In other words, you choose your battles and you ‘fight’ them with integrity. Otherwise, you lose relationship. It can be done, but it’s so much easier to let an agent step in and take over. There’s much time and angst doing it yourself.
Downside of having an agent? It takes longer to get things done. Upside? You know you’ve been protected and cared for in the best possible manner. Most things that are done well takes time.
My two cents.
In my opinion, having a go-between is nothing short of a God-send. It takes the guesswork and anxiety out of the whole process and allows me to focus on writing well (and marketing myself, and all those other things that are my responsibility), instead of stressing out that I might make a career-killing mistake in my communications or submissions with editors. Thanks for the great post, Wendy!
I too believe it’s comforting to know that agents want to stay involved through all aspects of the process. I don’t believe too many of us want to do this alone.
The follow-up question would be how do we balance this advice against prior direction we’ve received from this Blog? We were encouraged to have strong communication with the various departments of our publisher (i.e. editing, marketing, etc.)
I don’t think a go between would be frustrating for me. As an Early Education Director, I’ve learned to surround myself with a team that all want to achieve the same goal. Part of that means delegating things that I’m not good at to someone who is. I still get a say and regular feedback, but I’m not messing it up with my limited knowledge or driving my teachers nuts by refusing to relax and let go a little! Seems like the same concept with the author/agent/editor team. Thanks for the post, Wendy.
Good question, Michael. As with everything it’s about appropriate contact– knowing what to communicate about and with whom. I gave the example of a once-clueless me copying everyone with a pulse at the publishing house– bad communication. Bad form.
If you have important information for marketing, send it to the appropriate contact person. Let them decide to forward it if need be. Watch the volume of communication. We are all inundated with email– keep yours pithy and to the point. You should be communicating only when you have something to communicate. Thank goodness the days of writers sending funny forwards to people in publishing are long gone. Don’t be chatty or try to be amusing– we need to focus on clear, concise communication.
If someone from your publisher sends you an email, answer it completely and in a timely manner. That’s strong communication.
If in doubt, ask your agent. (I’m guessing, however, you have a built-in sense of what’s appropriate and what’s not, Michael.)
I laughed out loud at “When you get your edits back have someone hide the phone before you even open the email or the envelope.” This struck me as great advice. Revisions and edits are a part of life. I think your advice applies to any sort of critique.
I like your hair cut.
Terrific, Wendy. I’ve read a lot of articles about agents, trying to get a fix on what you do. You clearly laid out some specifics that were hazy before. Thanks.
I love the way Mary, Janet and now you hone in on the issues that matter most to your readers, especially these past weeks.
Seems to lil’ ol’ inexperienced me that this is precisely why I’ll need an agent. Lori said it well–I don’t want to learn this the hard way.
Thanks for these great tips, Wendy.
I’m currently un-agented, but I feel that I would welcome that “go-between.” I’d like the expertise and support from an agent! From the great questions and statements in the comments, I agree that a balance of strong and appropriate communication is likely needed.
“The school of hard knocks may not always be the best education but often it is the only school a fool will attend.” – Dr. Crawford Loritts
Thanks for helping us not be fools.
Our ministry is now a non-profit organization. Several years ago we looked at an option that ‘charged’ 10% of revenue. Our reaction was, “they want 10% for that?”
A few years later we looked at the same group, same agreement, and felt “They do all that for just 10%?” They handle the bulk of the administrative / legal work, and we can focus on what we’re called to do.
I see the agent / writer relationship in a similar light. Even writers who ‘could’ represent themselves are not doing themselves any favors, just like a defendant representing themselves to avoid a lawyer.
Rich
As a writer, doing my agent’s job sounds a lot like cleaning my house before the housecleaner comes. Crazy! Thanks for the great post.
I don’t think letting an agent take care of all these issues would be a problem for me. I think dealing with more than one person in these types of issues can lead to misinformation and problems later on. Workplaces call it “chain of command,” although command is a strong word for the author/agent/editor relationship. The concept still works. Hooray for agents!
Awesome post, Wendy! Great advice. Thanks so much for sharing!!
Great post. Must reading for agents as well as authors. I once had an issue with a publisher that needed addressing (in this case, the Vice President). My agent said, “Give him a call and let me know what he says.” I’m no longer with that agent. I’ve heard other agents express reluctance to tackle thorny issues with publishers fearing it would injure their relationship with the publisher and, in turn, negatively effect deals for their other clients.
Sounds like literary agents and film producers share a whole lot of job description. Protect the artists and nurture their creativity and take care of the badcop stuff. Great post!
My agent’s going to be so happy I read this. I had no clue. Good cop/Bad cop. Huh, who knew?
Hi Wendy, I just found your blog. I am an agented author and my memoir will be published spring 2012! I wish I had known this info earlier!!!!! Very important information indeed!