Rx for Writers

Transcripts

Thursday, September 30, l999

MODERATOR is Kristi Holl, Web Editor for the Institute's web site. Kristi is author of more than twenty juvenile novels and has taught writing at the Institute of Children's Literature for l5 years.

Kassandra is our guest speaker, Kassandra Duane. Kassandra Duane is currently an agent at the Joy Harris Literary Agency Inc. In her capacity there, she handles the foreign rights for an extensive list, which includes such authors as Whitney Otto, author of How To Make An American Quilt, and Jeff Kluger, author of Apollo 13. Kassandra also manages contracts and represents her own clients. Prior to working at the Joy Harris Literary Agency, she worked for the Putnam Berkely Publishing Group.

Names color coded in blue are audience members who had questions.

Interviews are scheduled for Thursday evenings: 8 Eastern, 7 Central, 6 Mountain, and 5 Pacific.

MODERATOR: Good evening, everyone! I'm glad you could join us. I'm Kristi Holl, the Web Editor for this site and your moderator for the interview. Tonight we have Kassandra Duane with us, an agent with the Joy Harris Literary Agency. Kassandra handles foreign rights, manages contracts, and represents her own clients. She will be sharing her thoughts tonight on the current markets, the purpose of a literary agent--and how to get one! Hello, Kassandra!

Kassandra: Hello. I am pleased to be here.

MODERATOR: Thanks for coming, Kassandra. First of all, could you tell our viewers just how you became an agent?

Kassandra: I started working in publishing at Putnam Berkley, a publishing house that publishes all types of books. I spent a year working there and realized that I wanted more creative involvement with books and was looking to be involved in all aspects of publishing, not one specific department.

MODERATOR: Do agents have editing and/or writing experience?

Kassandra: Agents aren't necessarily editors or writers. A solid background in the humanities and a fair amount of business savvy seems to be the standard. Agents do spend a fair amount of time editing, however, working with an author on a manuscript and shaping it into a work that is salable.

MODERATOR: Most sources say an agent is a must for adult fiction. Advice differs for

other genres, including juvenile publishing. What do *you* think?

Kassandra: I think agents are becoming a "must" for all areas of publishing. Publishers ask writers for a great deal, both contractually and artistically, and an agent provides a buffer and acts as a moderator.

MODERATOR: There's a popular saying that "it's easier to get published than it is to get an agent." Is this true? (Can the average unpublished writer get an agent?)

Kassandra: Both are difficult these days! I think having an agent definitely gives an author an advantage when it comes to getting published. We know a lot of editors and know what is right for what editor. If we submit a manuscript to a publishing house, it will not go into a "slush" pile and will get read generally faster than the manuscripts that are submitted without an agent.

MODERATOR: Why do editors give preference to agented submissions? Won't the contracts be tougher for publishers?

Kassandra: Editors and agents have a close relationship. We tend to know one another's taste. So I can speak to an editor about a project I am excited about and generate enthusiasm for the project before I have submitted it. I would not send something to an editor that was completely inappropriate. For example, I know editors who never look at science fiction. So I would not submit a science fiction manuscript to them. This is information that the average writer does not have. The writer would not ordinarily have this contact.

Ducky: Generally speaking, how does the relationship between agent and writer work?

Kassandra: For example, if you send me your manuscript and I like it a lot, we would speak and talk about what I think of your work, what your feelings about it are. If we seem to get along and can work together, I would then represent you. There may be some work I think is necessary that we would discuss, and when you're in the best possible shape, I submit it to publishers. Usually several. Ideally, there would be more than one editor interested in the work; we would discuss and hopefully receive an offer, if not more than one. Once the work is sold to a publisher, then I would be involved with you and the publisher in terms of marketing and publicity and getting the book published well, which is also a fair amount of work and effort. We represent clients that we are very friendly with, so there is an element of friendship as well as a professional and artistic relationship.

MODERATOR: Do agents have huge piles to read (like slush piles in a publishing house)?

