Discover the secrets to getting your first book published from a veteran New York agent and author in an intimate environment limited to 40 participants. Learn what fiction and nonfiction genres are hot right now, as well as how to create book ideas with commercial appeal. Better understand the publishing world, what to expect for your first book contract, and the pros and cons of working with a book doctor. In addition, gain the vital information you need to decide which routes to publishing will work best for you, whether you self-publish, work with an agent or contact publishing houses. Discuss how to best pitch your book and how to write a query that will grab any agent's attention. Submit your query in advance and the instructor, the author of The Complete Idiot's Guide to Getting Published, will critique it for you. The instructor, a favorite presenter at the SEAK Cape Cod Writing Conference for Physicians and Lawyers, is an expert at helping professionals attain their publishing goals. Pay only $299 if you register by Sept. 23. The first three participants to register will receive a free copy of The Complete Idiot's Guide to Getting Published.
What's the status of publishing today?
What is a book proposal? Does an author need one?
Hear the answers to these questions, and so much more.
Joe's Internet Radio Show is extremely popular. In it, Joe covers business topics that help business owners, managers, sales people and entrepreneurs, achieve the business success they've always wanted.
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Ask yourself these questions and as you write your answers, your proposal will develop before your eyes. If you have the time and want more detailed guidelines, get one of the many excellent books on writing proposals from the writer's shelf at your library or local bookstore. I highly recommend Michael Larsen's How to Write a Book Proposal .
2) Describe your book in one sentence.
3) Elaborate on that in a paragraph or two. Describe the contents of your book enticingly and thoroughly.
4) Who is the audience? How big is the audience? Who will actually walk into the bookstore or library and request this book? Why will the audience need or desire the book? It's important that prospective readers won't be embarrassed to buy the book and that they can recognize the need. For example, a book called Why I'm Such a Stupid Jerk wouldn't fare too well in the self-help section of the bookstore; however, it might not do too badly in the humor aisle.
5) Where will they find it besides bookstores? General or specialized libraries? Catalogues? Garden supply stores? Gift stores? Hospitals? Hardware stores?
6) What important, enticing and special points and features does this book have? For example, will there be sidebars, interviews, quotations?
7) Ideally, what will the book look like as you see it? Do you see it in paperback or hardcover or both? Does it require a special design? What trim size (width by height)? Number of pages? Number of entries? Number of essays? Will the book benefit from illustrations? If so, how many and what type? Line art? Photos? Do not prepare a cover or jacket to go with your proposal. Be respectful in advance of the publisher's art department. But if your book is about your famous grandmother and you have an authentic reproducible photo of her square dancing with Abraham Lincoln, say so.
8) What are your sources? How do you intend to do your research, if any? If any special permissions or releases are required, think about how you will get them now and what they will cost. Be certain this will not be a problem before you approach publishers, not later.
9) Do you consider the book humorous, touching, poignant? Attribute as many adjectives as you can. Then delete some.
10) Why are you the perfect author to write this book? Include your writing experience, publishing experience, work experience, educational experience, and special experience that makes you uniquely qualified to write this book.
11) What is the book's genre? Visit a bookstore and imagine where on the shelf your book will go (or could go).
12) What are some of the titles that your book will sit next to when it is published? This is the competition. The competition analysis is perhaps the most important part of any book proposal and should be done before you get too far along with your proposal or even before you start. Do a thorough search of books in print and read the books that are closest to yours in subject matter. How is your book different? How is your book better? Ask the bookstore owner or manager how these books are selling and work that information into the proposal in a way that will cast your book in the best light. It will backfire if you say that there is not now nor has there ever been another book that competes with yours. Publishers will usually be wary to publish such a book. They will either not believe you, or they will think that it is therefore not a publishable topic. Perhaps, they may think, it is more suited to a magazine article or a TV movie.
13) Are there special times of the year when this book can be promoted in a special way? Does it speak to a growing or renewable trend (such as turning fifty) as opposed to a short-lived fad (remember pet rocks?)? If your book needs to be timed with an event (for example, the new millennium), make sure there is plenty of time to publish it and that you are ahead of the field.
14) Are you a promotable author? i.e. If this is the kind of book that would benefit by a national author tour, do you and can you tour or speak in public (such a statement wouldn't be relevant if, for example, you propose to write a dictionary)? Do you have any other promotion ideas (that are not outlandish)?
15) Have you already cultivated an audience that would buy the book (publishers refer to this as "having a platform"). Do you have other affiliations or contacts that could prove useful when marketing the book?
16) Can you get glowing endorsements from famous writers or experts prominent in the field about which you are writing? If the book is written, it would be useful to get a quote or two in advance of marketing the manuscript to agents or publishers.
17) What is your style? Work it in somewhere. What famous authors, if any, do you think your style can be compared to?
18) Anything else you think is relevant?
III: DETAILED TABLE OF CONTENTS A short paragraph to describe each chapter or section should do the trick. It is usually more important that the headings be descriptive than clever.
As a service to writers, I used to provide a column of answers to readers' questions about the publishing industry on WritersMarket.com, BKSP.org, Iuniverse, and AOL, with a special focus on the process of shopping a book proposal around to publishers, which is what agents specialize in.
Thank you, everyone, for your terrific response to ASK THE AGENT.
In the few short weeks since my column appeared, I received a tremendous number of interesting and important questions. In this, my first q and a column, I will try to answer the most urgent, basic and repeated questions. I am especially eager to address your concerns about fees, exclusivity and other protocol, and I am taking the liberty of editing your questions for conciseness, privacy, and clarity. Keep sending your ASK THE AGENT questions to me here via E-mail (ShereeBee@aol.com).
[Agency name deleted] in New York has shown interest in a fiction novel after receiving the first three chapters. They want a $95.00 reading fee with the entire manuscript. Have you heard of them? Are they legit or do they make their money collecting reading fees instead of representing authors? I'm hesitant about reading fees. What do you suggest? Thanks.
I have never heard of the agency you mentioned. That does not mean they are not legitimate. And the fact that they charge a fee does not automatically make them crooks or preclude them from being effective agents. I would, however, make an effort to find a non-fee charging agent before considering one who charges fees. I think you will be surprised that my answer to you and Gradunc (following) is not exactly the same.
I have received a letter of interest to see a manuscript in response to some sample chapters I sent to an agent in Manhattan. It is a nonfiction book, one which would be controversial in the sports world if it is published. He has asked for a handling fee of $95. Is this a standard practice?
My money is very, very tight, and I may have to send it without the requested handling fee. Also, my friends insisted I check with the New York Better Business Bureau, and he has two unsettled claims against him in the past two years. They rate him as unsatisfactory. Should I pay attention to this?
I really want to give him a chance, he is the only agent who has shown interest in helping me. But I need those questions answered first.
It is interesting that, while the amount of the fee is the same, the agent you mentioned and the one DeVitis mentioned are not the same. It is my opinion that you should not send this agent your manuscript. It is time-consuming to read whole manuscripts, and so I understand why some agents charge fees, but the AAR (Association of Author's Representatives) thinks that the practice of charging fees can lead to unethical practices (such as the one that DeVitis is suspicious of) and severely restricts or prohibits its member agents (which I am) from this practice.
Most literary agents do not charge fees, nor do they provide readers reports. They will simply tell you if your manuscript is suited to the agency or not. If it is not suited to them, they are therefore not qualified to give you proper feedback. And if it does suit them, they will represent you.
I hate to say that if so many non-fee charging agents have responded negatively to your proposal, it is very unlikely you will find a major publisher to feel otherwise. Therefore, your $95 would be better spent on an independent editor or a writing class or book doctor. In other words, you are wise to seek feedback–just don't seek it from agents. There are many more qualified and objective sources. If you do decide to pay a fee, be sure you get something for it, such as a detailed report. You should not get representation in exchange for a fee. And, yes, I would be concerned about the BBB report.
You can get a list of non-fee charging member agents from the AAR. Send an SASE to the Association of Authors' Representatives, Inc., Ten Astor Place, Third Floor, New York, NY 10003.
I wish you the best and hope my answer helps you.
I've sent queries to four agents I've qualified. Two have responded wanting to see a book proposal. I've sent a proposal to the first. Having just received the second request, I want to be sure that I follow an appropriate protocol on this.
Would you suggest I send out the second proposal?
[While waiting for my response, IM Tuthill again wrote:] Before hearing your response, I sent the proposal to the second agent, as well. In the cover letter, I mentioned that another agent was looking at it.
This is new for me and I'm not interested in doing something inappropriate that may jeopardize my chances for success. Everything I've read to date stresses being honest with an agent up front.
When I get a query, I appreciate when the author tells me that other agents are being queried as well. It is perfectly acceptable to send short multiple submission letters with SASEs to several agents that you have determined would be acceptable to you should they be interested. When I get a query that makes me want to see a long proposal or whole manuscript, I immediately call the author on the phone to determine if there is chemistry, to answer questions about my agency, and to request the material. I always ask for a three or four-week exclusive period from the time I receive the manuscript to make my decision about representation, and I usually can respond much sooner than that. I also request that the author confirm in the cover letter that the submission is exclusive and that no publishers have seen the manuscript in any incarnation. And I request postage and a mailer to return the manuscript if it turns out not to be for me. That is the ideal situation for me. If there are variables, I learn them on the phone. For example, an author may tell me that they have already sent the manuscript to one agent but that agent has held the manuscript for six months and has not returned phone calls. I would then say that instead of exclusivity, I want "first dibs" on the manuscript. In other words, if after reading the whole manuscript, I determine it is something I wish to represent and feel I can sell to a major publisher, I do not then want the author to tell me she is using another agent or that every publisher in town has already rejected the manuscript.
