Best Advice


Best Advice from Andrea

After 25 years as an agent, I have discovered the "5 P's of Publishing Success." If followed, they work and you will have success in the publishing business. The first is "Passion." You need the passion to write—whatever it is—and it gets you up at six am before work or keeps you up late into the evening. As Isaac Asimov said," I write for the same reason that I breathe—because I have to." The second "P of publishing success" is Product. You have to write something worth selling. Don't write if you have nothing to say. Make sure your project or product is the strongest it can be. Third is Patience. You need lots of it in this business. It may take years to get your work published. Persistence is the fourth "P." Please, don't give up after several rejections. Rejection is a part of this business and you must develop a thick skin. I have seen many talented writers never get published because they gave up after five or six rejections. It just means you aren't at the right place with the right work at the right time. Maybe the work needs revisions. Maybe you need to send it to different publishers. Maybe you need an agent? And last, Promotion. If you are lucky enough to get a publisher to buy your work, you must plan to spend time and money to promote your book and let the world know it is out there. Don't expect the publisher to do enough for your book—they have many books to promote and you just have yours. Most of all, love what you are doing and always think of your audience.



Best Advice from Laura

Do your homework. Be knowledgeable about the market and, specifically, about your category. Use the many amazing resources available to writers these days: Jeff Herman's Guide to Book Editors, Publishers, & Literary Agents, Writer's Market, the Society of Children's Book Writers and Illustrators, Publishers Weekly, Publisher's Marketplace, agency websites, and the websites of Amazon and B&N. Submitting to agents is a balancing act. Originality, creativity, humor, and a personal touch get our attention, but you also need to demonstrate that you are a professional, that you take this seriously as a career, that you've targeted us because we're a good fit for your work, and that you're dedicated to doing all you can to succeed as an author. Of course, most importantly, we're assessing the quality of your writing—it will all ultimately live or die based on what's on the page, but we're also going to be influenced in our decision by the feeling we get for the person behind the writing. Those writers who educate themselves about the business of books and who come to us with smart questions about working with an agent and going forward with a career are the ones who will ultimately stand out and get our attention.

Work on your craft, and believe in yourself. It's a tough market and a tough business. Be in it for love because money is uncertain. Writing itself is the one certainty. Read, read, read. Write, write, write. You can't control what a publisher, an editor, or an agent decides, but you can control your response to even the "no's". Work harder and strive to hone your craft. Though there are some wonderful Cinderella stories out there, in truth, there are no overnight successes. Successful authors have worked very hard to get where they are. It's hard not to take rejection personally, but you have to try and you have to be willing to persevere in the face of it. Sometimes, it's the first book that will sell (we hope!), and other times, it may be the second or the fourth, or even the fourteenth. It's important to look for people who believe in you. Whether this takes the form of a writers' group, or a relationship with an agent or an editor, you want honest constructive criticism and support. Regardless, however, the first and most important step, the one upon which all the rest is predicated, is believe in yourself and write on!



Best Advice from Caryn

Attending writer's conferences and workshops can be a wonderful way for writers, both published and unpublished, to learn about the craft of writing, meet editors and agents, and network with other writers who share your hopes and dreams of seeing their work in print. We as agents enjoy the time that we spend at writer's conferences, because we love being with writers, and helping writers. We are always looking for great authors and projects, and writer's conferences attract writers dedicated to improving their craft. The agent/writer relationship can be a very intense and personal one, which is why it is extremely important that you and your agent "click". Writer's conferences enable you as a writer to meet with agents and find out if the chemistry is there, and vice versa. Take advantage of that by meeting and talking to as many agents as you can. Just remember to always use common courtesy in your approach to any agents and editors that you meet.

We are excited about meeting with as many authors as we can about writer's conferences in the appropriate venue, but we don't want to feel like we are being stalked. Outside of the formal settings, we are usually available at meals, and sometimes between scheduled events. Please don't put us on the spot in places like the restroom, and don't interrupt if we are talking with another writer, agent or editor. Please don't leave us notes, asking us to get in touch with you, and don't give us your work, unless it is requested. Don't monopolize our time, even if things are going well; let another writer have a turn. If you sat next to one of us at lunch, let someone else sit next to us at dinner. Agents are usually fairly direct; we don't want to waste your time or ours. If you pitch your work to an agent, and we tell you that it's not for us, stop pitching. Use etiquette appropriate to the conference—whether the venue is a 3-minute pitch session or a half-hour critique, don't try to go over your time limit; it isn't fair to the other writers. Don't ask questions during a Q & A session that are specific to your work; ask questions that will be relevant to others as well. Save the specific questions for critique sessions. Use your time wisely by learning how to make the most out of what you've been given. Many conferences start with sessions on how to best use your time when talking with agents and editors—take advantage of those sessions. If you've got three minutes to pitch your work, don't waste one of those precious minutes telling us how nervous you are, or that you don't know what to do. We understand that you're nervous, but remember, this is a subjective business. If one of us doesn't like your work, hang on to your self-confidence and keep going; maybe someone else will. It only takes one "yes".



