Hello, all. This is my first posting here, under a trial membership: I've been lurking for a while, though, and I really like this site.

I have one novel finished, another aboandoned at 65,000 words (it really is bad!) and a new one which is better, and currently runs to about 30,000 words. That first completed novel was written for my MA in writing (got distinction--not that I am smug, you understand). I got an agent (first two agents rejected me, the third took me on) in November 2002, and he seemed quite keen. Took me out to lunch, the whole schmoozy thing. He sent the novel out to six publishers, and two of them wanted to offer: but were outvoted by their sales teams, who deemed my book too dark (it's lit fiction), and were worried by one of the plotlines, which contains some incest.

I then did a lot of rewriting, on the suggestion of my agent: who resubmitted it to the original six again, none of which could take it. He then told me he was going to send it out again, to some smaller publishers. I heard nothing from him. Didn't hear from him when I emailed or phoned, either. Eventually, when I did speak to him, it turned out that he hadn't sent the book out any more, and that he thought it best for me to forget about novel number one and concentrate on writing another.

While I sort-of agree with him (it seems foolish to stop writing and wait for a publisher to fall into my lap, after all), I don't agree about forgetting about novel number one. It is good, I think--and so do other people. An editor at Review (who wanted to take it) said that it was the best writing she had read all year, in a submission. Oh, my thwarted dreams....

My point is this (there is one, I promise). Should I find another agent, do you think? One who is going to stick with me and work hard at getting novel number one published? Or should I stick with my current agent? Although he doesn't want to do anything else with novel number one, he is part of an extremely successful agency in Soho, with a brilliant reputation and so on. It seems churlish not to count myself lucky to have an agent when I know how hard it can be to get one, but I do feel like I am stagnating with him.

Jane,

My sense of this is that agents these days tend to look for two types of fiction author, to fit the two kinds that publishers mostly want. (I'm basing this mainly on children's books, by the way, and I'm speaking broadly – of course, there are always exceptions.) One is the blockbuster/big-seller and the other is the steady, reliable, brand-identifiable writer who won't sell huge amounts but is at least economically predictable. Agents stand to make the most money from blockbuster deals but these of course are rare. Therefore, they look to supplement their income with a list of bread and butter authors too.

The problem with this scenario is that most new authors do not write books that fit into either category. They write what they're moved to write. So, very often an agent has on his hands a really good new book that he knows is full of promise, and probably most editors he shows it to will think so too. But the publishers' sales team do not want to push books that can't be easily identified and compared to similar stuff. They don't want to have to say to booksellers, "Here's a really well written book by a new writer with promise; it doesn't really fit into any category, and we're not sure who its target audience is, but, well, we like to support good writing and hope you will too". They want to be able to say, "This is a blockbuster like ... " or, 'Here's another by Jacqueline Whatsit, you know who writes humorous teen stories about dysfunctional families, acne and boys." Getting someone established in this second category is difficult, of course. So publishers (and agents) look, not just for someone who's written a good book, but someone who they believe can be pressured to write lots more just like it.

And the problem with small publishers is that, where they may well be the best thing for the writer – more independence, less sales pressure – they're not so good for agents' income.

For what it's worth, my gut feeling is you shouldn't stick with this agent. I suspect he's taken the fact you were outvoted by publishers' sales teams (it's happened to me too!) as a sign that he will have to work very hard to find a publisher. And it's not good that he said he'd try small publishers then didn't and didn't even tell you. Him being with a big agency is not necessarily good for you, a new writer trying to get established. He can't afford to take long-term risks on writers, no matter how much he likes their work; he'll be expected to get results quickly.

I sympathise – in a weird kind of way, being liked by editors but rejected by sales teams is a sign that you're probably a better writer than most who get published. Doesn't, of course, help your bank balance though.

Terry

Gosh, Terry, you posted that quickly!

Thanks for your reply. I hadn't thought about it like that but you are, I suspect, completely right (especially that bit about how good a writer I am--lovely!).

Reading my post back it seems like I have nothing to complain about: "woe is me, I have an agent but I don't like him very much!" isn't really a dilemma I thought I would find too objectionable but I do, I find. It means that my work is not getting out there, and that's immensely frustrating.

I did have some interest from someone at PFD a while back, through the MA and all: but when I got this particular agent I didn't bother to pursue the PFD contact. I might, now, but am a bit apprehensive because PFD is one of the Big Boys, for sure, and I feel like I would be too insignificant there. Back to trawling through the Handbook, I fear.

Jane, I think Terry's absolutely right about finding yourself another agent - not because he hasn't managed to place the book but because he lied to you about what he was going to do with your book. Many agents dither and vacillate and take months to get submissions organised, but it's unforgivable that he changed his mind but didn't see fit to either tell or discuss it with you:-( Take comfort from the fact that so many people thought the original was excellent - you're bound to find someone else who's happy to take you on:-)

Terry's also right about editors looking for writers who can turn out more of the same - I still remember my publisher's shock when I delivered a second novel that bore no relation to the first. "We were expecting more nostalgia and music," she said, "because that's what you do." And of course, it wasn't what I did - it was what I had done... On that basis, if you're changing agents it may be worth your while to find one who is willing to be more than a middle-man - one who takes on what you're currently writing and listens to your ideas for future writing, and uses that to get a better sense of who to approach and where to place you:-o

Good luck:-)Shyama




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PS Although I also agree that big agents are seeking big bucks, they're also in a position to deflect the costs of submitting severally and often. I'm currently in a very similar situation to you - second round of resubmissions after a major rewrite - and am grateful my agent can afford the paper, the lunches, the bikes etc:-) It's also good for publishers to see you've got someone successful behind you - but only, of course, if that success ultimately brings you success too...