I think the fact that I respond in a reasonable period of time makes it a fair deal for agent and author and hope you will agree.
I am a young poet living in Albany, N.Y. I am the proud father of one unpublished chap book and three unpublished collections of poetry (one of which is poems dedicated solely to the self-portraits of VanGogh). How can I get an editor, or otherwise break into print? Any advice or feedback you could give would be greatly appreciated.
Although there are exceptions, most agents will not represent poetry–especially by unpublished authors. Most publishers who publish poetry expect to hear from authors directly. I would recommend you seek out published poets and find out how they did it. For the most part, agents tend to represent books that they feel they can sell to large publishing houses. The reason is that large publishing houses tend to pay higher advances than small presses and the agent's commission, at least theoretically, has to seem worthwhile. Many agents, however, will place books with smaller publishers when they've exhausted other possibilities or when the small publisher is best suited for the project. Some agents specialize in a certain kind of book, like sports books, or cookbooks, and some are eclectic like me, but most independent agents have to draw the line somewhere, and, sorry to say, poetry usually falls in the category of somewhere. This is in no way a reflection of your talent which, in my unqualified judgment, you have.
I am interested in the possibility of becoming an independent editor. What qualifications do I need? What would a job description for an "Independent Editor" look like? Thank you.
I believe an independent editor is another name for a freelance editor, that is, someone who works at home and takes on editing projects from a variety of sources, such as publishers, agents, writers, corporations, and others. "Editing," however is a slippery term. At large publishing houses, there are editors in the editorial departments with varying titles. Some are Senior Editors; others are Associate Editors, Managing Editors, Executive Editors, Editors in Chief, Editors at Large (who work on staff but from home), Editorial Assistants (the first rung on the ladder), and others. The job description for each of these titles varies from publisher to publisher. Most editors (with all of these titles) are informally known as Acquiring Editors. That means that they decide which books they wish to publish. Some editors sit with blue pencils and manuscripts; some develop books with authors via modem and on the phone; and some never lift a pencil but merely acquire books and run the show. In the production department are the copyeditors, who edit manuscripts for style, grammar, spelling, accuracy, and consistency.
I believe there are two basic types of freelance editors who work at home or as temporary employees. Some would do developmental work on manuscripts and others would copyedit. At this stage, I recommend you look at books about copyediting and proofreading, and I think you'll find your answer. Also, look in the Literary Market Place under Book Doctors and Editorial Services and write away for brochures. Some of the editors you write to may also be interested in serving as consultants.
Hope I haven't confused you utterly.
Do you have copies of what contracts, submission & release forms look like. You could attach a file if possible.
Many thanks for the offer and opportunity to receive this assistance.
I highly recommend that you and everyone reading this get a copy of Jeff Herman's Writer's Guide to Book Publishers, Editors, and Literary Agents (the most current edition; it is updated yearly). Also, I believe you will also find the forms you are looking for in a book by Kirsch. I don't have access to it now, but it's a legal book for writers. It may be called something like Handbook of Literary Law . I will print the exact title in my next column.
Subj: Was I Right or Was I Wrong?
I had written about 200 pages of a novel. It was not complete, but I had won several awards for what was in progress and (probably my first mistake) I began marketing what I had. It was rejected a zillion times, but there was lots of interest. Finally, I snagged an agent. He never mentioned that the book was unfinished but said he loved it and I signed a contract.
Let me point out that this was an agent with a well known, very well known New York agency with a serious track record.
Anyway, my agent turned out to be what I finally determined was a frustrated writer and simply edited me into a supreme state of confusion. Xing out whole chapters, rejecting the very heart of the lead character. I tried very hard not to be defensive and that might have been my second big mistake. Because after a few rewrites under his direction I was a mess and simply had very little notion of what the hell the thing was about in the first place. I finally wrote him a wimpy note that just said I didn't want to write a novel this way and sorry charlie I'll see ya around.
My award winning 200 pages sits in a kinko's box at the bottom of a file drawer under my phone books, has been for two years. Am now writing something completely different and am happy with it.
My question: Is this what agents do? Is it normal for an agent to work a novel over in such a way? I certainly hope I'll have another one someday and want to know what to expect.
Were you right or were you wrong? In my unequivocal opinion: yes, no, yes, no. I believe you had a series of unfortunate miscommunications and that, if I were to hear your whole story and the agent's whole story, I would be sympathetic to both.
Different agents operate differently, just as do different authors. What's comfortable for one person or two people together does not work for others. In an ideal world, the author writes a bestseller (the whole manuscript if it's a first-timer's work of fiction or creative non-fiction), polishes and edits it and sends it to an agent, who then sends the author a contract and sells the book to a publisher. Rarely is the ideal met, and any number of alternatives may then ensue.
Had you sent your promising work to me, I would have asked you to finish it and send it to me when it was finished or when it was as good as you can get it. If I felt it needed just a little work, I would have told you what I felt it needed and asked you if you agreed and felt you could do it and wanted to. If we saw eye to eye, you would then proceed and send it to me again. If I felt it needed a lot of work, I would recommend you hire an independent editor or book doctor (they are listed in the Literary Market Place and sometimes I can recommend someone appropriate). Your arrangement with that person would be between you and him or her. I would hope that when you and the book doctor were satisfied you would then return to me to inquire about representation.
I have found myself in situations where I did more developmental work than I could afford. This is costly for an agent who works on spec and does not charge fees. I especially do not want to involve myself in it because some authors resent it and do not appreciate the cost to me. Other authors, however, appreciate it beyond measure!
I used to say that I would represent a book if an author did xyz to it. Now I say I will not represent the book but if the author cares to do xyz I would be happy to consider it again. The burden is on the author.
But all is not lost in your situation. Obviously you are meant to be a writer as you are working on your next bestseller. When it is completely ready and you are happy with it and have gotten feedback from such people as writers, editors, honest friends, and teachers, then begin your search for an agent, and I hope you will start with me.
If you will send me your next novel whenever it is ready and give me a three-week exclusive period to decide if I wish to represent it, assure me that it has not been to publishers, and include a s.a.s.e, I will give you a prompt response. After you sell a novel or two and become famous, you will then be able to dust off your first novel (like John Grisham did) and sell it.
This has been an incredible month. I have met so many wonderful, new authors and have made more than one new lifelong friend. My new office seems to be bringing me magic, and I'm making many positive, personal changes in my life as well. I hope that I can continue to do justice to your excellent questions and answer them in a timely enough way to be useful to you. I want to thank everyone who has given me encouragement and support. It gives me a great lift to know that I am helping, because it's a tough business for authors and agents. Unfortunately, rejection goes with the territory, but thankfully, that's not all there is. May you all prosper and grow and always do what you love.
First, I promised this title from my last column: Kirsch's Handbook of Publishing Law by Jonathan Kirsch, and I continue to recommend Jeff Herman's Insider's Guide to Book Publishers, Editors, and Literary Agents (although the name will be changing in September with the next edition to become part of Prima's Writer's Guide series).
I need some speedy advice and hope you can help: Is there any type of standard industry for artists' fees relative to a non-fiction book? I have a completed manuscript that requires some interesting art/photography and graphic design and I have an artist who has done a preliminary concept to submit with the manuscript. So far, this artist's work has been on spec., and we have no type of agreement about future work. Assuming I get a contract for the book and the publishing house likes what this artist is proposing, is there any type of industry standard relative to paying this artist for doing the entire book? Royalties. . .direct payment. . .? This was not originated as a collaborative project, so 50/50 does not seem appropriate. I really need some advice on this — thanks for whatever you can do.
Business Forms and Legal Forms for Illustrators by Tad Crawford (Allworth Press) and the National Writer's Union Guide to Freelance Rates & Standard Practice (212-254-0673). If those books don't do the trick, try calling or writing some organizations of professional illustrators and ask them. Please let me know what you decide.
Should sample chapters be written single, double, or triple space? Should paragraphs be indented the normal five spaces, or should the start of a new paragraph be indicated by skipping down a space?
Content is much more important than form, but book proposals and manuscripts should be double-spaced. Except for that, just be neat and professional, and use your best judgement. The most important information to impart is: what is the book, what stage are you at with it, why is it a great idea, why are you the best person to write it and what are your credentials to do so? In addition, it's always helpful to know if it has been submitted to publishers. Be concise but thorough.
I'm a new purchasing agent for a publishing company. We're in the process of adding some new kinds of publications to our company. Could you give me some idea of what the customary rates are for purchasing contract manuscripts? Are fees based on a number of pages, quality of the manuscripts, etc.? Any information you can give me would be a great help!
