An article by Literary Agent Richard Curtis (Writing Romances: .A Handbook by the Romance Writers of America, by Rita Gallagher and Rita Clay Estrada), asked the question "Who Needs An Agent Anyway?" Mr. Curtis went on to list several viable reasons why we need an agent and completed his article with a quote from mystery writer James Frey that stated, "No, you don't need an agent. You don't need a dentist either; you can fill your own teeth."
In reading the book "Be Your Own Literary Agent" by Martin P. Levin, I discovered several interesting facts about areas of publishing that we should be aware of whether or not we seek representation through a literary agent.
Mr. Levin covered such topics as:
An eight-step program for finding the right editor.
How to prepare a winning book proposal.
A list of publishers and how to approach them.
Model query and cover letters, summaries, sample chapters and bios for different types of books.
How to evaluate and negotiate a literary contract.
And much more!
Mr. Levin says that one of the most important talents of a good agent (and one we must cultivate) is learning to read our work dispassionately. I believe this is where a good critique partner comes in. Though we should be gentle as critique partners, we should not be afraid to tell each other what we feel is wrong with the work in question. If you're not ready for constructive criticism, don't get a critique partner. As for myself, I've had so many rejections, I welcome the help and constructive advice my critique partner provides! I've found that I am so close to my work that I don't see its flaws. I'm so in love with my characters and identify with them, that I can't always tell when they're out of character. All of these things pertain to "reading dispassionately" and I firmly believe every writer should ask someone he or she trusts to read their work. My request has always been "be gentle, but be honest". If it stinks tell me and tell me why! Then, and only then, will I be able to polish it up so that it shines. No one wants to send a manuscript out that doesn't shine.
The eight-step program for selling your book was very helpful and informative. It is as follows:
1). Write a winning proposal. Mr. Levin instructs that your cover letter must 'contain a "high concept" crisply stated in a sentence or two.'
2). Find the best publisher. How? Read, read, and, you guessed it, RESEARCH! Now, personally, I find research the most tedious of chores. Just when you think you've found Mr. Right editor or agent, their needs change! You've got to continually be searching for books similar to yours and yet so different that yours will stand out as a gem amongst gems.
3). Submit your book to the right editor. This means finding out who it is and address them by name.
4). Use the two P's: Patience and Persistence. We all know the meaning of these two words; however, Mr. Levin adds that a follow up may be the key to an editor digging your proposal out of the slush pile and reading it. Most listings in the WMG give you a "response" time. Utilize it! If you haven't heard from them in a reasonable time, certainly within the response time listed, write a follow up letter. Mr. Levin suggests sixty days as the appropriate follow up time. But remember, your follow up letter has to be equally as interesting as your query or cover letter. Make it shine! Use the "high concept" method and get someone's attention!
5). Use the rejection profitably. If the rejection letter you receive actually has a name on it, call that person. Mr. Levin lists specific questions that you should ask.
*If I improve the work as you suggest (if they suggested anything), is this the type of manuscript that your house might publish?
*What are your editorial guidelines?
*If this book is not suitable for your house, do you have suggestions as to who might be a publisher (or agent) in this area?
*Do you have the name of someone at a house that is publishing in this area to whom I can write?
*Was the proposal inviting? Are there areas I could improve?
*Did the sample chapter(s) effectively display my ability and professionalism? I have found these last two MOST successful questions! Upon receiving a rejection from Heartsong Presents, I called and spoke to a lovely assistant editor named Heather Rodweller. She told me that my story (I sent three chapters) was "very well written" with "strong characters and story line." She said that she enjoyed it very much even though it didn't fit their lines. This sure was an ego booster after dozens of rejections!
*Is there someone I could contact who might be able to work with me? Is there an agent whom you could recommend who might take me as a client? May I use your name as a reference?
If you get a "glowing" rejection, one in which the editor says that you "show promise" you might ask: "Do you have any specific suggestions that would help me make my book good enough for you to acquire."
6). Keep moving. Network. Find places in which you can make contact with publishers and editors. This is one benefit of belonging to a writers group.
7). Think small. Don't be afraid to consider alternatives to a large publishing house. Many of the "small presses" will actively read (and publish) un-agented writers.
8). Keep reading. Read resources such as Publishers Weekly, Literary Market Place, New York Times Book Review, Time, Newsweek, Writers Digest or the book review in your local newspaper.
In the 1999 Writer's Market Guide, an article on Literary Agents stated that "no, it is not easier to find an agent than an editor." This is so very true, so I believe these eight steps will help in our search for either or both.
After listing these eight steps, Mr. Levin added a ninth step, one which we all know: KEEP WRITING!
The sections of the book regarding query letters and winning proposals were pretty average things we've already heard and hopefully learned. However, Mr. Levin continued with giving us examples of a poor, fair, and good deal when it comes to negotiating contracts. This is something every author should be aware of!
Mr. Levin suggests that we not be afraid to argue for a better deal and that our goal should be for better than the Poor deal on first book, Fair deal on second book and Good deals on all future books.
I have barely covered the basics in this article, but the book is a wealth of information. Mr. Levin covers a variety of contract words and their meanings in lay terms and goes on to list some vocabulary of publishers as well as the publishers themselves.
Many authors don't have the time nor the energy to handle the legwork an agent handles and, therefore, feel their work would be better represented through a literary agent. But, as mentioned, it is not necessarily easier to get an agent to look at your work than a publisher. However, reading this book or others like it will better equip you should you be one of the few, the proud, and the lucky to get published without the guidance of one.