Kassandra: Agents do have a substantial amount of reading. In terms of "slush" reading, we ask for a query letter first, which gives us an indication of the type and quality of work as well as some information about the author. We then request manuscripts. So we receive a large number of query letters, but a smaller amount of manuscripts. Usually if we request a manuscript or receive one, it takes about 4-6 weeks to read and respond to.

MODERATOR: Do agents work through formal submissions (like writers) or do they sell manuscripts over lunches or at conferences, etc.?

Kassandra: We make formal submissions. We call editors and discuss the work with them, then write a submission letter and send the manuscript. To meet editors and get to know them, we have business lunches and so forth.

MODERATOR: Do you actively seek manuscripts that can compete with TV, movies and computers?

Kassandra: I wouldn't say we don't look for projects that have great commercial potential such as a John Grisham type book, one that will appeal to readers and make great movies. But it is not the only thing we think about when reading. There are some works that merit attention because they are literary and very well written, but might not be obvious movie plots. However, we meet and work with a number of film producers and developers to try and sell our books to them. It is always a terrific thing for a book and an author as movies reach a vast audience.

Ducky: Do agents specialize in certain kinds of writing?

Kassandra: Some do. I think personal taste plays a large role in what kind of writing and work we represent. The agency I work for is small, there are only three agents here, so we work with projects that appeal to us personally. We represent a large variety of fiction and nonfiction but there are many things in common with the authors and projects we work with.

MODERATOR: Are there any trends (topics, genres) you've spotted recently?

Kassandra: The most recent trend has been young women's fiction. Books written by and for women in their late twenties, early thirties. Books like The Diary of Briget Jones, The Girls Guide to Hunting and Fishing and several others were very popular and quick to sell for a while. Last year there were a lot of memoirs. Personal memoirs like Kathryn Harris' The Kiss, Catherine Texier's Breakup, Dani Shapiro's Slow Motion. These chronicled somewhat ordinary lives with extraordinary writing.

DebO: What is your take on the children's market? What's hot and what's not?

Kassandra: I do not work with a lot of children's books so I can not speak with much authority on this. But, like all publishing, editors and publishers are looking for work that can be marketed and publicized. So work that can cross over to the Internet and can be a "product" is always sought.

MODERATOR: Do reputable agents use written contracts with clients, or is the agreement verbal?

Kassandra: When we complete a deal, whether with a magazine or publisher or film studio there is always a formal, legal contract and in this contract is our agency clause which binds the writer and the agent contractually for the project.

MODERATOR: How long do such agreements last? (A certain length of time or is it a number of books?)

Kassandra: Publishing contracts are generally valid as long as the book remains "in print" and some contracts are for one work, some for six. It depends on the writer and the publisher.

Ducky: Then a writer would query you with every project?

Kassandra: A new client or writer would. Once we start working together, then you would discuss with me and work on future books with the tacit understanding that I would represent you.

sarawen: Would you then say a writer should send their work to only one agent at a time?

Kassandra: Each agency varies. If we request a manuscript from a query letter or referral, then we prefer to be the only agent reading it. Generally, agents don't want to fight one another for clients. And there is no wasted time, as if I read a manuscript and love it and another agent is reading it and loving it and ends up working with that writer. Of course, there are always exceptions to this, but we prefer to look at manuscripts exclusively.

Ducky: If you like my work, do we sign a contract that requires that I give you all of my work?

Kassandra: Not entirely. If I like your work and you want to work with me, then I submit your manuscript and hopefully sell it. So I would represent the rights, on your behalf, for this work. It is understood that we will continue to work together unless there are obvious reasons not to.

Willie Willow Tree: What percentage does an agent take?

Kassandra: We commission 15% of any domestic contract.

MODERATOR: Do agents keep authors informed of submissions and rejections, where their manuscripts are--or just when sales are made?

Kassandra: We tend to stay in close contact with authors during the submission process and we never conclude a deal without the author's consent. Some authors like to know about every rejection and comment made on their work, others don't want to know at all. So it depends on the person, but the relationship is close and nothing is finalized without agreement.

MODERATOR: Who calls whom and how often? Can writers call their agents for updates and advice?