This question is usually asked by authors and tends to make me squirm a little. I always tell authors that I like to let the publishers make the offers and then see if it feels worthwhile and reasonable. Of course, I always try to get for them as much as possible. Depending on the demand (among publishers and for the book), the advance will vary. If more than one publisher is interested, the advance will tend to be higher, especially if the book is sold at auction. Or if the book requires a tremendous amount of work on the part of the author. Or if there is a huge demand among book buyers.
What the publisher typically pays is an advance against royalties (and royalties are somewhat standard), half on signing of a contract and half on delivery and acceptance of a final manuscript. After the advance is earned back from the sale of the book, the royalties will then dictate how much the author earns. Hardcover royalties are typically 10% of the cover price on the first 5000 copies sold, 12 1/2% of the cover price on the next 5000 copies sold, and 15% thereafter. Paperback royalties vary from 6 to 10% and mass market royalties are usually about 8%. Some publishers, particularly textbook publishers, pay on net (amount they receive from booksellers), and the royalties, at least in theory, should be higher. But even so, this is less desirable to the author.
I believe that publishers determine what they expect to sell in a first printing of a book, what the book would cost to produce and sell, and then offer a percentage of what they would expect to pay in royalties for that printing. Perhaps you can get a publisher to tell you their formula? Let me know.
Thanks for the quick response. I guess what I'm asking is, how does one determine the "worth" of a manuscript. I am buying manuscripts for a publisher. This publisher would like me to have the full rights to the manuscript before he buys them from me. Therefore, manuscripts I am requesting would be considered "contract" work, right? I was wondering how to determine the amount I should be spending on these manuscripts.
Is cost determined per page, per word, etc.? Also, should I be paying more for published writers? Any help you can give me would be greatly appreciated.
[An agent–name deleted] wrote that my work has "great potential" but that he did not want to represent me until my work had "developmental editing." He went on to recommend that I speak with [names deleted] of [company name deleted], a "book doctoring" service. He said that he had contacted them and told them about my ms. in case I decide to contact them. He then invited me to resubmit to him if I incorporated [company's] suggestions.
My question is……..does this sound "kosher" to you? Or do you have any comments on the use of "book doctors"?
Yes, this sounds kosher to me. But you should shop for a book doctor as you do any other service, and you should only work with one that you feel comfortable and in synch with. You will be hiring them and paying them and there should be no kickback to the agent. If you suspect otherwise, choose your own book doctor.
I'm still trying to locate a home for my first novel, and I bumped into an "opportunity" which involves a book doctor. I was hoping you could offer some guidance on the issue of book doctors in general and the following story in particular.
One of the agents who requested my novel [agency name deleted] wrote back a very nice rejection letter. He made numerous and specific references to the work so I'm confident that he read it. [agent] referred me to [name deleted] of [book doctor company deleted–same company as in above letter] who could help me objectively revise the novel.
I spoke with [book doctor] who indicated that he would critique/edit the work for about $1,200. I contacted [agent] and asked him if representation by [agency] was ensured provided I worked with [book doctor]. [agent] responded in the affirmative.
I then surfed the Net looking for additional information on [book doctor], [agent] and book doctors in general. I found two negative comments, one naming [book doctor] in particular. In a follow-up with the author of the negative [book doctor] comment, she acknowledged that she never worked with them but felt that all book doctors were a rip off. [Agency] is listed as agency, but I found no other references — authors represented, third-party comments, etc.
I was hoping you would offer your opinion. Do I keep plugging away with other agents/publishers, or do I go the book doctor route to get representation via [Agency]? Any comments would be greatly appreciated.
It's impossible for me to answer this entirely or to have an opinion about what you should do with your manuscript unless I see the manuscript and feel comfortable critiquing it myself. I can say that it is my opinion that there are many excellent book doctors and that when I recommend one, I trust in their general abilities but do not know if they will be in synch with the material or what they will charge the author. I also cannot read the future and determine that the end result will be one that I wish to represent. I can only hope that the author has liked my recommendation so much that they will be happy with the results and try me again first to consider representation. I'm surprised an agent would guarantee representation without seeing your book in final form and being pleased with it, but anything is possible. Has this agent offered you a contract? Will you be offered a contract when the book is ready? What if you and the book doctor do not see eye to eye on what the book needs? What if you and the book doctor are happy with the end product but the agent is not? These are all questions you should ask yourself now before making up your mind. I have no personal experience with the agent or book doctor you named.
I've written what I've been told is a wonderful children's story and would like to have it published. Manuscripts and/or queries have been sent to numerous publishing houses, each returned rejected. I'm not discouraged (yet), but feel an agent could better present this manuscript to publishers with promising results. Can you give me any advice on how to obtain an agent and/or any other pertinent information. Thank you.
I make no representations about any of them (or anything else for that matter) except that they told me they represent children's books. Also see Jeff Herman's Writer's Guide to Book Publishers, Editors, and Literary Agents and The Literary Market Place .
There are many good books on the subject of children's book publishing.
You are providing a valuable service by answering questions in this manner. Thank you! Here's one I'd appreciate an answer for. I've been offered a contract by a literary agency to represent my novel, but the contract calls for a $650 advance as a "retainer fee for out-of-pocket expenses such as photocopying, calls, etc." This concerns me. I understand the need for covering expenses, but why the need for an advance? What's your take/advice on this? Much appreciate your time! I look forward to your response.
I am not completely aware of what the common practice is. I will tell you what I do: My contract provides for the author to pay for expenses such as photocopying, postage, foreign shipments, and long distance telephone calls and allows me to either bill the author or deduct the expenses (up to a lifetime cap of $150) from the publisher's payment. In practice, I rarely bill authors. If I do fail to sell a project after many attempts, I ask the authors to pay what they wish, and they're usually delighted to give me the $150, knowing how hard I work before I give up. I usually find that the expenses are $300 – $400 if the publisher controls foreign rights (thus costing me $150 – $250) and more if I control foreign rights. But I set the cap at $150 to make the authors comfortable. As an author, I would be uncomfortable giving an advance of $650 for expenses. I would want to know from this agent: would the expenses be documented and would you get a rebate if the whole amount were not spent?
I am a first-time novelist. I have just received a contract from Commonwealth Publishing Co. in Canada. They have proposed a deal which I have never heard of. They call it a "joint venture" contract. In it, they propose that I pay them $3850. This is non-refundable. In return, they have agreed to pay me royalties of 40% of the retail price on the first 2500 copies sold and 15% of the price of all sales over 2500 copies. (They intend to begin with 10,000 copies.) The retail price will be $4.99, and the total royalties add up to over $10,000 (less my contribution). They put forth plans to market the novel aggressively. What should I do?
I have heard of "joint publishing," but I am wary of it. To me it smacks of vanity publishing. I do not believe in paying to have your book published, unless you are self-publishing. I know nothing about Commonwealth, except I have seen their contract and personally would not sign it. In the publishing world that I'm familiar with, publishers pay authors advances against royalties for the right to publish their books and distribute them in bookstores. I would want to know foremost if Commonwealth gets its books into regular trade distribution and whether authors whom they've published have earned any many.
May I ask you a question? I'm curious to know what are the most important things that you need to know, as an agent.
Publisher names, contacts, numbers, what they're looking for…etc?
What you represent, years in biz, phone, address, submission info…etc?
How do you normally go about finding out all of this information, and/or having information about yourself listed? Does everyone do this the same way? Is it cumbersome? Time-consuming? What does AAR do for you, exactly?
These are all excellent questions. I will try to answer them all.
The answer to your first question is yes. The most important thing I need to know is what publishers are looking for and, more specifically, what individual editors' tastes are. Or more broadly, what is the general public hungry for when they go into a bookstore or what will they want to read two years from now.
This September I am celebrating my fifth year as a corporation. After establishing my agency in the 80's and years of hard work and no payoff, I finally sold four books in a single month in 1991. That's when I incorporated and I have been selling books steadily ever since. Last year I sold 31 books. In the first two weeks of August, I sold 7 books! I am looking for whatever appeals to me in both fiction and non-fiction, and I love when my books do some good for the world: handbook for the Soul ; Volunteering in New York City ; Successfully Self Employed ; The Hidden Face of Shyness , etc.
I am listed in just about every book on agents. I have a web page (bookbuzz.com). I update my listings annually.
It is very helpful for me to be a member of the A.A.R. (Association of Authors Representatives). The meetings are informative; I love to associate with other agents and get advice from them and share stories with them; and I feel it is a prestigious membership. In order to be a member, I had to sell 10 books and agree to abide by their Canon of Ethics. I feel confident in recommending authors to A.A.R. members and proud to say I am a member.
I have been published in several magazines, but now am working on my first novel…It is a mainstream thriller, of the John Grisham/Mary Higgins Clark/Sidney Sheldon type genre ( if that is such a genre ). Do I need to finish the book before I go about finding an agent, or can I begin the searching process now? I am less than half-way finished on the book, but do have an outline done.
You don't have to do anything, but it is advisable to finish (AND POLISH) the book first before seeking an agent and certainly before showing it to publishers. It is very rare when any novel gets sold based on a proposal–unless you are John Grisham or, ahem, Joan Collins. If you are John Grisham, you don't even need a proposal or a title. Finishing the book should pay off for you, too. The finished product, if it is publishable, has got to be more valuable than the promise of a good book. Thus your advance will be higher. It's hard enough to sell fiction. Do it the right way. Give it your best shot.
