My Life in a Literary Agency

[starlooker]

It's not the sophomore slumps I was thinking of. I've heard Jan use that phrase, generally to talk about well-known authors who did some really good things when they were younger, became rightfully well-known, and then as they aged and became more prolific, the quality of the work suffered badly.

(Not that we're on a forum dedicated to the work of anyone who fits that profile, or anything.)

[Young Val]

Well, at some point it becomes about the money.

We all know how I feel about DEATHLY HALLOWS.

[locke]

How does one explain Robert Jordan and Terry Goodkind? The rabid fanbase demanding books, books, BOOKS! ?

Readers of fat fantasy are OCD and a little crazy.

I suppose this includes me cause I like George RR Martin, Tad Williams, R. Scott Bakkar, Robin Hobb and Scott Lynch

[Janus%TheDoorman]

http://www.amazon.com/review/R1LPA5YOND ... r_rdp_perm

On the opposite side of the coin, how do writers like this get multiple books published?

Edit: Or rather, how many self-published books are out there that are worth reading?

[Young Val]

If you're asking my opinion... while I do realize that there is ALWAYS an exception--some random diamond in the rough that was self-published but is actually going to be picked up by a reputable publishing house and make a gazillion dollars *cough*ERAGON*cough*--for the most part self-published books swing between atrocious and middling at best. There are a certain number of self-published books that aren't BAD, but are not marketable and therefore not salable and in some cases those authors would prefer to have the book in limited "print" than not in print at all. But then the author must PAY to have his work "published."

But MOST self-published stuff is utter s***.

[Oliver Dale]

But then the author must PAY to have his work "published."

But MOST self-published stuff is utter s***.

Not strictly true with the advent of POD, but basically, yeah.. I agree.

I'm curious. Do you really enjoy the urban fantasy genre, or do you include it in your list because it is pretty marketable right now? Who would you say is out there doing it best?

[Young Val]

I do like Urban Fantasy (a little bit of it--to much and it becomes less palatable) and it's not because it's marketable. Frankly, by the time I start selling things, Urban Fantasy won't be "in" anymore--so that hardly matters. I don't believe in selling to trends. Publishing is SO far behind and SO reactionary to sales...it's endlessly frustrating. I think the best thing to do is represent work you truly love and believe in, and if you're a good enough agent you can and will carve out new niches despite whatever trend is burning up the best seller lists at the time.

[Oliver Dale]

I didn't mean that to sound so accusatory; I just have a hard time finding any urban fantasy these days that I think is good, despite the fact that everyone is telling me it is 'so hot' in the industry. At any rate, good luck (stealthily) gathering a list of clients you can get behind. Does this mean that agenting is officially your career goal? And does this mean I should stop writing the damn epic fantasy novel that won't leave my brain alone?

[Young Val]

Agenting is definitely my career goal; has been for a few years.

And write the epic fantasy! Write anything! Just write. You know I'll read it.

[Young Val]

As of five minutes ago I am now officially looking for a new agency to work for.

[Virlomi]

Kel, what happened?

[Oliver Dale]

As of five minutes ago I am now officially looking for a new agency to work for.

I absolutely HATE cliff-hangers! Are you all right?

[Jayelle]

!!!

[Young Val]

I can't really say much in my current position. I have NOT been fired--not even close--but I do feel the need to leave.

I do love Writers House a LOT and would love to stay on. But there are several factors that make this difficult. There isn't much room for job growth here--I feel that I've learned all I can learn here and haven't been given new responsibilities or any challenges or creative/executive authority. I'm too ambitious to continue to be someone's secretary forever.

Additionally I work three and a half jobs. I'm the assistant for two separate agents (each with a full workload), and the only Sub Rights Associate in the company. I also handle about 2/3 of all the Audio submission for the entire company as well. I'm over-worked and under-paid and--I'll say it--under-appreciated.

