POTENTIAL IS NOT A PRODUCT

I've had probably the most complimentary set of rejections one could hope for. I've been called 'Pullmanesque' and that I am '..clearly a writer if immense talent..' but still no agent. Weirdly I don't mind. OK thats a lie - there are times I mind a lot and think the whole industry is populated by idiots... but most of the time it's OK.

The picture books are progressing, going through the growing pains of re-writes (another blog post to come on that!) but they are progressing. The big book isn't going - despite the compliments it is getting, and I am trying to be a grown up and figure out why. I have a couple of theories...

I wrote it as part of a genre, almost an exercise, not because there was a story I wanted to tell. I guess I was second guessing the market - and of course the market moves so quickly it has moved on before I can get there.

It doesn't have the one-line grab concept... these of course do not a book make - but they help readers/agents/publishers know what they are dealing with. A School for Wizards... a Kid brought up by ghosts in a graveyard... The diary of a 14 year old demon... Romeo and Juliet set amongst two tribes of garden gnomes... all of these tell you what you have in your hand.. the rest is in the writing.

So what can I draw from it? Upside - I am generally being seen as a good/very good writer. Well that's got to be part of the battle!

I need to hone the concepts so I can sum them up - and they still sound original... but there is an important proviso here...

I must write stories I want to read - not others. The stories must excite and delight me and me only... at first. This may sound self destructive - but second guessing is a form of people pleasing, and one thing guaranteed about people pleasing is that ultimately people end up not being pleased.

I also wondered why, if I'm such a good writer, I haven't been taken on - but I suppose - and far be it from me to give the 20%ters a break - you can't sell potential... you can only sell a product, a book. Once one, two or three good ones have been written and published successfully then perhaps you can sell reputation... but potential is much much harder.

Thats why I guess agents have to start representing the book and not the writer, and if the writer continues to deliver, then they can represent the writer and his future books...

WHEN AN AGENT BUNGLES....

So... the search for representation goes on. After a couple of polite knock backs - which I took too hard - a couple of very positive reactions followed. Its a bit of a roller coaster taking these things as they come in... somehow you have to keep confident - and find the enthusiasm to move on to the next project.

But then today I found out my old agent had in fact sent out a MSS, without my knowledge, and not only that she had sent out the wrong one, an old one, that I was in the process of re-writing. They even had the new opening chapters - but still sent out the old MSS. It leaves me in a quandary - those publishers who have seen and rejected it now need to be re-approached with a new draft. New agents that I might be talking to also have to be prepared to work with this false start in the marketplace. I am furious. Two and a half years of work on this book could well have been thrown away by this stupid, incompetent and unprofessional screw-up...

I guess all I can do is e-mail the publishers it was sent to and point out the mistake - but I am also asking my old agency to e-mail the publishers too... taking bets... do you reckon they will?

Searching for that Agent

So the letters and samples have all gone out to about 15 agents and the waiting begins.

One thing is already clear to me going down this path. This is not about you as a writer and your all round wonderful potential. It is only about the book you send. Because that is what the agent will have to send to publishers. Saying 'They're a lovely person and will do well down the line' doesn't mean anything. It's all about the book. The most useful rejection will always be the one that tells you why the book itself wasn't sellable. It's not about you!

However, the way an agent handles the submissions/auditioning process is a window to both the way they will treat their clients and the way the industry is likely to view them - and ultimately you need an agent that people in the industry like. Having worked as an actor, and now working as a producer and looking for writing representation I have experienced this from both sides... Don't be afraid to form your own opinion - even when it feels impossible that an agent will ever take you on.

Few things to bear in mind...

Trust me.. if the agent is unreasonable, abrasive, rude, people will (and we have) stopped using their clients - life is too short to have agents being rude or aggressive down the phone.

An agent who doesn't understand the commercial models of the producer/publisher - and therefore WHY certain offers are being made in the way they are - won't last long either. It becomes pointless trying to do reasoned negotiation. Agents who understand the commercial models are in a much better position to prevent being ripped off and losing out.

(We once had Equity sit down with us and try and negotiate a huge TV deal... based on things they had read in 'The Sun.' That's why we don't use Equity contracts. Before you snort and write us off as a dodgy company, we once did a live show without Equity contracts and Equity phoned us telling us they would blacklist the company unless we paid Equity minimum. We gently pointed out that would mean halfing the pay of most of the cast.)

One agent doesn't even give a name to send submissions to - just 'Submissions' - sorry - but to me that is an agency a little too full of their own importance, and too assured in their own arrogance that they are effectively saying 'send your stuff, no-one in particular will look at it because we're just so busy....' Make a name up! At least pretend that you are dealing with human beings here! If you deal with potential clients like that - how do you treat the people you are supposedly seeking work from? Bad sign if you ask me.

Don't play power games. I have heard of agents firing back e-mails saying 'What's the best book title you can think of' and basing a decision on the answer. Tell agents like that to grow up! This isn't about them getting people dancing to their tune - and it isn't a creative writing course for teenagers. It is a commercial agreement. That exercise was simply the agent proving (either to the client or themselves - who knows) that they are the most important person in the equation, they are the ones who get to pass judgement. If that happens to you, and you have the courage to - tell them to bugger off!