The best place to start getting published–especially short stories–is in magazines. Get a copy of the Magazine Market Place and look at the writer's shelf in your local bookstore for specifics on how to submit pieces for publication. Once you are a published writer, it is easier to find an agent for a book deal and easier for an agent to place you with a publisher.
Congratulations! I just read your column for the first time. It's very good!
I have a question for you. When representing a book to foreign agents what commission do you charge and what expenses do you recover?
Thank YOU! Generally I split a 20% commission with foreign agents or split 15/10 with sub agents (with the author's approval). See my prior posting about expense reimbursement.
I just found the internet writer's club area, and I have been reading through some of the letters and messages posted there. I came across your questions and answers, and after reading through them, I am troubled. I have several questions, so please bear with me.
Is it common for agencies to refer potential clients (or anyone, for that matter) to editing companies, and do editing companies normally charge fees into the thousands to do a critique or line-by-line edit?
About querying — from what I understand, it is acceptable to query more than one agency at a time. When sending out manuscripts to agencies, partial or complete, should you restrict yourself to one agency at a time, or can you send the same manuscript out to more than one agency at the same time? What about sending out different manuscripts to different agencies at the same time?
Will agencies only accept work that has not already been submitted to a publisher? I ask because I have completed 2 romance books, one of about 65,000 words and the other of about 85,000 words. I sent 2 chapters of each book, along with a synopsis and query letter to one publisher, and only a synopsis and query to a different publisher. Are these manuscripts now ineligible for consideration by an agency?
I don't know if you normally e-mail each person back separately and then put together the article for the Writers Club, but if it is possible for you to e-mail me back personally, I would appreciate it. I am waiting to send out my sample chapters until I hear from you. Thank you!
First, regarding independent editors, it does happen that agents refer writers to independent editors when the book shows promise but is not representable in its current form. When I make such a referral, I make it clear that I make no representations about the editors and I do not receive any commission from them. In fact, I don't have a clue what they charge and want to remain in the dark about it. If and when the author and editor put together a revised proposal that they are satisfied with, I hope they will ask me again to consider it for representation, but no one is under any obligation. It is just a courtesy. If other agents make other arrangements than what I have just described, I am unaware of it, and I can't say whether or not I would approve unless I heard the situation.
Regarding exclusivity, I believe I have answered this in a prior posting. If I have not been clear, please let me know. Third, having submitted your manuscript to only one or two publishers should not preclude you from finding an agent. Just be honest with agents when you approach them about the submission history of each work.
Like many writers fortunate enough to get an agent I feel somewhat frustrated by his (so far) failure to find a publisher for a —what else?—terrific thriller I wrote. This agent prefers thrillers and mysteries which is all well and good—but now, I've written a comedic screenplay. Let's assume what I've written is actually a knee-slapping, rib-cracking barrel of yucks—what do I do if he literally "doesn't get it"????
Can I keep him as agent for the thriller and seek representation for the screenplay? I'm not sold on convincing this agent that the screenplay is wonderful—If he doesn't get comedy he certainly won't market it as aggressively as I'd like.
If I seek an agent who enjoys thrillers AND comedies, haven't I shot myself in the foot by signing with an agent who has already made some submissions to publishers?
So, what do I do? Can I have two agents that represent different properties?
P>S> By the way, should I query you about thriller and comedy? I found you thru the mentor program but wasn't certain how to ask my question(s). E-mail or some other way–hope you don't mind E-mail.
Thanks for asking, but I don't do screenplays unless there is a book first. You can have different agents for different things but they should not be out with your projects simultaneously and should both be informed of the other's efforts. I would consider any book manuscript that has not been to more than two or three (non-choice) publishers. I tend to sign a book by book deal with my authors. Although I am interested in representing their career, I do not want to find myself representing something about which I am not enthusiastic and I don't want my authors saddled with an unenthusiastic agent. I do, however, try to influence my authors to keep producing things that I do love, and it's worked very nicely so far.
This is a particularly good question. No matter whom you are contacting, it is always a good idea to imagine how your communication is likely to be received. And there are so many different methods of communication available to us, it is worthwhile to think each time we decide to contact someone in business which method is most likely to achieve the best results: e-mail, fax, phone, snail mail, Federal Express, etc. This is especially important with agents, considering that a typical agent's day is a hectic whirlwind of communication with editors, authors and prospective authors.
On a typical day, I receive a mail bag filled with mail, which might include 50 queries, several requested manuscripts, rejections from publishers, forms to fill out, contracts, royalty statements and, thankfully, a check or two. During the day, I receive regular visits from my friends at UPS and Federal Express. Each of these transmissions must be read, dealt with in some way, or delegated. Which queries do I wish to pursue? Which requested manuscripts do I think I can sell? Which forms must be dealt with today? Which contracts negotiated? Which authors must I communicate with? Should I write them letters or call?
Meanwhile, I must make several phone calls. I must call publishers to excite them about the book I am selling today. Then I must write to them and send them the proposal or manuscript. Many of the publishers I call are not immediately available, and so I leave a message for them to return my call. I also need to speak with certain authors. One of them did not get the proper promotional support from the publisher. Another has a question about a royalty statement. Another saw books in the store before getting his author copies. Another is excited about her review in The New York Times. Another has a question about the contract. I have to speak to all of them. Sometimes I must take action as a result of these calls–such as calling or writing to their publishers–and then get back to them.
Also, I am busy developing proposals with authors who have projects I wish to represent. It's necessary to do some bookkeeping, to oversee workers, to go to the bank, and almost every day I have a lunch with a publisher and a professional meeting at night. Sometimes one of my out of town authors is in New York and wants to come by for a quick visit. At the same time, the phone is ringing constantly with people returning my calls and calling with reasons of their own.
Please forgive me the sarcasm, but every day brings several calls that are not very different from this composite, and because I believe in niceness in business, I answer my own phone whenever possible and take and return nearly every call. That's why you can usually make the best impression by sending a professional query with a self-addressed stamped envelope concisely stating everything that needs stating. A good agent is equipped to deal with your query by mail in a timely manner.
2. To save time, can I send my manuscript to more than one agent at a time?
After researching qualified agents whom you think might be compatible with your material, it is reasonable to send a short query letter and s.a.s.e. to any number of agents. Although, everyone likes to feel special, and so when you tell an agent that she is the only one seeing a particular query, you are very likely to get special attention. It is when you are sending a large volume of material such as a long proposal or an entire manuscript that many agents, like myself, require an exclusive period to decide whether they wish to represent you or not. Some agents do not require that your long manuscript be exclusive, but this is not necessarily to your advantage. Often such non-exclusive submissions will sit for months or forever on such agents' over-piled desktops or filing cabinets.
I, on the other hand, feel I have devised a fair solution that works for me and the author. When I see a query that I like, I call the author and ask for an exclusive THREE or FOUR-WEEK period to decide about representation. This way authors know that if it is with me alone for three weeks, they will have an answer–and sometimes I can provide an answer even sooner. Because I make this promise and am devoted to keeping it, I'm very selective about the number of manuscripts I request. I understand that if it turns out that I am incompatible with the author, we may not actually end up working together, and that would be fine, albeit a pity (and unlikely). The only situation I wish to avoid is reading the entire manuscript, loving it, telling the author I want to sign her up and having her tell me she is going with another qualified agent. I want authors to choose me first; then I'll choose them back.
Incidentally, when I request an exclusive, I also request that the author tell me in writing if the manuscript has been to publishers, and if it has, to whom and what they said. Furthermore, I always request a s.a.s.e. with which to respond.
3. What can I expect from my agent in terms of correspondence, phone calls, and information?
Agents appreciate authors who respect their time and do not call when it is completely unnecessary or when a note or fax will do. That said, I believe strongly that it is an author's right to receive copies of all correspondence between the agent and the publisher pertaining to the book–and in a timely fashion. When I receive a rejection letter from a publisher, I immediately have it copied and sent to the author. This not only keeps the author informed of who is seeing his manuscript but it also allows the author to determine if the rejections have a common theme in order to decide if the proposal or manuscript needs further work. When an editor calls to express interest or make an offer, I immediately call the author. When an editor sends a contract, the author sees it before I negotiate so that I can answer any questions and present a united front to the publisher. When royalty statements and other correspondence arrive, they are immediately examined and copied and sent to authors.
I remain available to the author to answer all questions and to troubleshoot in case there are problems between the publisher and the author. I also try to lend moral support and offer publicity and marketing suggestions to both the author and the publisher. Sometimes the author has a favorite publisher to whom she wants the manuscript sent. I always make every effort to comply with such requests.
4. How do agents sell books? or What happens after I have given you an acceptable proposal or manuscript?
When I am ready to start submitting a proposal or a manuscript to a publisher, the first thing I do is write a compelling submission letter and think about a concise but irresistible phone pitch. Then I make a list of all the publishers whom I think would like the project. Next, I call them all and pitch the pitch. I then send over the material to them all, telling them each that it is with other publishers and asking for a response by a particular date, approximately three or four weeks in the future. If several publishers are interested, I set an auction date and hold an auction. If only one publisher is interested, I try to negotiate a fair contract, which includes a reasonable advance against royalties.