Best Advice from Jennifer

Andrea says that it's easier to divorce your spouse than it is your agent. The reason being that once you sell a book together, you are forever connected through that book. The idea of forever being connected is just one of many reasons that I tell writers to spend quality time looking for the right agent. Find out what you can about her before submitting, particularly about an agent's working style. Ask yourself, "If this agent approaches me, would I truly want to be represented by her?" A good way to find out information is through message boards and online discussions geared toward children's authors. Also, attend conferences—they're an excellent opportunity to meet and learn about agents. (They're also an opportunity to meet fellow authors; as my clients say, "We authors talk."). Finally, when an agent does approach you about representation, take the time to converse with her. Know that you do not need to make a snap decision. Put aside the excitement and consider whether or not you think you could really work together successfully. The client-agent relationship is, after all, a relationship—a legally binding one at that!

Although you may have revised your manuscript seven times, although your critique group says your manuscript is perfect, although your mother and children declare that you're a genius and there has never been a more powerful book, almost no manuscript an agent receives will be sent to editors without...more revisions! An agent might recommend that you only correct typos and tighten a scene, or an agent might suggest that you reevaluate the entire storyline and consider including another subplot. Whatever the critique, the point is that in order to work with an agent and, ultimately, editors, you must be open to revising. If you present yourself as inflexible and unable to accept criticism, an agent may be hesitant to connect you with editors, as editors are going to expect you to revise. However, when an agent offers you revision suggestions, they are just that—suggestions. My clients do not agree with all of my editorial comments, and I don't expect them to. Keep in mind, though, that not only are agents enmeshed in the market and aware of what is and isn't selling, but they, too, want your book to be as strong as possible so that it will sell.



Best Advice from Michelle

Any two people in a relationship are bound together by some mutual enthusiasm. My brother and I are mutually enthusiastic about Gilmore Girls. My father and I are mutually enthusiastic about my brother. My clients and I are mutually enthusiastic about their writing. I, like most agents, first break this good news over the phone in a conversation during which I offer representation. Once you find yourself on the receiving end of such a call, celebrate and settle into the satisfaction of knowing you've secured an enthusiastic literary advocate, it's important not to settle in too far. There's still work to be done towards building a successful agent/writer relationship.

Generally speaking, as a new client, your first job will be to understand and give your signature to the terms of your agency agreement. Your second will be to consider the editorial suggestions your agent will offer in a revision letter you'll receive after signing on. You'll want to use these early opportunities to establish a clear, open line of communication with your agent. Don't be afraid to ask for clarification on points of the agreement or revision letter. Also realize that agents usually suggest revisions as a matter of course as you prep your work for submission to editors. We expect, and appreciate, your willingness to view revision as an iterative process intended to strengthen both the integrity and salability of your manuscript. This can be a fun, collaborative endeavor and is always aimed at readying your work for editors' review. During this ongoing dialogue, you'll get a sense for your agent's work style and how you can most effectively work with it. You'll want to participate in a productive give-and-take, as you learn when to trust your agent's instincts and when to trust your own. You'll also learn when, how, and how often you can expect to be in touch with your agent, who is most certainly juggling your concerns with those of many other clients. Once your agent goes out with your project, your job will evolve: you'll be interested to know where your work is being submitted and what to do in the meantime. You might turn your creative attention and (understandably nervous) energy to another manuscript and enjoy a bit of downtime in the agent/writer relationship. This will help you avoid placing fifteen panicked calls to your agent asking why your manuscript hasn't been bought yet. You'll want to realize that projects are sold according to a timeline all their own: there is no one formula or deadline for success. Agents cannot tell you ahead of time when your book will sell, to whom it will sell, or for how much. It's not our job to make predictions or guarantees, no matter how much faith we have in your work. It is our job, however, to demonstrate our faith in your talent and skill by enthusiastically nurturing it and championing it in the literary marketplace. In turn, it's your job to work with us patiently and respectfully towards the placement of your project, realizing that the trajectory of a successful writing career can be invaluably guided by a strong agent/writer relationship.

Andrea Brown Agency