Author-Agent-Editor Relationship: How It Works
Notes from the Columbus Writer's Conference, presentation led by Helen Atsma, Henry Holt & Company, formerly of Little, Brown & Company. Books that Helen has sold lately include: Transparency, Afternoons with Emily, and Bank: A Novel
As an editor, Helen Atsma first reminded conference attendees that agents play a vital role in getting a book published. Publishing is a small industry, and most of the editors and agents know each other.
Most editors and agents reside in New York. The agent "courts" different editors by asking them out for lunch. During that meal, the agent is usually able to ascertain the personal tastes of this particular editor.
Many houses, like Henry Holt & Company, do not accept unsolicited manuscripts. The agent's role is to preselect books that this particular editor might like -- it's very targeted and specific.
Editors do all their reading of manuscripts on their own time. They are not afforded the luxury of being able to read manuscripts at work. They are too busy signing contracts, etc. Since an editor might have 60 manuscripts on their desk at any given point in time, they often ask their assistants to prescreen them.
As an editor, Helen receives about 10 submissions (mostly novels) per week, and she doesn't have time to read each one of them in their entirety. So, as she shared with us, "To be honest, I read until I know that I'm not going to buy the novel. Sometimes I can tell in the first two pages; other times in the first 50 pages."
But if an agent who knows Helen well and has been out to lunch with her might email or call her and say, "Helen, you are going to love this one because of (insert knowledge of Helen's personal tastes here)," then Helen is likely to take the manscript home and read it that night.
Helen is the first to admit that reading preferences are very subjective, so the role agents take in pairing the right editor to the right manuscript is infinitely valuable.
Criteria in Deciding to Purchase a Book:
1.) Editor falls in love with it: the voice, the writing style
2.) It's perfect for the house in terms of the kind of material they publish
3.) They don't have anything else like it on their lists right now
If an editor falls in love with a book, he/she will take it to their editorial board and promote it in-house at their next acquisitions meeting. Members present will include sales, marketing/ publicity and foreign rights representatives. The editor will come to this meeting prepared to state the case for "Why are we the right house for this?" and if everyone else agrees, then they will make an offer.
In a best-case scenario, several editors will fall in love with a certain manscript, which will spark a bidding auction. This will mean more money for the writer and agent, and it also generates enthusiasm for the book -- which often translates into more sales for the publisher.
Another reason that agents are helpful to writers during this process is because it's not all about the money. It's also about selling a book to a better house or a more enthusiastic editor. Agents have the know-how to balance these factors.
Signing the Contract:
1.) The agent and the editor hammer out the details
2.) The agent and the publisher's legal department hammers out the rights
During the months that follow this initial signing, it's important for the writer to recognize and respect the fact that the publishing house slots books into months and categories, in order to follow a traditional publishing schedule.
Writers need to make every effort to meet deadlines. Please respond ASAP to any correspondence. Keep your answers concise and summarized, because the editor is busy. For example, if an editor asks you to "Tell me the titles of books on amazon that have book covers that you like," send all the covers in one email.
The agent remains vitally important as the writer's advocate. After all, the editor works for the publishing house and will be your cheerleader within that house -- but the agent works for you.
Example:
There is a deadline for the book jacket, right before the catalog is printed. This is a crazy-busy time for the art department. Let's say the publishing house picked a cover for your book, and it was horrible. Your editor can't say anything, because he/she works for the publishing house.
It's up to your agent to speak up and advocate for a better jacket. The agent can carry clout because even if your project is "just a small book," the publishing company might also have bigger deals with that agent, and can't afford to alienate that agent.
(However, this should be balanced by the fact that book jackets need to appeal to a wide audience. If you write a book about your grandmother, her face might not be the one on the cover. It might be a model instead).
When the book comes out, the editor is almost done with your project and has moved on to another book which will be published six months from now. You are left in the hands of the publicity department.
Publicizing Your Book:
How you publicize it depends upon the type of book. There are less book tours now than ever. Be aware that advertising is expensive. Don't expect a column in the NY Times: that costs $30,000. A publisher might pay money to have your book placed in the front of a store display.