Thanks everyone. The questions are still terrific. Keep them coming. I want to mention that the current edition of Jeff Herman's fabulous book is no longer called The Insider's Guide to Book Publishers, Editors and Literary Agents . It is now called The Writer's Guide to Book Publishers Editors and Literary Agents . It is published by Prima and available in most bookstores.
Hello! I was reading the Writers Club message boards and I ran across your name. I know that you have plenty of experience in this industry, and I was wondering if you could answer a question for me. I need a rough approximation on how many hours it should take to proofread a book approx. 325 pages long (with a handful of charts and pictures). The non-fiction book focuses on Judaism and Psychology. The publisher says that they need it back in about two and a half weeks. I need an estimate of how many HOURS a job like this should take. Thank you so much for your time.
When I used to proofread fifteen years ago, I figured on 5 to 10 long galley pages per hour (5 if it was very technical and 10 if it was very simple), but since long galley pages no longer exist, I would probably say 9 to 13 pages per hour now . If I had to estimate more precisely based on your subject matter, I would probably figure on 10 pages per hour. Let me know what's decided, ok?
Hello, I was wondering how I can get started in publishing and if I am too young. I am 14 and I think some of my work has potential. In your opinion, do you think I am too young to get anything published? If so how can I start smaller? I love to write and I have been writing stories since I was four years old. Please respond. Thank you.
You certainly do seem bright, and if have been writing since you were four and are asking this question now, I don't think I need to be Nostradamus to predict that you have a career as a writer ahead of you. I would be happy to look at a little bit of your work now, but chances are if you wait a few more years, you'll look back on your 14-year-old work and say, "that was great for 14, but look how much better my work is now!" and you'll be sorry you started too soon. When you or any writer make a first attempt to be published, it should always be your best shot and never just to "test the waters" (i.e. "Let's see what an agent thinks of my work or my work-in-progress"). With fiction, the work needs to be completely finished, edited, and polished. With non-fiction, you need to think about a book proposal and sample chapters and/or an edited, polished manuscript.
I don't think it's too soon for you to start submitting your work to magazines. If the work is of publishable caliber, you shouldn't need to mention your age. On the other hand, if you have something terrific for a 14-year-old, you just may convince a sentimental editor to run your piece with your byline: "Kim, Age 14." Remember that there are large magazines, which are harder to penetrate and smaller magazines, local magazines, newspapers, and newsletters (that are all easier to break in with). Look at the most current edition of the Magazine Market Place in the library. And when you're ready to publish a book (you'll know when), please remember the agent who gave you this terrific advice!
1) 1.25″ margins at top, left, and right.
2) Type twenty-five sixty character lines (about 250 words) per page.
3) Use serif font such as Courier or Times Roman.
4) At 1/2″ from top of page, include last name and first major word in title (left margin) and page number (right margin).
6) Never send manuscript bound!
These guide lines have increased my manuscript (originally 410 pages: double spaced, helvetica 12 pt) over 200 pages! Are these margins, fonts, and words per page standard? Also, should a manuscript be sent unbound? Thanks, JD.
Dear JD, To my knowledge, agents aren't terrorists, and no agent will sit down and count whether you have 60 or 65 characters on a line (Beware of the agent who has time for that!) But what you have described does sound soothing to the eye, and that should be your main goal: big, readable type, double-spaced, unjustified right margins (I would add), reasonable margins all around, numbered pages, and yes unbound, undecorated, and undesigned. And, of course, you should identify your work with the title and your name and address and phone number on the first page. When an agent chooses to represent you, she will have you replace your address with her own. Most manuscripts, JD, are not as long as the one you describe. Is there anything you can cut before you start submitting it?
What is the best way to go about being a publisher or agent's reader? What is the average pay?
The best way is to learn what publishers publish and what agent's represent and send your resume around with some samples of your work and a terrific cover letter describing your qualifications. See the Literary Market Place or Jeff Herman's Writer's Guide to Book Publishers, Editors, and Literary Agents . Regarding the fees, that will depend on your experience and skill. See the Writer's Union publication that deals with fees. I believe I mentioned the book's name in an earlier column.
I have an idea for a non-fiction book and am currently preparing a proposal and two sample chapters. In seeking an agent to represent me, I am wondering if it is appropriate to send the book proposal, outline, and sample chapters along with the query letter for a non-fiction work. Or is it better just to describe the idea in a paragraph or two and offer to send more if the agent is interested. I very much appreciate your guidance in this matter. Thank-you for your kind assistance.
Dear SauronIV, Hey, don't be so formal. Call me Sheree, ok? But I am going to answer for me alone, since all agents react differently to submissions. It is always safe to send just a query and a s.a.s.e. to any number of agents. If you wish to send more than a short query, you are welcome to send me anything short of a whole manuscript (i.e. the proposal, outline and sample chapters) PROVIDED you include a s.a.s.e. and you tell me I am the only agent considering it and that it has not been directly to publishers. I will always give you a response as soon as possible within three weeks (occasionally four). I hope to hear from you.
I just discovered AOL's Writer Bulletin Boards and your column is most helpful for both new and established writers. Thanks.
I wonder if you would care to give me your opinion on the following problem. I am represented by an excellent agent who sold my book proposal to [Publisher] very quickly. During my query for agents phase, she was prompt, professional and had a good reputation for solid non-fiction sales. I have been quite happy with her and I actually turned down two other agents to work with her.
Now that she has sold the book, [Publisher] has told her that it will be 4-6 weeks until the contract will be prepared and perhaps ten weeks for the first half of the advance. In order to finish the book by [Publisher's] deadline, I must take a leave of absence from my law practice to finish the book. I am concerned that I am making this commitment without any contract other than my agent's assurances that the deal is in place. I have let my agent know these concerns, and she is understanding but tells me that the deal is 99.9% sure and that I must be patient with publishers.
Is it unusual for a large house to take so long ? Is my agent sugarcoating something I should know about ? I'd appreciate your view at your convenience. Thanks again.
What your agent describes, I'm sorry to say, sounds typical. I don't want to be responsible, but if I were you, I would certainly believe her and be happy that I had found a good agent. [Publisher] can be impossible–but they're not so different from other publishers. It is always advisable, however, not to work too hard until you have the contracts signed. If that will make the deadline impossible, now might be a good time to speak up so that the deadline may be extended as long as the contract is delayed. Ask your agent about this option. Good luck.
I saw you speak at this year's ASJA and remembered you had a column here, I hope you can help.
How would I go about doing this? Could I submit my book to a publisher without the art and tell them that if they want the book, I'll resubmit it with art? Or do I need the illustrations first? And when I hire, can I just pay the person for the work or do I have to cut them in on the book's profits? (Yes, I know, I'm perpetually optimistic). If I have them do the work on spec, and promise them a piece of the profits, what's a fair percentage? Since I had the idea, did the writing and will be taking care of the business end, it seems like 50/50 would be a bit high a split…is 30% fair?
There are conflicting answers to almost every one of your questions. The possible deals are as diverse as pawprints. Sometimes the publisher supplies the art and pays for it. Sometimes the publisher supplies the art and the author pays for it. Sometimes the author supplies the art and the publisher pays for it. Sometimes the author supplies the art and the author pays for it. The amount that is paid varies from author to author, publisher to publisher, and illustrator to illustrator. Sometimes the deals are flat fees and sometimes the illustrator gets a percentage of the royalties. Whatever all parties agree is fair is fair. Sorry I can't help more!
Enjoying your column immensely, and who knows – I may be one who contacts you sometime in the next six months. After eighteen years' writing experience, I'm seeing for the first time (thanks to the info you are providing in The Writer's Club forum) that an agent could free me up to do what I most love doing – WRITING!
Thanks for the encouragement, as well as practical, forthright information. You are appreciated!
I checked at our local Waldensbook store, but they did not have a copy. Their records show that the new one should be out soon. Can you tell me when it will hit the shelves? Do you know what the new title will be?
Thanks, and continued success to you.
Many thanks to you. I hope by now you have found the new edition. It is called the Writer's Guide to Book Publishers, Editors and Literary Agents . I do hope to hear from you again when you're ready to query me.
I've had three novels published, and now I want to market a nonfiction book. However, my agent refuses to handle nonfiction and is concentrating on genre fiction.
I would like to send this ms. out myself, but I'm not quite sure how to handle this.
2. I'd like to send this out as a multiple submission. If I refer to my agent in the cover letter, how do I let him know about the multiple submission?
3. Should I just try to get a new agent who handles both fiction and NF?
I can only tell you what I would do were I the agent in question. First, I think you should pose each of these reasonable questions to your own agent. What I would do is tell my author that I don't wish to represent a particular books of his or hers and I recommend another agent to query. I always wish that the author will come back to me with the next book after this, but they are under no obligation. Remember, multiple queries are o.k., but I don't recommend multiple submissions of manuscripts. Let me know what happens.
How much "pull" does an agent have when it comes to getting a contract? What I mean is this: Does the "well known" agent's clients have a better chance at getting published or is the merit and marketability of the ms the only consideration?