That's all the negative stuff i guess!

There are some gems. People with ideas, energy, passion for the business. People who give some supporting answers for why a project doesn't fit, the good points and bad. People who just take a little time.

I have had some lovely rejection letters! From people who have clearly read the work, formed an opinion and taken the time to put one or two things on paper - it doesn't make the rejection easier to get initially, but it does help when you take the time to take on board what is said. I have had phone calls from people offering advice, people thanking me for thinking of them and generally treating the process as a collaboration, a shared experience. Even when that collaboration isn't going any further they have been able to recognise the time and effort that goes in to finishing a book and getting it out there.

These people are probably worth persevering with (not pestering!) and when you have a book which might suit better I would resend. They are usually, also, the people that are well thought of throughout any industry.

It isn't just a question of getting a 'yes' - it has much longer term ramifications - trust your instinct. I was told by one large agency they couldn't place my work and had indeed sent it out to sixteen people - a smaller energetic agency took it on and had it placed within two months...

TRANSPARENCY - RIGHTS

Strikes me there is little point in blogging without anything to say. What might people find useful? What do I find useful? Shared experience. Simple really.

Now, there is always the possibility of pissing off the folk in the industry who pay our wages so discretion is always recommended.. so here's the nub... I will write this blog, honestly, openly, about getting work made or published and written as openly as I can, whilst also respecting where justifiable, other peoples concerns... (Please ask me questions... I will answer.. honestly.. don't be offended!)

SO... rights. I'm, currently involved in a deal negotiation for two picture books with a major, and very good, publisher. Let me be clear. I like them, I like the people I'm talking to and the prospect of being published by them - very very exciting... BUT... They have sent a standard contract through. BEWARE!!!!! Standard means catch all... in other words... we'll give you X (the up front for a book) BUT we'll take (and therefore control) all rights... digital, film, TV, stage, Merchandising etc...

Now... my Mum, Doreen, was amazing because she could always see both sides. Often I realise I have inherited this from her. Blessing and curse - but more often a blessing - Thanks Dof.

The author/illustrator is only selling the book rights. The advance is based on book rights. Wrapping in other rights into that deal is sneaky and should not be agreed...BUT...

If I were a publisher and was risking my money to take a concept, character or format to the market I might like to benefit from other exploitation in more ways than simple uplift. After all, the interest is there because of the audience created by the book.

I think there is a healthy middle ground here that, in this current age of many forms of exploitation, benefits everyone. Give the publishers a kick back on other rights (ie a % of purchase prices etc) and the opportunity to source deals (ie bring film, merch deals to the table) That way everyone benefits from the continued exploitation of a great idea... it isn't rocket science.

Authors, Artists... kick back, ask, hold on... but be reasonable. Publishers... don't ask for it all because that leaves a bad taste. Propose a fair deal. Authors/Artists should accept a fair deal. Then we're all happy.

Most of all lets stop making the lawyers rich. Lets stop wasting time. Propose fair deals straight away. No-one is stupid... save us the time of arguing... I will create a template if people feel it will be useful...

WRITING IN A VACUUM

Barely got this blog going and already thinking that asking for followers feels a little desperate... but that will no doubt come. Excuse any typos here... keyboard on its last legs...

Latest Drama this week is the demise of the children's department at PFD. Seems like it was as much a shock to the agents as it was to their clients. Caroline Michel's e-mail telling everyone was nothing short of a disgrace. Of course, a decision made on a commercial basis as this was means they still want to hold on to whatever potential income they can get - so any ongoing work they would like to carry on with - even to the point of MSS that have just gone out. But without our MSS what is there to encourage a new agent to come on board?

Insecurities are rife and a lot of folk seem to be weighing up the options. I know that this is not the fault of the individual agents concerned but as ever this seems to continually prove my belief that, notwithstanding the fact that there are great agents and management... never rely on anyone else to create and manage your career for you. Without 'shaking the tree' (see last blog) my partnership with Holly Clifton-Brown would never have happened, and had I relied on my agent some very good books would have gone to waste.

Knowing those books are going has also cleared my desk metaphorically, allowing me to move to other ideas.. and therein lies the key surely... if you're a writer, write.

Still weighing up the options for 'The Angel Room' - my 90K word book for 9+... that's what PFD were sending out. Three options... leave with PFD, Find a new Agent... Take it out myself...

TBA.

'Elephant White' by Holly Clifton Brown

...and the trapeze mice dream of flying with real wings....

27.2.2010

My good friend JRNS calls it 'shaking the tree' - taking some positive action in order to force the fruit down instead of waiting and hoping for the best. Recently an example of this has happened in quite a remarkable way.

I've been writing prospective picture books off and on over the years but have never submitted them. I decided to seek out an illustrator who might do a spec sketch to help a pitch to a publisher. I found, via blogspot funnily enough, the wonderful Holly Clifton Brown who has a unique and magical style. To cut a long story short, after sending her my stories, and her contacting her agent, we now have a couple of publishing deals on offer - against two titles 'Claude' and 'Elephant White'... see above...