But the real reason that I really feel that it's time to move on is that I no longer feel comfortable working for one of my bosses. I love her, personally. But I do not love working for her. I refuse to throw her under the bus. There are a lot of in-house politics that come into play, which is unfortunate. But I feel--most respectfully--that she is holding me back and...somewhat more seriously...taking me down with her. And I absolutely refuse to go down with that ship.

So I have begun actively looking for employment elsewhere. I'll stay on here as long as that takes, and will certainly stay on to help train my replacement. I've learned a lot here and have nothing but respect for these people and what they do. It's just time for me to move on.

[Dr. Mobius]

Sounds like they may need two or three replacements. Good luck with your job hunt.

(And I'm kinda glad I'm too late for the scary cliff-hanger-ness. )

[locke]

wow. Good luck. I certainly know the feeling and frustrations of being where you're at career wise and the fear/exhileration of moving on. But when you get that next job up the ladder it's so completely worth the risk and anxiety.

you must find out the blog/live journal of your replacement so we can all watch history repeat itself as he/she marvels that any one person could be doing all the things that you did, and how hard it is to be working 2.5 jobs at once.

[Young Val]

Updates, updates.

Next week is my last week at WH. I've happily accepted a position at another very old and prestigious literary agency, Harold Ober Associates (and not just because they represent Salinger, either! *swoon*).

It will be a BIG change from what I'm used to. Ober is a small company, only 12 people total. WH is huge for a literary agency, easily employing 35-40 people at a time. But that's not the only difference. Ober is ARCHAIC. As in I-have-a-type-writer-at-my-desk archaic. When I was in for training last week a girl tried to photo copy a contract from 1913 and it started to DISINTEGRATE. That kind of archaic.

Still, I'm actually really excited. The client list there is impeccable. Much more literary than WH's list. I'll be the foreign rights assistant--which will be new for me. I only have a cursory knowledge of foreign rights and it will be an amazing addition to my resume. Additionally my boss has a domestic list, so I'll still get to do the reading and the editorial work that I love. After four successful months there, I'll also be in talks to become the Audio agent for the entire agency. At present they don't have an audio person, and none of the individual agents know much about the way audio rights are sold. They were incredibly impressed with my vast experience in sub rights with a particular focus on Audio, and suggested that we talk in four months and see how I feel about shouldering the extra responsibility. As an official agent, then, I'd (a) never, ever have to go back to straight assisting for the rest of my career. (b) be able to join the AAR. (c) be able to sign and sell my own clients unsupervised and with zeal! (d) get a ginormous pay raise, PLUS commissions! Audio rights are a snap for me. I've been doing them for WH (far larger, and therefore busier) for the last year now, entirely on my own. I know all the editors on a first name basis and what they like to read, what they're likely to buy, and which ones will enter auctions to fight for the titles they want. I could sell audio rights in my sleep! Especially for a company as compact as Ober.

Ober is also in a huge transitional period. Half of its agents are senior citizens. The other half are young up-and-commers. The idea is to maintain the integrity of Ober's sparkling backlist (Salinger, Sherwood Anderson, F. Scott Fitzgerald, Lois Lowry, Judy Blume, Pearl S. Buck, Tamora Pierce*, TH White, etc) while building up the front list with new and exciting clients to breathe life into the list.

Because the place is so small, it's an incredible opportunity to shine and get noticed. And with the Harold Ober name behind you, you'll have enough weight to demand the respect of various publishers.

For me, for this moment, it is the ideal situation.

Yes, I wish we were a little more... technologically advanced (more stories about that horror show as I begin really working there on a daily basis) but right now I'm completely thrilled to get out of the toxic political hell that is WH and into a much more familial company with a lot of opportunities for growth!





*fun fact about Tammy Pierce. She used to be the assistant to Phyllis--the current president of Harold Ober. She was fired because she spent too much time writing stories at her desk and not enough time doing any actual work. After Phyllis fired her, she then extended her an offer of representation. Now, that's good business!

[LilBee91]

Yay! Updates! I love this thread.

Congrats on the new job. It sounds spectacular. I'm oozing with jealousy at that client list. Enjoy your last week at WH, and good luck at your [amazing] new place!