Provided you have a reputable agent, one who has or works for an active agency, who is willing to spend the time necessary to market your books to the appropriate editors at the appropriate publishing houses, the question of being "well known" should not be a factor at all. In fact, sometimes an unknown or first-time author will get lost at an agency that spends most of its time nurturing celebrities and proven best-selling authors.
What do you do for a published client after the sale, or several sales? How do you help your authors achieve greater goals? Do you have some kind of career planning system?
Dear Sue, It is the agent's job to remain the author's advocate for the life of the book, and sometimes beyond. Whereas after the sale is made to a publishing house, it is typical for an author to be in touch with the publishing company directly about editorial and publicity matters, the agent stands ready to troubleshoot on the author's behalf–hopefully before a potential problem becomes a real problem. The agent also receives and carefully verifies all payments and royalty statements and relays them promptly to authors. Sometimes the editors contact the agent regarding changes at the company or news pertaining to the authors' books and it is the agent's job to report relevant news to the authors in a timely manner.
A question for you: How hard is it for an unknown writer – one doing a first non-fiction book – to secure an advance that would allow one a little breathing room to take time off from work and complete the job? The book requires time-consuming reporting, and I was unsure how common advances – even small ones – are for unknown writers.
What a person can live on varies so much from person to person and the size of a book advance against royalties can vary from a few thousand to a few million dollars–depending on what the market will bear; nevertheless, most agents will only represent books that are likely to command advances that will make their small percentage worthwhile. That's why agents usually maintain their closest contacts with large publishing houses that can afford to pay larger advances. It is typical to receive half of the advance upon signing a contract based on a non-fiction proposal and the remainder upon delivery and acceptance of the final manuscript. Whether you are writing for a large or small press or a university press, you should expect at least some advance against royalties. It does occasionally happen that a reputable house, like McFarland, will pay you no advance.
You're most welcome! To find agents and publishers who deal with sports books, look in Jeff Herman's Writer's Guide to Book Publishers, Editors and Literary Agents . See also the Literary Market Place . Another place to look is on the sports shelf at your local bookstore and library. As usual, I urge you to seek an agent before you query publishers. May your wealth increase exponentially.
I just read your column for the first time. It's a great column. I (of course) had my doubts going in–fully expected to be browbeaten into BUYING something, if not bamboozled outright (cynical that I am).
So, here is a sincere thank you, although I know beforehand that it may sound like a left-handed compliment: Thanks for being on the up and up, thanks for being honest, thanks for helping me.
Wow! Keep those letters coming!
· A lot of the publishing guidelines for literary magazines use terms such as "first-time rights" and "one-time rights." It would seem that before I do any serious submitting, I should be aware of the meanings of these terms so that I do not run into any trouble elsewhere. Would you please explain them to me? · I have read that to gain a professional look, one should have cover letters with their manuscripts. But I have not learned how to make a cover letter, or even what one is. What does a cover letter need? · I also read in your section on America Online of certain guidelines for submitting manuscripts to publishing houses. The writer listed a variety of requirements, such as margins. How strict are these requirements? Do publishers want manuscripts very plain and uniform? I ask because one of the stories I have written, which is "published" online, has a lot of special formatting on it, such as embedded pictures, music, special fonts, colors, etc. Due to certain circumstances, I do not plan on attempting to publish this in a real book. But I also have other stories that use more simple formatting, such as colorful titles, different fonts for chapter headings. Should I make my manuscripts very plain when submitting them? · Say I won a writing contest, one which did not publish the winning piece; would it be appropriate to use that writing in other areas, such as for publication or other writing contests? · What is the most appropriate way to request an author's representation? When I am ready, I plan to start with you, if that is okay.
If you would like to visit my online story, it is at [web address deleted]. While this is not my best writing, it may be of interest to you. Thank you so much for your time and assistance!
Your questions are brilliant and you have "professional writer" stamped all over you. I will be honored to have you query me when you are ready, although I hope you will understand that first-time novelists rarely get their first novel sold. Usually it takes a few efforts to truly get the hang of it. But despite rejections, writers just keep on writing, and eventually, most good and persistent writers do get published.
One of the answers is already in a prior ASK THE AGENT column, regarding margins. Double spaced, one inch all around is typical, although guidelines are just not that strict.. First North American serial rights is the most typical way an article gets licensed to magazines (you do not sell your rights but rather license them). The magazine buys the right to publish your article in North America first before any other publication. You maintain the copyright and can sell it again if anyone wants to buy it.
Most of your other questions require long answers. There are several excellent books in libraries and at bookstores regarding how to write query letters to magazines and explaining the magazine publishing business thoroughly. I recommend you read them before submitting your work widely.
Yes, you should make your pieces plain before submitting them. Publishers like to handle design decisions, although where art is required, authors are usually required to supply it.
I urge you to visit my website, but I am sorry to say that I do not have the time to visit yours. Whenever you have something to submit, please send it via snail mail with a s.a.s.e. to my office at: Sheree Bykofsky Associates, Inc., 16 W. 36th Street, New York, NY 10018 and assure me that you have not queried publishers directly. I will usually respond very quickly and rarely take more than three weeks.
Thanks so much for writing! Keep it up!
What should a person include in a bio when looking for an agent?
Include the credentials that make you an expert in the subject you are writing and state what you have published, if anything. Don't forget to mention if you have won any awards or received special honors. Say what you do for a living and anything else you feel is important or impressive.
What a generous soul you are for providing this forum. I am a real newcomer to the writer/agent relationship. I have an agent in NY who read my non-fiction proposal and sample chapter the day she received it. She returned it to me with a few comments. I incorporated the changes, wrote an additional chapter and mailed it off to her in mid-November. She sent it to an editor at a major publisher in the middle of February as an exclusive first look. She requested the editor to get back to her by 2/27. It's 3/20 and presumably she is still waiting to hear. I think she wanted to garner some feedback from the editor assuming he was not interested in buying the book. That makes perfect sense to me–that way we could make an necessary changes before submitting it to other publishers. My question is this: how long should I be willing to wait? I hate how that even sounds; I am grateful, you must know, that I have an agent to begin with. Another agent wanted to work with me, but I selected the one I have now really because I admired her experience and hard work. I hope I've given you enough information. I will look for your response. Thank you very much.
Dear LGL, Wow, that's a little tough. I think it sounds like a good time to call your agent and express what you expressed to me, i.e. how happy you are to have such a good agent (couldn't hurt to remind her that you selected her over another agent in case she wants to get out of it now; perhaps she got busier than she had anticipated or something). And ask her how long she advises you to hold on to the exclusive with the one publisher. She may have some interest from the publisher who begged her for more time (it happens!). On the other hand if the publisher is just not responding, then it's time to tell that publisher something like, "take your time, but I want to show this to other editors" and make it simultaneous. I always show my authors the written rejections and you should request these (hope you don't get any, though!) Best of luck. I hope I helped.
Hi! Thanks for all you do, it's appreciated out here! My question: I'm an unpublished novelist. Among many, many others, I have queried [Agency name deleted]. Her first response from the query was to request a 50 dollar reading fee. I did not respond. Several months later, she requested the manuscript again, saying that her new association with "The [name deleted] Publishing Group" no longer made it necessary to ask for a reading fee. I mailed the manuscript. She sent back a one-page contract, and a glowing cover letter. In it, she requests 190 dollars to cover the cost of photocopying five sets of the 380 page manuscript– ten cents per page. The contract is for one year, and includes all projects I write during that period. Am I being scammed, or should I be popping the Champagne? The contract does stipulate that she is to be reimbursed for out-of-pocket expenses from the proceeds of a publishing deal. I'm ready to pay up front but the price seems a little steep, and I wonder if there won't be future requests for money. She says she only sends out pristine manuscripts on top-quality paper. What am I to do? Thanks in advance.
Dear Chadwrite, You are correct to be careful, especially when you have to shell out money in advance for books as yet unread by the agent. I don't know anything about the agency you named. I ask my authors to photocopy their manuscripts themselves. I also ask to be reimbursed for mailing and messengering costs (up to $150 for the lifetime of the book–I believe in a cap for that sort of thing but not all good agents do), and this I take out of the publishing proceeds too. I would feel most comfortable with an agent who is a member of the A.A.R. Perhaps you can query some publishers about her. And why don't you see who else she's represented and ask to talk to them. I always suggest to my prospective authors that they contact some of my clients.
I have a children's book that has been rejected, a number of times, but always with an encouraging letter. I decided to seek out an agent and he thinks it has potential and referred me to a book doctor. I need to know if this is a standard practice or if maybe the agent and book doctor have some kind of agreement. This will not guarantee the agent will handle the book and I could be out $500 + dollars.
Thanks for your reply re. my two-book lit fiction "series." It was helpful.
My thinking re [agency name deleted] was that I would send the book back to the agent interested, but that I would query other agents while I was waiting for her reply, so that I would be ready to send out the ms. to others in the event [the agency] turns it down. Thus far I have only sent it to one at a time, and it took half the year to get four responses. As I am a writer by profession, this certainly nips the old income in the bud. I will certainly be honest if I multiply submit, and will respect any agent who asks for an exclusive.
