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3.
AOTW: Once the sale of a book is made, what part do you play in the publishing process?
Stuart Krichevsky:
The sale is the easy part. Most of an agent’s work comes later. I’m involved
in the editorial process as the book is being written, often serving as the first reader
before material is submitted to the publisher, other times in conjunction with the editor.
We’ll meet with the publisher early on to talk about our vision for the book, and
what resources the author and agent can bring to the table. I find that publishers are
very receptive to this process when it’s handled constructively. With every new
title, publishers are introducing a new product into a crowded marketplace, and as a
result are eager for ideas about how to successfully distinguish our book. I can often
draw on lessons learned (and contacts developed) from past experiences to help the
publisher launch a successful campaign. The sale of subsidiary rights is another important
role that begins even while the book is on offer to publishers, and can keep momentum
going up until publication and beyond. In addition to generating revenue for the author,
rights sales give everyone from author to publisher to booksellers confidence that others
out there believe in the work as much as they do.
Loretta Barrett:
My role continues throughout the publishing process. Aside from the work of negotiating
the contract, I’ve always remained very much involved with the author and editor,
doing everything I can to help, which includes reading the manuscript, selling foreign
rights, getting an audio deal, and working with the author and the publisher on the
marketing plans. I’m a collaborator, and I’ve taken great joy in continuing to
be involved throughout the publishing process.
Laura Blake Peterson:
There are often battles to be fought long after the contract has been signed. Finding
a publisher is so often the focus of many first-time writers that once their work finds a
publishing home they assume their troubles are over. Sometimes they're just beginning!
It's a big shock for them to discover that the reality of what it means to be a published
author doesn't always meet their expectations. It's important to be there to bolster a
bruised ego, and help them through the discouragements an author can often face over the
course of their career.
Amy Berkower:
Since I represent many established authors whose contracts are renewed on a frequent
basis, I feel as if a substantial part of my job actually begins after the contract is
negotiated. The most important thing I do is make sure the publisher has both a long term
and short term plan for my authors and their books. As publishers publish more books than
they can possibly attend to, I try hard to keep them focused on the books I'm representing
and to make sure they don't take my authors for granted. I usually comment on covers and
titles, sometimes on copy and on marketing and publicity plans for both backlist and front
list books. And I try hard to get publishers to think of new ways to brand and market an
author. Arranging for the sale of subsidiary rights--foreign, film and audio--is also an
important part of my job.
Maria Carvainis:
The sale of a book, although extremely important, is only a part of the publishing process
in which I am involved. After a contract is adroitly negotiated, I identify with the
client a realistic market campaign, track the execution of that campaign in advance of
actual publication, obtain print information, track the project's appearances on
bestseller lists, review royalty statements carefully and most importantly lay the
ground work for the next sale.
Jane Dystel:
Once the book is sold, my work is just beginning. I negotiate contracts, follow up
with the author on a monthly basis to check on her/his progress. Sell ancillary rights.
Nag the publisher about publicity/promotion plans. Track sales and royalties. Run
interference between the editor and the author on any editorial or personality conflicts.
Give the author advice on everything from how she/he should acknowledge his/her editor to
good restaurants in New York City to go to when they’re here on their publicity
tours. In short, agents do a lot of behind-the-scenes work.
Lisa Swayne:
I work with the author to develop the manuscript. I read chapters, do some editing if
necessary. I also do what I can to contribute to the publicity effort for the book ---
everything from arranging interviews, setting up seminars and speaking engagements to
looking for additional outlets for newspaper/magazine columns, merchandising
opportunities, etc.
Linda Mead:
Agents are like stewards of the project. We facilitate communication and negotiation
between author and editor, marketing, publicity and subagents, always taking in mind the
long term value and practical daily goals of the project.
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