Why I wanted an agent

I thought today would be a good day to touch on the subject of agents. Several weeks ago, in David Long's Faith*in*Fiction blog, David wrote:

Day 1 of Agents - Finding Nemo: "Do you need an agent to get published in CBA?
The answer is: No. The simple fact is that authors are signed who don't have agents. And also, many successful published authors are still unrepresented."

Definitely the words of a publisher (but David does go on to provide excellent advice to any seeking an agent).

Would I prefer not to need an agent so that my publisher and I could work in close symbiotic relationship? Absolutely. But it just isn't the real world. The publisher's job is to promote their line of books, which isn't always the best thing for your books or for you as an author. They strive to settle contracts that best benefit the publisher, deadlines that suit their particular line. They rank their titles according to which are "A" list books and which are "B" and "C" list books. ("A" meaning a grand slam--think Left Behind; "B" a book that earns out but doesn't stray from it's mediocre place in the market; "C" doesn't earn out, doesn't warrant a whole lot of attention.)

I remember when I first learned this. I was so naive in my youth! An author had called to complain because no one was returning her calls. She had no idea what marketing and publicity was doing to promote her works. When I talked to the person in charge in that department, she said, "What more does she want? She's a C author." I was stunned. That author has since moved on and become a best selling novelist with a different publisher. Many authors, once they've signed the contract and have turned in their manuscript are left on their own. In defense of publishers, most wish this weren't the case, but they're overworked and underpaid. There's only so much time in a day and publishers simply don't have the manpower or the money to promote all books equally.

We're caught in a Catch 22. We want our books to sell big, but without a great marketing plan we can't give our books away. To get the big marketing plan we need to sell big. It's an endless cycle most never escape from.

When I signed my first contract I was unrepresented. My publisher and I haggled back and forth about this and that. By the end I felt as if I'd signed away my life. Then it was time to work together as a team in the editing process. The switch from Jekyll to Hyde was too abrupt for my preference. How could I feel worked over on one side and then feel as if my publisher was going to help me create the best possible book? Given the amount of money they were or, I should say weren't, willing to pay, they obviously didn't think we'd sell a lot of copies. "But, Traci," the argument went, "once you earn back your advance you'll get the same money in royalties." But, you see, people work harder for what they've paid for. Publishers may deny it, but when all your publisher is giving you is a spot in their fall catalog I would beg to differ.

That was when I decided to sign my first agent. When it was time to sign contracts for the next two books (with the same publisher, I might add), I didn't have to haggle. My agent did it for me. He talked up my abilities, my potential--this isn't something that comes naturally to me (I'm a Minnesotan!). He talked about creating a brand. The vision became more than that one book, but a long term relationship. Since the stress of contract negotiations was gone I felt much more at ease in the editing process. My editors and I didn't have to switch relationships mid stream. This isn't to say I was unhappy with how my first book turned out. I was very happy with it, but it would have been easier without the stress. (BTW: I did manage to quadruple the returns on my first book--I worked my butt off to get TV and radio interviews, newspaper and magazine articles; we even built a float for a big regional parade and I waved from the top of it like a dork! And I personally visited 100 bookstores in Southern Minnesota.)

Keep in mind that not all agents are created equal. Many will happily sign you, take your money, even negotiate your contracts, but that's it. I wanted an agent who would strategize a life-long career, who would believe that I could be the next big thing. Your agent needs to be your biggest fan--if he isn't he can't sell your work like someone who is. The same goes for your publisher.

More later,

Traci