I have another question for you. I am a screenwriter and have an agent in Hollywood who is interested in finding me a book agent in NY provided she gets to help set up "the film." I have been hesitant because I wanted to keep my new career as a novelist separate, and I wanted to test the waters myself and thereby learn about the book world. If the…agent (my own contact) doesn't work out, and I let my Hollywood agent help me get a book agent, do you think she should refrain from sending out my ms. to producers until the book has been submitted to publishers?
That is very hard. It helps and hurts. A bestseller is more likely to get picked up and for lots of money. On the other hand, if there is movie interest, that might entice some publishers. On the third hand, some publishers are unimpressed with options, stating that the films rarely get made. My own choice, I think, would be to wait on Hollywood until there is at least a book deal brewing. Hope that helps.
copyright (c) Sheree Bykofsky Associates, Inc.


On August 22, the Missoula, Montana City Council voted 9-1 to place a measure on the city's November 2011 ballot challenging the U.S. Supreme Court's Citizens United ruling that allows corporations to spend unlimited funds to influence elections. The resolution urges state and federal lawmakers to amend the Constitution to "clearly state that corporations are not human beings and do not have the same rights as citizens."
What's at stake for small businesses? The flood of corporate money into elections since Citizens United threatens to drown out small business voices on important issues. Overturning Citizens United would help level the playing field for small businesses.
Read more about the Missoula City Council resolution in this article in the Missoulian.


Applications Administrator Manager | The Bancorp, Inc.
Manage the day-to-day maintenance of the business-critical applications in operation, including tasks related to identifying and troubleshooting application issues and resolution or escalation. Lead applications administrators ensuring the stability, integrity, and efficient operation of components and related technologies in support of core organizational functions. Serve as subject matter expert for assigned business critical applications.
Lead the assigned applications administrators providing guidance and training as needed. Mentor staff. Ensure priorities are defined and solutions are delivered on time and with the utmost quality.
Oversee the design and implementation of solutions by creating new system workflows, procedures and incident reports. Recommend system and process changes to improve efficiencies and integrity.
Plan and coordinate application upgrades, maintenance and patches. Communicate timelines to users including system outages, etc. Work with users and less experienced applications administrators to describe new and/or evolving functionality as needed.
Act as a point of contact to troubleshoot application issues, work with clients to determine the scope of the problem and collect all relevant details to identify potential solutions. Make recommendations for work-arounds and/or elevate issues beyond scope of authority.
Gather business requirements from end users, prepare design specifications, test and deploy new and/or modified functions in an Agile/waterfall environment. May attend daily and/or weekly meetings to review specifications and work through process and/or functional issues as they arise.
Perform data analysis, prepare reports and if needed profile and tune the system. May require performing some development work as needed.
Develop, modify and run the daily application processes in accordance with best practices.
Lead high priority ticket resolution and conduct root cause analysis. Work with business users to define requirements for on time and accurate solutions.
Build and manage relationships with leadership teams and provide regular updates regarding planned and unplanned system outage and high priority incidents.
An undergraduate degree in a related field or an equivalent combination of training and experience.
Industry standard certification a plus.
Excellent verbal, written, and interpersonal communication and time management skills.
Ability to communicate clearly and confidently, to different audiences simultaneously, such as business, technical, operations, senior management, etc.
Ability to prioritize, organize work and work on multiple projects/applications simultaneously.
Ability to work in a flexible schedule providing off-hours support. Employee will be scheduled for rotating on-call off-hours support.
Be part of an exceptional team focused on excellence, collaboration and high achievement.
Thrive with a company that supports work-life balance and personal fulfillment.
Join us in living a culture of compliance to ensure that every corner of our organization understands and fulfills its legal and regulatory obligations.
Contribute to a diverse and inclusive workplace with your unique talents and perspective.


Instead of using expansion joints at each of the bridge piers, the design detail consists of using additional reinforcing bars added to the longitudinal reinforcement of the bridge deck at these locations with a construction joint for crack control.
Use of Longitudinal Expansion Joints in Wide-Bridge Applications to Reduce Deck Cracking. It is a very common practice to use longitudinal expansion joints to create dual-direction bridges in applications that would have otherwise resulted in bridges that are very wide.
use construction procedures that eliminate the joints from the bridge deck. The two most ... Longitudinal movements are accommodated by diaphragm movement ... Expansion Joint Specialist and the Bridge Design Engineer for recommendations and approval.
performance of bridge deck expansion joints. The purpose of the research is to evaluate several types of joints currently in use and also provides the evaluation criteria for rating the joint condition.
The bridge expansion joint range of products cater for movements of 12mm-1600mm and include Britflex BEJ which is the most popular joint used on the UK's motorway and trunk road network with over one hundred thousand linear metres currently in use.
Abstract. The primary objective of this project was to determine the effect of bridge width on deck cracking in bridges. Other parameters, such as bridge skew, girder spacing and type, abutment type, pier type, and number of bridge spans, were also studied.
The Bridge Joint Association members are the leading specialist UK manufacturers and installers of bridge expansion joints whose principal aim is to raise standards within the industry. The effectiveness of bridge expansion joints is very significant in the life expectancy of bridges.
The reason that longitudinal expansion joints are used in wide bridges is related to concerns about deck cracking resulting from constrained expansion and contraction.
404-2H Modular Expansion Joint 404-2 I Modular Expansion Joint (Field Splice) ... This chapter addresses the design of typical bridge decks using approximate methods of analysis ... line if not coincident with profile grade, and longitudinal construction joints. 3.
Principle. mageba TENSA-MODULAR multiple-gap expansion joints can accommodate movements in every direction and rotations about every axis. They can be used for longitudinal movements of as little as 160 mm, or for very large movements of well over 2,000 mm.
joints parallel to the grooves. Grooves shall be terminated no more than 6 inches from any device imbedded in the deck, such as metal inserts, access plates, expansion joints, etc.
Unfortunately, the introduced longitudinal expansion joint can result in deterioration similar to that resulting from using transverse joints at bridge abutments and piers. The reason that longitudinal expansion joints are used in wide bridges is related to concerns about deck cracking resulting from constrained expansion and contraction.
• All bridge deck expansion joints must be designed. ... being used for replacement of longitudinal bridge compression seals and concrete pavement seals. All existing longitudinal compression seals replaced between bridge decks shall use Item 560.131.
The bridge designer should specify the expansion joints in a similar manner to bearings, giving details of characteristic and design values of displacements to the joint designer. Annex B of BS EN 1993-2  contains guidance for the preparation of a technical specification for expansion joints.


While casting about looking for resources to get Numpy working (more about that later), I found a cool blog. The author knows what he's talking about AND has a very down to earth tone; a very rare combination.
I had Python and Numpy working for the most part, but the "easy_install" command was still a mystery. I kept seeing installation instructions various packages that said "just use easy_install". I'm thinking "Thanks jerks. Where and how do I use this 'easy_install'"?? The very name "easy_install" seemed to mock me at every encounter.
As it turns out, you use it from the command window (the DOS prompt on Windows or Terminal on Mac). Not in the Python shell. Also, you just type "easy_install [package name]", and the command find the URL for you (apparently located somewhere in Python heaven).


Get your Lexus the quality automotive maintenance it deserves with a trip to the Lexus of Saint John Service Department. We are proud to be a Lexus factory certified facility specializing in service, repair and parts. Our award-winning team of master service technicians work on all vehicle makes and models, even if you didn't purchase yours from us. We invite you to use our convenient from here to make an appointment fast.
By submitting this form you will be scheduling a service appointment at no obligation and will be contacted within 48 hours by a Lexus of Saint John service technician.


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Home Mitsubishi Electric and APT Automation Present Latest Technology at interpack
Ful-filling Needs of the Consumer & Manufacturer
Innovation at the End of the Line
Mitsubishi Electric and APT Automation Present Latest Technology at interpack
Visitors to the interpack show in Düsseldorf, Germany can experience the latest advances in Mitsubishi Electric's Smart Carriage technology which have been developed in cooperation with e F@ctory Alliance partner APT Automation.
The newly modified prototype features high-speed performance, on-board intelligence, real-time synchronisation with other processes, assured safety and the ability to switch between vertical as well as horizontal tracks.
The Smart Carriage addresses industry challenges such as greater production line flexibility, improved productivity and increased overall equipment effectiveness. It offers significant benefits in a range of industry sectors, but perhaps most significantly in both secondary and end-of-line packaging applications within the Food and Beverage as well as Life Science industries. Possible applications include magic belt product grouping, side loaders, wrap-around cartoners, shrink wrappers, as well as transport packing applications in conjunction with carton assemblers, robot top loaders, carton closers and palletising robots.
Data and intelligence are on-boardBy offering on-board intelligence and data memory, as well as integrated power for on-carriage devices such as sensors, the Smart Carriage can store product information and production data. It can then communicate information from one station to the next which also allows the carriage to detect different products and then decide on optimum routes and destinations. This is supported by a high maximum speed of 4m/sec, plus, acceleration / deceleration of 3g and a positioning accuracy of ±0.01mm. With this solution, packaging conveyors are entering a new era of speed and accuracy. Together, these features considerably increase the efficiency and flexibility of the packaging process.While equipment on a carriage can employ Wi-Fi, for example for data readouts, the linear transfer system provides a physical wired connection to the Smart Carriage. This delivers real-time capability, for example providing synchronisation between the carriages and a robot. Further, with an integrated safety scanner, the linear transfer system can operate in an unguarded environment, optimising both production line flexibility and plant floor utilisation without compromising safety.
