What do Agents Really Want?
I've always maintained that agents and editors, behind the reputation, maybe human after all. Eve White, (formerly Hollyoak's Sue Morgan) runs a small literary agency in Berkshire. I found her to be highly accessible, and extremely pleasant. So much so, after answering all of my questions, she agreed to answer 20 questions from Authonomy members. A quick aside. I so want this woman to be my agent! She promised me the answers to the questions within a week. The answers were returned within 2hrs.
Questions and Answers with Eve White
Do you actually look at submissions? I know that seems offensive at first and it isn't meant to be, but even from agents who have requested samples I do at times get a returned rejection where it seems clear that the package hasn't even been glanced at. (Lord Dunno)
I have four reader/editors who work for me reading postal and emailed submissions. They read enough to make a decision. I was doing some of the emailed submissions myself recently as we had an overload. One, I remember, I rejected after the second sentence as it was ten lines long and I simply couldn’t understand it. I double-checked with a colleague who was also confused, so we rejected.
If you're a first time author are your chances of getting published way higher if you work in commercial fiction as opposed to any other genre? (AlexandraD)
You should write what you are inspired to write. If you write for the market, you won’t get it right. Write in an area that you feel passionate about, otherwise you won’t get the work published.
Do you search for books that fit the known interests of editors, and for popular genres, or respond to books that appeal to you personally? (Larry Harrison)
Both. But I will only take on a book that I feel very strongly about myself.
Do you prefer an author to have more than one book? If so, do you prefer them to be in the same genre? (Katrina Twitchett)
If you’ve really got your first up to scratch and then started your second, that is probably best; publishers will be keen to hear about the possibility of further work in the same genre.
How much editorial work are you prepared to put in for a great idea/script? In other words, if a writer has talent for story and character, are on the zeitgeist, and has a really fresh voice will you prepared to take them on even if the script itself needs spit and polish? (Sandrine)
Mostly, I won’t take something on that isn’t really polished. However, I have taken on books and worked for up to a year on them, but only when I think I’ve spotted something unique and very special. Frankly, it isn’t worth sending something to an agent if you think it might need work. We get 300+ submissions every month. You risk having the work turned down outright and that means we won’t look at it again.
How do you feel about taking a first book as part of a trilogy? Is that off-putting, even if trilogies/quartets are common in the genre? (Lallie)
I would certainly take the first in a trilogy but the book must stand alone.
Would you consider a novel written by a non-native English speaker? And how much do [story] locations matter, would you consider a book which is not set in the UK? (Heikke)
I would consider books not set in the UK. However, I am not looking at books by US authors at present. There is a huge network of agents and publishers in America and if I were a US author, I’d go to them first. If an author has tried all the US agents and been rejected, I’m pretty unlikely to take the work myself. If a UK author sets a book in the USA, we’d read the submission.
Which do you consider most important of these three qualities - technical prowess (structuring a story, developing characters), being on trend, or a fresh voice? (Sandrine)
A fresh voice. Style is most important. One can learn structure and plot, but not style.
We are always hearing that agents look for a fresh voice, but we never really hear what that means. Could you tell us what that means to you, maybe give us an example from recent years (one that's slightly more mainstream maybe than the oft-cited DBC Pierre)? (Sandrine)
Look at The Mr Gum series by Andy Stanton, My Fat, Mad Teenage Diary by Rae Earl. These authors have the gift of a great voice and wonderful comedy.
Do you or any other Agent of your experience ever look at sites like Authonomy and approach writers direct? If so, have you found anything of interest. (Sue1960 / NickP)
I have suggested to my adult readers that they look at Authonomy. We haven’t found anything yet…
How many books have you placed in the last 12 months? And is this typical of the current marketplace? (Olga)
I’ve placed thirty-five books in the last twelve months. I can’t imagine placing more than that as a solo agent – the admin would be impossible.
What is hot right now? (Olga)
Paranormal romance is very hot, but by the time you try to jump on that band-wagon, there will be a new area that’s hot. Again, don’t write for the market.
When do you decide that the submission shows promise or not? E.g. First 3 pages, first paragraph, first sentence? (Olga)
Yes, a mix of those three is the answer. It’s usually quite early. Sometimes, if the synopsis or covering letter shows that an idea is exciting, we might read quite a lot of the book to see whether the writing delivers on that promise. By the way, a covering letter does not need to do a ‘hard sell’ on your book; the writing will speak for itself. If you read the blurb on a book cover, it never tells you ‘this is really good writing, you will want to read this book over and over.’ It gives you two or three sentences to entice you to turn to the front and start reading. I’ve actually had authors tell me ‘this book is going to make you rich’ – a complete turn-off!
What are the ingredients that make a story marketable? (I know this is fairly general as it depends on the genre). (Olga)
If I get to the end of a manuscript and I want to tell my best friend, my son or my sister to read it, I feel that this is going to be a marketable story. If it’s something that I couldn’t put down then I think it will probably have the same effect on others.
Who do you see as your client - the publisher or the author? (And, who do you feel you need to please most?) (Jo Carrol)
The author is my client – they pay me. Publishers are not clients but, of course, I can’t upset any publishers or I would be doing my other clients a disservice. Ultimately my closest relationship is with the author.
How do you approach planning a long-term career for your writers? (Richie_D)
This is a huge question and one that, unless I neglect some pressing work for those clients, I will not have time to answer fully. Basically,you encourage further books in areas in which they have seen success. You talk about ideas with them. You keep good communication going with their publisher/s and you make good relationships with other publishers, here and around the world, so that you can sell foreign rights for them and, should they need to change publisher at any time, you can find a good home for their work. You also discuss with the client how they will balance work with the ‘day job’ and when they might be able to consider giving this up to put more time into writing.
How can new, inexperienced writers spot potential scam artists or disreputable agents? (Richie_D)
Reputable agents don’t normally charge reading fees. Otherwise, I’ve had very little experience in this area.
How would you react to a query letter quoting some comments from writers on Authonomy? I have commented very favourably on some books here and many people have been very enthusiastic about mine. This would not be saying how brilliant your book is, this is the honest opinion of people who have nothing to gain from positive comments and who do not know the writer. (Joanna Stephen-Ward)
The odd quote in a covering letter is fine, but I don’t think they hold much sway unless they come from reviews in national journals and papers. Definitely don’t tell us what friends and family thought of your book. It is better to tell us, very briefly, what the book is about and just let us get on with reading it.
How much evidence of a writer's ability to self-promote to agents look for? (Suici)
None at the stage of first submission. If we like your full manuscript and ask you to come in for an interview, this is something we will discuss. If your book is utterly brilliant, we don’t mind if you are a little mouse.
When considering an author for representation, how much importance do you lend to their previous sales / publications? (Alexandra Marell)
Some. A publisher will want to know sales figures. The commissioning editor will use these figures at an acquisitions meeting and, obviously, good figures will help.
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