[powerfulcheese04]

Yay Tammy! She's amazing!

[locke]

Yay! I was worried you'd been unemployed since the last update. glad you're finding so much success, sounds like an awesome position for you to be in.

[Oliver Dale]

Fabulous! Thanks for the info. And do keep us informed. Vicarious living, and all that....

[starlooker]

TH White???? NO WAY.

*reads "The Once and Future King" all the way through at least once per year. Not to mention picking it up and flipping to random chapters throughout the year.*

Awesome. Congratulations.

[Eaquae Legit]

You have such a cool job. After reading all your posts from long back, with the worry over rent and food and being broke, it's so awesome to see you "There" at last. Muchos congrats!

[Young Val]

Well, I'm still broke. Publishing doesn't pay all that well..

But I'm sort of living the dream, and I'm more happy at this point in my life than I've ever been so...... YAY!

[Eaquae Legit]

Exactly! I worry so much about money and debt and stuff, but no one ELSE gets to research the stuff I do, no one ELSE gets to write these cool theories... so I guess I win, right?

I can't believe you're going to the place that represents Tamora Pierce.

[Rei]

That is all around awesome. It's really great to hear how these things are going for you!

[Oliver Dale]

p.s. Dibs on being a new and exciting client in a few years!

[Young Val]

This Morning at Harold Ober:

1. I've exchanged several emails with Tamora Pierce
2. Someone tried to buy film rights to CATCHER IN THE RYE. For $2.00. In cash.


substantial updates soon.

[Oliver Dale]

1) Hahahah!

2) What a tease....

[ratesjul]

1. I've exchanged several emails with Tamora Pierce

So have I.
Okay, just not during my day job.

[Young Val]

Contracts, contracts, contracts.

I am drowning in contracts.

Er, hi. So, once again I have vanished into the void that is my...well, life. Which is actually undergoing a bit of an overhaul at the moment (that's a Bob post, though) and includes BEING CONSISTENT with the things I undertake. Across the board.

So I'm firmly, what? Entrenched? In my job here at Harold Ober Associates. The typewriters no longer phase me. I am, by now, used to getting my check statements/pay stubs written out in pencil on a post-it note stuck to my paycheck. I have memorized the pat response, "No, sir, unfortunately none of Salinger's books may be made into a film/play/television show/radio special, including CATCHER IN THE RYE. I understand that you are deeply passionate about making this movie/play/tv show/etc, but Mr. Salinger has made it clear that he will not authorize any such rights to be sold now or in the foreseeable future, and we will be forced to take legal action against you should you ignore his wishes." I'm a pro.

And I like it here. And I've learned a TON. I can read and write all sorts of nifty phrases in a variety of languages now. In languages that I never could have learned in high school for example, like Romanian.

I am also stellar at vetting contracts now, which I was pretty damn good at before, but now I can do them in English and, say, Polish. In record time.

And it's interesting to watch the trends of which countries prefer to buy which books.

That said, I'm bored stiff. (Which is a LOT better than being unhappy--which I was, profoundly, at my previous job). So I've begun courting my own clients! Which I had started to do before, but the job switch put a halt to those plans. I'm really excited about making this happen for myself and spurned on by another young assistant (at a different company, but everyone knows everyone in this business) who is having an AUCTION for his first ever sale (whoa!) and the client is a 22 year old girl he met in a short story writing class. Honestly. Want to know where the auction left off at this morning? The highest offer (as of 11am--the auction isn't over) was $185,000 for ONE book, North American rights ONLY (so, author retains film, audio, electronic, foreign and translation, etc, etc).

YEAH. Ridiculous. This kid (or, I suppose from now on this Agent) is 25, like me, and has been riding the desk for two years, like me. It's POSSIBLE. And this is, literally, how it happens. I'm excited! I can't wait until it's my turn!

[Oliver Dale]

Thanks for the update, K. By any chance, was that a YA novel?

[Young Val]

Um, the entire industry is collapsing as I type this...

[Eaquae Legit]

Eep! What's going on?

[starlooker]

??????



Um, could you be more specific?