A Smart Carriage can also switch between parallel packaging tracks on the linear transfer system, depending on event sequences. For even greater flexibility, the Smart Carriages on the linear transfer system now support 3D Multi-layer motion, with carriages able to switch between both horizontal and vertical tracks on production lines. This means that different product related processes can be matched to the product, and at a later date merged again intelligently on the rails. The result is significantly higher plant utilisation, greatly increased flexibility and decreased redundancy. Additional features of the system include a very small minimum distance of less than 1mm between Smart Carriages on a single track, thus driving further gains in productivity.
All of these capabilities are highlighted in a working demonstration on the Mitsubishi Electric stand showing a high-speed, real-time application with on-board intelligence. Visitors can discuss with experts from Mitsubishi Electric how the Linear Transfer System with Smart Carriage technology could bring benefits to their individual packaging line applications.
interpack 2017, Düsseldorf, 04th-10th May 2017, Hall 6, Stand C64
Food interpack Automation & Software Beverages

redpajama_set_name: RedPajamaCommonCrawl


Acoustic Guitar Pickups offer a way for you to convert the soundwaves coming from your acoustic guitar into an electrical signal.
All 3 pickup types can be used either alone or in conjunction with you acoustic guitar.
They are Microphones, Magnetic Pickups, and Piezoelectric Pickups.
Below you will find a brief overview of how each one works as well as a description of each types strengths and weaknesses.
Remember that even though the are described independently, you are free to use one, two, or even all three together to produce the type of sound you are looking for.
Also I focus only on the acoustic application here. For more info on their hard-rockin neighbors check this out instead.
Microphones provide a very accurate conversion of your sound into an electrical signal.
This is because they "hear" sounds the same way our own ears do.
Though they are different than the mics used for vocal recording in both style and scale, they are exactly the same in terms of how they work.
This type of acoustic guitar pickup is slightly different from the others.
For a more in-depth description check out the Microphone page.
Since setting up a microphone can be a bit tricky in our home based studio, another option is to have a mic internally mounted to the sound hole of the guitar.
This eliminates the problem of keeping the instrument in the mic's sweet spot for the entirety of the recording take.
Due to the smaller size of these mics it's likely that a condenser will be best option.
+ very accurate sound reproduction especially at high frequencies.
Magnetic Pickups (also called sound hole pickups) are the standard for electric guitar pickups, but they can also be used effectively as acoustic guitar pickups.
These pickups are simply magnets that can detect a change in their magnetic fields when a steel string is put into motion.
They do not "listen" to the sound of the guitar but rather "sense" the motion of the strings themselves.
As a result they are very resistant to feedback issues.
The drawback with detecting sound in this way is that it is very unlike how our ears work, so the resulting signal tends to be altered from how the guitar truly sounds unplugged.
Due to the similarities in technology, these tend to produce a more "electricky" kind of sound... which I know isn't a word but it's the best way to describe it.
+ easy to install / remove.
- tend to have a harsher more electric tone.
These are probably my favorite simply because I am amazed at how the technology works at all.
Piezoelectric pickups (also referred to as contact pickups) use a stripe of material that generates a very small voltage when a force is applied.
This material is a crystal that lays underneath your saddle as shown in the picture.
So basically if the mics "hear" the sound, and the magnetic pickups "sense" it... we can say that these "feel" the sound.
More accurately, they feel the vibrations of the strings through saddle of the guitar and transform it into an electrical signal that can go to be amplified.
+ recreates sound from entire guitar body rather than just the strings.
+ more resistant to feedback than microphone.
+ can be used with nylon strings (classical guitar).
- could require permanent alterations to guitar (under-saddle).
So now that you have the facts let's get down to what's really important.
As I said earlier, you can use all of these stand-alone or in conjunction to produce just the right sound for you.
Take the strengths and weaknesses into consideration as no type of acoustic guitar pickups are right for everybody.
That being said it's hard to argue with the simplest solution, and in this case it's the magnetic pickup option.
It gives you the freedom to move around while you record, immunity to feedback issues, and the convenience of being able to install and remove it easily as required.
If you're concerned about not having a true-acoustic tone then you can always double book your vocal mic (for which I recommend a Condenser anyway) to provide that capability.
It's not the gospel of truth, but if you're looking for a suggestion to get started that would be it.


I gave the Naked running band a test drive and was pleasantly surprised that it lived up to the hype.
It was a bit disconcerting that the pockets don't have fasteners, but the elasticity and design meant that nothing was going to escape whilst out on the run. I used the collapsible accompanying water bottle, and again just as it promised on the marketing hype, found no sploshing or movement in the belt. Just be sure to thread the lid on correctly, which is a challenge on a squishy bottle and meant I had an unexpected shower when I first used it!
I'd definitely recommend using it for any long training runs, and with more races becoming eco-friendly and mandatory gear lists enforcing the use of reusable BYO drink vessels, this is a great option.
It easily held my iPhone 6 which again didn't bump around and there was capacity to include a lot more than I needed it for. My view is that for much longer events where mandatory gear lists start to grow (say 50k and longer), a small running backpack is probably still your best option to avoid looking like you are literally carrying a spare tyre around your middle.
My one piece of crucial advice is to pack all your bits and pieces AFTER your last toilet trip. However, if you do need to go and don't want anything to tip out, I discovered hiking it up around your midsection was easier than stepping out and back in again!
Give the Naked Running Band a test drive yourself!


Don't forget to visit the Dunes Cafe and Bar during July for one of our up coming events or for a delicious meal. The Dunes Cafe and Bar is a great place for the whole family so pop down this school holidays and treat the kids. Click here for more information.


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FIFA Interactive World Cup 2013
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FIWC 2013
McInally: Never give up
(FIFA.com) 28 May 2013
To football fans, Alan McInally is best known for his exploits on the pitch in the 1980s and early 1990s at the likes of Celtic, Aston Villa and Bayern Munich. Virtual football fans however will know the 6 ft 1 inch former striker for providing live commentary at a variety of live events for the FIFA Interactive World Cup 2013, including the three-day Grand Final in Madrid. FIFA.com sat down for an interview with the voice of the Grand Final.
"I loved the atmosphere, there's good camaraderie between the players, and it's really good fun," McInally says of his Madrid experience. "I can't play football anymore but this is a really good replacement for me."
The Scotsman provided some exciting commentary throughout the three-day Grand Final alongside co-commentator Paul Chaloner. "I love football, I love the game, it's difficult for me to go to a football match and sit and not say something. People that have watched me on television have said "You can't really be that excited?" but I genuinely am. Trust me, I'm no actor!"
"I suppose I get excited at both really," McInally says when asked about the differences between commentating on real and virtual football matches. "Doing something like the FIFA Interactive World Cup, you have to put yourself into a situation where you think the game is real, because that's how the players see it."
It's not uncommon for a virtual footballer to remember every movement, every pass and every shot taken during a competitive match and yet have no recollection of anything else that took place around them. There are always exceptions to every rule however, as Alan found out first hand in Madrid. "I had one really nice comment from the American kid," the Scotsman says. "He said that he could hear me commentating and that it really motivated him and gave him an extra boost to try and keep in the game."
Doing something like the FIFA Interactive World Cup, you have to put yourself into a situation where you think the game is real, because that's how the players see it.
The game Alan is referring to was one of the biggest group stage surprises. First-time finalist Juan Ambriz was playing eventual champion Bruce Grannec. The match was streamed live from the rooftop of the Hotel ME Reina Victoria. "When I saw that we were going to play on the main stage that made it worse, I was shaking, I was nervous. It made me play like never before," Juan told FIFA.com. "During the game I was listening to Alan's commentary. That pumped me up. It was building up my confidence a lot." Juan ended up winning the game 1-0, a result that only a legendary few have ever managed to pull off at the FIWC against the French player dubbed The Machine.
"It's quite humbling when somebody says something like that to you." Alan says of the Californian's compliment. "And I didn't say it because I wanted Grannec to get beat. I just said: "keep with it, your still in the game, you're not out the game, there's no need to give up". You should never give up. Never give up at anything. That was my attitude when I played football and I think it should be the same for this."
Admittedly the Scotsman is more proficient in virtual football from the commentary box than from the player's seat, with his highest level of virtual competition so far being FIFA 13 matches played at his neighbour's house. "We played at the wrong time, because the technical aspect of the games wasn't really there," Alan says, looking back on playing video games during his professional football days. "I can mostly remember playing cards with my teammates and maybe going out with them on a Friday night."
Asked if playing virtual football can make a footballer a better player, Alan believes the benefits are tangible: "Now, you immerse yourself even more in the game and you can develop a better tactical awareness within the game. I'm sure that players have sat in team meetings and their manager has complimented them on something they have done that they picked up the day before by playing FIFA on the console."
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