Kassandra: It is often like a friendship. Often, our clients don't have active projects they are working on and will call us to bounce ideas off of and to chat. But like any friendship, if it is over used or abused, then that is not acceptable. We act like a little bit of everything: agent, therapist, friend, advocate.

DebO: How does a writer go about finding the right fit of an agent that knows the market best suited to the writer's work?

Kassandra: You can do some research about agents. There is a comprehensive trade reference book called the Literary Market Place which lists almost all agents and gives a brief description about what kind of work we represent. There are also several books about agents, for instance one by John Baker, the title has escaped me at the moment, gives a comprehensive overview of several agencies. Once you have a very general idea of agents that might be right for you, then usually you send a query letter describing yourself and your work to see if we are interested in looking at your work. It is a relationship that usually unfolds in steps. These guide books will also direct you to specific genres. If you write romance novels, there are agents that handle specifically those. Or agents who represent science fiction, etc. So the reference books can be a place to start. There are also agency groups, such as the Association of Author's Representatives that are somewhat like a trade group.

MODERATOR: Just a note: you can check out agents listed with the AAR at http://www.bookwire.com/AAR

Chief: What would you recomemd if an agent we never heard of solicits our work directly from us?

Kassandra: I think as an author I would initially be flattered! But then I would proceed like with all business relationships: somewhat cautiously. We do not charge fees or make any kind of monetary requests from authors. I know there are agents and services that offer help for a fee. But you should be aware upfront of what the guidelines are.

pmjv: We hear of many charlatans in the agent business. How do we spot them?

Kassandra: I think that if you meet or discuss anything that sounds too good to be true, that's usually a tip off. Most reputable agents want to get books published and into readers hands and will keep you as an author informed and involved and won't make too many outrageous demands. Although to some authors, small edits seem outrageous.

pmjv: Does an agent ever ask for money--for any reason?

Kassandra: I can't speak for all agents. Our agency does not charge reading fees or anything really upfront. We commission deals and charge for expenses such as copies made or postage used for submissions and so forth.

Chief: What about "book doctors"? I hear they're bad for a relationship between author and agent. Are they?

Kassandra: Not necessarily. If you use a book doctor, we usually are not involved in that process.

MODERATOR: How do you find out an agent's track record? Can you ask for references?

Kassandra: I have never been asked for a reference. There are the reference books and if the author comes into the office for a meeting there are a lot of books on our shelves and in bookstores that act as references.

sweet: Can you tell me anything about www.rosedog.com? Do publishers or agents check such web sites for writers?

Kassandra: In today's very competitive book market, agents and editors are looking everywhere for new talented writers. I am not familiar with www.rosedog.com, but I am familiar with a number of literary web sites. But as the Internet becomes an increasingly popular way of reaching people, publishers and agents are finding a great deal of talent in cyberspace.

MODERATOR: How do you know if an agent you're considering is already carrying too many clients to have enough time for you?

Kassandra: Many agents won't take on new projects for this reason; they are too busy. We take on only projects that we are very excited and enthusiastic about. So we do not take on new authors that we don't want to work with. This is part of the reason it is difficult to get an agent. We are limited in what we take on.

Chief: Is it true we should be wary of agents that refer us to a co-op or subsidy press?

Kassandra: Again, I speak personally and for one specific agency. We don't usually refer to co-op publishers. There are some projects that are not quite right for us and we may suggest a smaller press, one that you may submit to without representation and have a fair shot at getting published. Conversations With God , the author I believe, was unable to find a large house to publish his work and a smaller press published it. And it became a huge success and was then bought by a large publishing house.

Willie Willow Tree: Does an agent receive more comments on a rejected piece than editors would normally give?

Kassandra: Do agents offer more comments, do you mean? I try to be as helpful and decriptive as I possibly can. If I request a manuscript and read it and end up rejecting it, I try to explain what I liked and what I didn't and be as helpful as I can to the author.

MODERATOR: If an editor rejects something you submit, do they tell you why in detail?

