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Posts tagged ‘author-agent relationship’

First Monday Mentoring Oct – what writing festivals do for you

Money’s tight and living costs keep rising, I get that. Plus writing has never been a profession to make easy money. But recently I hear a lot about how expensive it is to attend writing conferences and festivals, many writers saying they can’t justify the expense.

My response is how can you not justify the expense? Perhaps you have a day job and it’s hard to get the time off. Yet writers whose time is flexible still resent the cost and time to attend these events.

Most professions require continued education. Why should writing be any different? In my long career I’ve had millions of words published in a variety of genres and translations but there’s always more to learn. Attending conferences and festivals lets me monitor changes in publishing, book marketing, indie publishing, and the fast-spinning world of social media. I’m also interested in other writers’ experiences. Not everything you hear at conferences and festivals shows up on social media.

The personal interactions are invaluable. We work alone a lot of the time. Getting out and “peopling” as a colleague puts it, not only renews friendships, but lets us discuss aspects of craft that don’t fit into a Facebook post or tweet.

I was reminded of these benefits at the recent Canberra Writers Festival where my agent, Linda Tate, and I presented a session at the National Library of Australia on how we work together, subtitled “how not to be screwed in 21st century publishing.”

Agent Linda Tate (left) and me with my books at the National Library of Australia before our presentation

Even savvy writers can be screwed in everything from contracts to options, advances and royalties. Before Linda became my agent twenty-plus years ago, I dodged a few bullets myself. And I can tell you, it makes a huge difference having someone else track those bullets, freeing me to focus on the writing.

As an indie, you can screw yourself unintentionally in the many details you must cover on your own account. An example is buying ISBN numbers (International Standard Book Numbers) your book’s ID in the reading world. Buying your ISBN numbers from, say, CreateSpace, can mean they are identified as the publisher instead of you. There’s a comprehensive article on ISBNs at the Self Publishing Advice Centre  http://tinyurl.com/yc92hqdx This is just one of many pitfalls indies have to negotiate.

As Linda and I are based in different capital cities, preparing our session, presenting it and sharing the success afterward were benefits of being on the festival program. We outlined how we work together, very differently from most author-agent relationships.  Her background is in the entertainment industry, so she isn’t inclined to submit books then wait months to hear back. Instead, she paves the submission’s way with the editor then calls to see how they’re enjoying the read.

Signing one of my books at the Canberra Festival

Whether you’re traditionally or indie published, if you have an agent and they aren’t keeping up, maybe check with them about new ways you can interact. If you don’t have an agent and want one, ask them to detail how their approach can be tweaked to better serve your books.

Like conferences and festivals, agents come with a cost. However a good agent not only recoups their commission in the deals they make, but the relationship should be more beneficial overall.

Here I need to address the “it’s all right for you” syndrome. Successful authors are supposed to take in stride the cost of attending writing events. Generally we do for the benefits described here, but bear in mind that every successful author started with a first book, building our brand steadily over many years. While nothing beats writing the best book you can,  mixing with writing professionals help us achieve our success, not the other way around.

As a writer do you attend festivals and writing conferences? Please share your thoughts and experiences in the comment box below. They’re moderated to avoid spam but your posts go up right away if you subscribe – click “sign me up” at right. I don’t share your details with anyone.

Happy writing,

Valerie

on Twitter @ValerieParv and Facebook

Workshop Townsville : 7 October  Story Magic Townsville Writers & Publishers Centre https://townsvilletickets.com.au/event/story-magic-with-valerie-parv-5096

Masterclass  Canberra : 18 November  Romance Writing Re-imagined  ACT Writers Centre  https://www.eventbrite.com/e/romance-writing-re-imagined-with-valerie-parv-tickets-35421113504?aff=Valerie 

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How a writer’s agent is your good/evil twin

Today I read a blog about why authors need agents by Australian writer, Alison Booth. She describes what her agent has done for her, and how “lucky” she was that she was taken on.

I agree with all her points except, possibly, the luck part. Yes, you do need to be in the right place at the right time, even to submit the right book. But the search, the craft, the years of preparation that made Alison ready for an agent owes far more to talent and hard work than to luck. Read Alison’s blog http://writingnovelsinaustralia.com/2013/04/16/why-have-a-literary-agent-by-alison-booth/

I’ve worked with my agent, Linda Tate of The Tate Gallery in Sydney, for 20 years. I’ll write more about that closer to our anniversary in October. Now, I’d like to echo Alison’s blog and share some of what Linda and I do together. Note, I’m not saying “does for me” because the agent-author relationship is a team effort. The agent can only market what the writer writes. They can also only promote a writer who knows where they want their career to go.

Otherwise it’s like jumping into a taxi and asking the driver to take you somewhere, without telling them where. You end up paying for a ride that delivers you to the wrong destination.

The most crucial role Linda plays for me is as my good/evil twin.

Image

As twins go, we’re the Danny De Vito/Arnold Schwartzenegger variety, not in the least alike, and this is good. Linda’s way feistier than me, going where I fear to tread. She’ll telephone anyone anywhere in the service of my work. Her entertainment industry background means she sees no point in waiting endlessly to hear from a publisher. She calls them.

As my evil twin, she ensures I get paid. This is a topic for another blog, but my hobby horse is that ALL writers should be paid for professional activities, whether speaking at conferences, libraries or workshops, or selling their work. I might be reluctant to ask for a fee increase or to chase up money I’m owed, but Linda never is.

As my good twin, she analyses contracts and royalty statements. I read them, too, since I’m the one signing on the dotted line or the echo-sign these days, but she looks at contracts differently. Hands up any author who does NOT go first to the bottom line to see how much they’ve made? Linda looks at what markets a book has gone into, which are still to be exploited, and any patterns arising out of the paperwork, discussing them with me in depth. New contracts bring out her good and evil side. Good twin wants the book sold, evil goes after the best deal.

Good twin vets all promotional material. Does this biography or photo support my “brand”. How am I being presented online? In the media? At conferences? The regular status reports she prepares include updated bios in varying lengths for us to tweak. I still remember when we switched my linear (she was born…she started writing…) bio. for a shorter, web-styled look. Today we consider how my photos and book covers look as thumbnails on mobile devices. An agent can and should keep you current.

Evil twin keeps me writing. You’d think this would be good twin’s job, but she’s too nice. Sometimes a writer needs a spur to creativity, keeping you going when it’s easier to give up. Good twin is the one reading the work when it’s done, patting me on the back while evil twin keeps track of timelines and body counts. Even romance writers kill people off sometimes.

Good twin or evil twin, I wouldn’t be without either of her. What about you? How do you see the author-agent relationship?

Valerie

http://www.valerieparv.com

on Twitter @ValerieParv

and Facebook

Read some reviews of Valerie’s latest book, Birthright at http://www.valerieparv.com/birthright.html

 

 

 

 

 

 

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