I am keen to send off one of my picture book stories to an agent, but am unsure what the proper form is (despite reading lots around the subject - maybe I've missed something!). Can anyone advise as to whether I should approach one agent at a time, or submit to a number?

Shelley

Hi Shelley,

I'm not 100 percent certain, but I think the answer is to submit to only one at a time. I have read a lot on the subject too, and seem to remember in the back of my mind somewhere the fact that they don't like multiple submissions, word does get around and it doesn't give you a very good reputation. For instance, what if by a stroke of genius, you submitted to two agents and they both wanted to take you on, you then have the embarrassment of telling one - 'sorry, thanks but no thanks'. Hmmm not good is it.

I'm sure if I've got this comepletely wrong, someone will tell us, but I think this advice is correct.

BTW, make sure your ms is the best it can be before you submit it, you only get one chance, so make sure it is perfect, clean, typed properly etc etc, and good luck.

Kat

Shelley, they don't like multiple submissions, but they take so long to get back to you that you could take years on just one book if you don't. And if they love it enough to take you on, they're not going to be too fussed about the details. I reckon that it's their problem. I also think there's a self-preservation thing going on; it's awful waiting to hear, and somehow rather more bearable when one comes plopping back through the door when it's only one of several that are still out there.

Personally, I'd do a batch - 4, 6, 8? - without telling them about each other. Most will come back anyway, and you can certainly ask politely for an indication of the others' interest after 8 weeks or so - the website may give you an idea of how long they reckon to take.

If more than one do get in touch, by the time you've had that first conversation, you'll have a much better idea of what they're like, and whether you want to work with them. Then you can come clean if you have to. There's no rule that says you have to tell them - unless perhaps they ask directly - who else has seen it, and even if they do, you can be vague, and make it clear that it's them you'd most like to work with. Don't forget, it's a case of them wanting you, even when it feels awfully like the other way round.

There was a longish thread a while back which Myrtle started, because she had been approached by two agents, wanting to do very different things, and there was much discussion of all that issue. I can't find it now, but it'll be there somewhere, or you could WWmail her.

(For a novel, you can certainly multiply-submit sample chapters and synopses, and then if you're asked for the whole thing I'd stick to one at a time.)

Emma

<Added>

Can't find the thread Myrtle started (it ended very happily with her joining Rosemary Canter, I remember) but found another one instead, which explores the whole thing:

http://www.writewords.org.uk/forum/46_6823.asp

Each usually states if they don't want to be part of a multiple submission on their web site or when you contact them. Some state they don't mind as they understand the writer has to market out their books. Many published writers say they got an agent by sending out multiple submissions.

Have a look at "From Pitch to Publication" by Carole Blake. Carole is an agent with Blake Friedmann, and gives a lot of good advice. The one point which she keeps returning to is that an offer of a contract is only the first step, and no author should sign their life to an agent unless they are certain that they are the right one for them. In short: don't accept the first offer that comes along. Which means multiple submissions aren't only considered; they are expected.

If you can get one agent, your work is probably good enough to get the attraction of two. The thing to keep in mind is what you want an agent for. You can always represent yourself if you want to, but if you choose the agent route, then you want to find the best person for the job, which means shopping around, meeting them, finding out if you can work with them on a personal, as well as professional level, and then find out what they will be offering you: will they edit your work? Have they got a good history, a strong client list, the right contacts. How are they on contracts and rights and actual selling. Do they handle film and tv rights, even if you're pitching a picture book. Look at Raymond Briggs's work, or Meg and Mog. Picture books make good cartoons.

The hardest part must be getting an offer from an agent who isn't right for you, and trying to find the strength to tell them you're not interested. Someone on this very site has had the balls to stand up and do that.

Colin M

Thanks for all these replies, they are very helpful. It does all seem a bit daunting! Colin, you raise some interesting points about what you should be looking for in an agent. Hadn't even given that thought! To have an agent interested in my work seemed like the only thing to worry about! I am going to the book shop later as several people have recommended that book!

Shelley

<Added>

Emma, I have had a look at the above thread and found it very helpful. I think I'm beginning to get more of an understanding of the dos and donts now!

Shelley, I can’t recommend that book highly enough. It takes you through all the stages of finding an agent, and beyond.

Good luck.

Dee

Send multiple submissions. It's standard industry practice unless the agent specifically says no.

Yes, totally agree, multiple submissions to agents. Or you could find yourself hanging about whilst the years go by - like me!

I've tried both approaches. In fact, I got so fed-up with the 3 months or so that some agencies take to say "no" that I went through the Writers' and Artists' Yearbook, got together a list of 100 or so agencies who seemed like they might consider the type of fiction I am writing, and sent out a mass-email to all of them to see who might be interested. Then I only sent the sample material to those who said they would actually read it. I reckon I saved myself a fortune in postage, not to mention avoiding it being such a hit-and-miss process. I only had one negative comment about my approach, too.


Alex

Over the past few years I've kept all of my rejection slips and letters, and now I only send scripts to those who make me feel they've read the stuff I've sent them.

Colin M

Colin,

...now I only send scripts to those who make me feel they've read the stuff I've sent them.

If I did that, there would only be 1 agent, plus Mills and Boon, to whom I could send anything. None of the others I've tried have responded in any way that convinced me they had actually read all of the material I sent. I think, at most, a lot of them just read the synopsis. There are also a lot of agencies who, if you enquire, tell you that, yes, they would be interested in seeing your material, but then, 2-3 months later, they respond to the submission along the lines of "We've just taken on 2 new authors and we don't have time to take on another as well." Fine, but why didn't they tell me that when I asked? I could have saved the postage. Or is this response just a way of copping out from telling me the real reason for the rejection? (If so, agencies, go on: I can take it!)


Alex

I'm talking about about two hundred submissions over three or so years. You start to see a pattern quite quickly. I've got a real thing against tatty, photocopied rejection slips that are clearly photocopies of photocopies because they are such a mess that you can barely read the rejection. It doesn't give a good impression of the agency. Every now and again you get a personal letter, or a note on the bottom of your script, or even the cover letter. These human touches make a difference at times when you feel you are banging your head against the wall.

Colin

I think agents are haunted by the possibility that they might miss the next - I won't say JKR, how about Susannah Clarke? So if an enquiry sounds like something that just might be that next one, they say 'yes send it', because however many clients they've just taken on, they'd take it on if it were the next S. Clarke.

Then two pages in it's clear that it's not, and either they don't have time to write anything, or they don't want to get into a discussion about it (and yes, people do argue back), so they send it back looking suspiciously un-read, with a non-specific reason that doesn't say anything about your work. I don't blame them for that; they're not creative writing teachers, after all.

But I do think there's no excuse for not sending a proper letter - OK, a form letter if it's a standard rejection - with a signature (unreadable perhaps, to protect the guilty). That's just basic good commercial manners. A personal scribble on the bottom about what they liked/didn't like is a bonus.

Emma

I agree with all the things about the personal touch, and in fact I understand about the time factor and agencies not being writing tutors. But if they are willing to see the MS on the basis that it might be the next million-seller, they could at least spend the time needed to write something like "not sufficiently page-turning" on the rejection slip. A blanket rejection with no clues leaves me no wiser for the next time I think I've got something of publishable quality.

There is one agency that I have tried that has written a paragraph or so of critique for each of the 3 MSS I sent them. That was like gold-dust to someone, like me, who has no other means of getting feedback. Even though all 3 were rejected, I now have a much better understanding of where I need to improve things. I would still like more opinions on my writing, to get a properly balanced view, but at least that agency gave me one pointer.


Alex