Kassandra: Rejected manuscripts in general vary. I will get rejection letters from editors that are quite extensive, and sometimes ones that simply say, "thank you, it wasn't right for me." For the most part they are descriptive as this helps in determining what is right for who.

MODERATOR: I have several questions that I'll lump together: some published writers wonder if you personally would take on children's writers.

Kassandra: I am reluctant to take on children's writers. It would really have to be something unusual as it is a market I do not know. So I wouldn't be doing much of a service to a children's writer and I wouldn't be the best judge as to what is salable and good for the market.

Chief: What if your agent just isn't producing for you? How hard would it be to "break up"?

Kassandra: Although we are close with most of our clients, it is a business relationship. If it not working and not beneficial, then terminating the relationship is probably the best for both parties. Sometimes there are issues regarding rights and contracts, but for the most part if it is really not working, there is no point in remaining.

pmjv: Do agents use form letters to reject queries and would there be any significance in that kind of response?

Kassandra: There are form letters that are used for queries. I don't think it is necessarily significant. In our office, all of the queries are read. But there is a very high volume of letters and there is simply not enough time to reject each individually. Many agencies require return postage with queries or else you will not receive a response. Again, it's due to the high volume of submissions.

JonJon: What type of letter catches your eye?

Kassandra: The best letters give a sharp, concise description of the work. And a description of the author. Some authors will include a sample chapter or outline. But letters alone can sometimes indicate talent and a good story.

bernie: Many of us have heard that there will come a time when we will all need an agent. Do you believe this to be true and how will beginning unpublished writers get one?

Kassandra: I think it is becoming very crucial to have an agent. Publishing is very competitive. Take a look at any bookstore, like Barnes and Noble, and see the volume of books published every month. This is one of the best indicators of how much there is to go up against. An agent has a foot in the door, so to speak, with publishers and editors and so we are more likely to know and be able to find an interested editor or the right editor for a book.

Ducky: How, then, does an unpublished writer get an agent?

Kassandra: I think you start by trying to find one that may be right for you. Look at some of the reference books. If you are a science fiction writer, find a list of agents that represent that type of work. Do a little of the footwork so you have an idea of who is right for you. Then follow the procedures for submissions. Each agency differs; our agency asks for a query letter.

JonJon: What do we look for in an agent?

Kassandra: If you find an agent that is interested in representing you, you should feel comfortable and have confidence in your agent. There will be many aspects of your professional career as a writer that your agent is involved in, so the "right" agent should be someone you like and get along with personally and professionally.

Kevin: What aspects are those?

Kassandra: First, we are one of the first people to read and evaluate your work. So if I suggest you rewrite 100 pages of your manuscript, you should trust that I am requesting this to help you. Or if an author feels the book is not receiving attention at the publishing house, then we get involved and intervene. If you have a successful book and are out on a publicity tour and the hotel reservations are a mess, then we sometimes have to step in and make the publisher pay attention. So there are all kinds of scenarios that involve your agent, so it should be someone you trust and respect.

pmjv: I know a writer who has a whole collection of letters--from publishers, saying they only work through agents, and from agents, saying they do not represent unpublished authors. What should she do?

Kassandra: She should still try and get an agent. It can be a frustrating process. But she should look into agencies and make some submissions or query an agency. Also, she should not feel alone, as we also get a lot of rejections.

MODERATOR: Are there any "secrets to publishing success" that you could share with both new and veteran writers?

Kassandra: There is no guarantee that having an agent means getting published. I wish I knew the secrets!

Kevin: Do agents give career planning advice, or just take things "book by book"?

Kassandra: I think that good writing is crucial to new writers or beginners. It depends on the author. We represent authors who write as their career. So in that regard we do provide career advice. We also represent authors who teach or have other income. Basically we try to be as helpful and offer professional advice as much as our clients want or need.

MODERATOR: Can an author continue to market his/her own work, and will the agent handle contracts if such material is sold?

Kassandra: I am not sure I understand that question, but many authors will promote and publicize their work as much and as long as they can. We are involved and will of course try to generate sales, but we are limited just in terms of time.

Please go to Part 2 of Kassandra Duane's interview now . . .

Return to Transcripts

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