Tips on Relationships With Editor:
1.) Appreciate the 20+ hours that he/she has spent editing your work
2.) Always be nice to their assistant on the phone
3.) Know that your editor wants your book to sell, and go into 2nd, 3rd, 4th printing
As an editor, Helen Atsma first reminded conference attendees that agents play a vital role in getting a book published. Publishing is a small industry, and most of the editors and agents know each other.
Most editors and agents reside in New York. The agent "courts" different editors by asking them out for lunch. During that meal, the agent is usually able to ascertain the personal tastes of this particular editor.
Many houses, like Henry Holt & Company, do not accept unsolicited manuscripts. The agent's role is to preselect books that this particular editor might like -- it's very targeted and specific.
Editors do all their reading of manuscripts on their own time. They are not afforded the luxury of being able to read manuscripts at work. They are too busy signing contracts, etc. Since an editor might have 60 manuscripts on their desk at any given point in time, they often ask their assistants to prescreen them.
As an editor, Helen receives about 10 submissions (mostly novels) per week, and she doesn't have time to read each one of them in their entirety. So, as she shared with us, "To be honest, I read until I know that I'm not going to buy the novel. Sometimes I can tell in the first two pages; other times in the first 50 pages."
But if an agent who knows Helen well and has been out to lunch with her might email or call her and say, "Helen, you are going to love this one because of (insert knowledge of Helen's personal tastes here)," then Helen is likely to take the manscript home and read it that night.
Helen is the first to admit that reading preferences are very subjective, so the role agents take in pairing the right editor to the right manuscript is infinitely valuable.
Criteria in Deciding to Purchase a Book:
1.) Editor falls in love with it: the voice, the writing style
2.) It's perfect for the house in terms of the kind of material they publish
3.) They don't have anything else like it on their lists right now
If an editor falls in love with a book, he/she will take it to their editorial board and promote it in-house at their next acquisitions meeting. Members present will include sales, marketing/ publicity and foreign rights representatives. The editor will come to this meeting prepared to state the case for "Why are we the right house for this?" and if everyone else agrees, then they will make an offer.
In a best-case scenario, several editors will fall in love with a certain manscript, which will spark a bidding auction. This will mean more money for the writer and agent, and it also generates enthusiasm for the book -- which often translates into more sales for the publisher.
Another reason that agents are helpful to writers during this process is because it's not all about the money. It's also about selling a book to a better house or a more enthusiastic editor. Agents have the know-how to balance these factors.
Signing the Contract:
1.) The agent and the editor hammer out the details
2.) The agent and the publisher's legal department hammers out the rights
During the months that follow this initial signing, it's important for the writer to recognize and respect the fact that the publishing house slots books into months and categories, in order to follow a traditional publishing schedule.
Writers need to make every effort to meet deadlines. Please respond ASAP to any correspondence. Keep your answers concise and summarized, because the editor is busy. For example, if an editor asks you to "Tell me the titles of books on amazon that have book covers that you like," send all the covers in one email.
The agent remains vitally important as the writer's advocate. After all, the editor works for the publishing house and will be your cheerleader within that house -- but the agent works for you.
Example:
There is a deadline for the book jacket, right before the catalog is printed. This is a crazy-busy time for the art department. Let's say the publishing house picked a cover for your book, and it was horrible. Your editor can't say anything, because he/she works for the publishing house.
It's up to your agent to speak up and advocate for a better jacket. The agent can carry clout because even if your project is "just a small book," the publishing company might also have bigger deals with that agent, and can't afford to alienate that agent.
(However, this should be balanced by the fact that book jackets need to appeal to a wide audience. If you write a book about your grandmother, her face might not be the one on the cover. It might be a model instead).
When the book comes out, the editor is almost done with your project and has moved on to another book which will be published six months from now. You are left in the hands of the publicity department.
Publicizing Your Book:
How you publicize it depends upon the type of book. There are less book tours now than ever. Be aware that advertising is expensive. Don't expect a column in the NY Times: that costs $30,000. A publisher might pay money to have your book placed in the front of a store display.
Tips on Relationships With Editor:
1.) Appreciate the 20+ hours that he/she has spent editing your work
2.) Always be nice to their assistant on the phone
3.) Know that your editor wants your book to sell, and go into 2nd, 3rd, 4th printing
posted by Lisa | 4:37 AM
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