Thanks for that, too. I was thinking that getting a new agent was the right thing to do but having read so many posts here about how hard it was, I was worried that I should perhaps just count myself lucky to have one at all. But you are right, this is not the right one for me and I need someone who will appreciate my work (as much as I do!).

So now I have to make a start on finding a new one. Any suggestions? It's horrid, but at least my work will be out there again, rather than sitting around doing nothing, with no hope of getting published.

Jane, if PFD were interested, I'd make a tentative inquiry there - and do remember your current agent remains your agent until you're ready to move, so you are not without representation in the meantime. Otherwise, find out which agents represent those writers whos style/content/genre are closest to what you're doing and approach them as they are more likely to be receptive to your work, and to know what to do with it:-)

Jane this story sounds so much like mine - I was told my first novel by publishers was too bleak for a fist novel - you must tell me the name of your agent .. cos it sounds s much like the one I had!
anyone who read my showcase will know what I said (i've recently taken it down strangely)

You need to find a new agent who is 'on the same page' as yourself.

def.

Jai

Jane,

Good luck with finding a new agent. When you've finished with your current one can I have him? Anything's better than nothing, right now I'd just be happy for the free meal!

Courtney

Jane

No disrespect to the opinons of others on this site - and there have been some very closely argued points. And in the end, who knows? But getting any kind of agent is difficult - and if this one is a real 'player' and not just someone calling him/her/self an agent, then maybe you should listen and write another book. It could be the case that you and the agent have given it your best shot on this book - but editors won't offer. Tant pis, sanferry ann. But the next book may break through. Of course, you may find it easier getting another agent, having an agent already. But no agent can force an editor to offer for your book. So what's a 'best' agent? One who gives you good advice about your writing, I would say. What some see as a lackadaisacal attitude may be integrity after all. But you're the judge.

Joe

See, Joe, those were my thoughts. An agent in the hand is worth hundreds in the Writers' Handbook, and there was a good chance that he was right, and that my book just wasn't right.

However: what I struggled with was his unreliability. He didn't respond to my phone calls or emails, and promised to contact me at certain times, then didn't... I didn't pester him, but I did need to know what was going on. And it's that unreliability which has made me decide, finally, to find another agent. There are so many out there, it is worth a try, I think.

Joe I'm completely with you on what you're saying: even the best writers and agents can misjudge a market and that's what selling manuscripts is about - saleability to a large enough public to make the cost of publication worthwhile. But what's worrying about Jane's position is that there is scope there for a lack of trust, and trust must be implicit in any relationship where one is dependent on the judgement and behaviours of another to succeed:-o Shyama

Yes, Jane and Shyama - looking at the situation again, there does seem to be a big issue of unreliability and lack of courtesy. I can appreciate how galling this is for you, Jane, but maybe the best for you is to cut loose now, before further disappointment and frustration. Good luck with the search.

Hi Jane, this is a really interesting thread. Several years ago, when I first tried to get published (I'm now onto my second shot, after an intermission of several years of 14 hour days in the City) I also had a male agent in Soho. He couldn't sell my book, I didn't understand why (although it's now clear that it simply wasn't very good) and we both went our separate ways. I now have a new (also male) agent, in whom I'm placing my faith.

However, reading your thread has underlined to me how this professional relationship is a bit like dating. Sometimes we don't ask the right questions because we're scared of what the answers might be etc. It made me think of this book (which I haven't read, but have heard a lot about): He's Just Not That Into You: The No-Excuses Truth to Understanding Guys. In the synopsis it says: "men don't want to tell women when they're not interested and women don't want to hear it anyway." It's hard, though, to get closure when you don't know definitively what went wrong.

Adele.

Adele, having spent my dating life being pretty ruthless with men (sorry to all of you out there who I trampled on, by the way), and having watched the authors of that book plug it on Richard and Judy recently (by the way, who entered the competition, and followed the accompanying--and continuing--meltdown on their forum?), I can understand exactly what you are saying there!

The Soho agent was very interested and keen at first; he submitted my book to 6 editors and within a week told me that we were going to have a bidding war, and that he had given them all a deadline of that following Friday lunchtime to make their decisions. And that he would phone me early Friday afternoon to tell me what had gone on. I heard nothing, and eventually phoned him at about 4PM--only to be told that he had left early, as he was going away for the weekend. It became obvious that despite the keenness of some of the editors who read it, they could not offer on it. And as their keenness deteriorated, so did his. One rewrite and one round more of submissions later, he decided not to submit it any more.

I think you are right, Adele, and so was Terry in his earlier post. What seemed to the agent to be a book which would sell quite easily became something that needed a bit more effort, and he lost interest in both me and the book.

Jane, if only some of these people could learn better how to manage expectations (including their own) then they might save a lot of heartache.

Btw I hadn't heard about the R&J meltdown - glad I didn't enter!

Good luck with finding an agent who's a better fit.

Adele.