One of the most frequently asked questions when I attend conferences or talk with authors is why I became an agent. And really my answer comes down to one simple thing: I don’t like rules.
For those who don’t know, I started my career, like many others, as an editorial assistant for Carrie Feron (now with Avon) and Melinda Metz (an editor who later created the Roswell book series and TV show) at Berkley. Later I was transferred to Ginjer Buchanan (still at Berkley/Ace), whom I worked under for four years. And I loved it. I loved everything about working at a publishing house. I loved editorial meetings, where we discussed possibilities and read new and exciting books. I loved acquiring books, calling authors and agents to offer representation, and negotiating contracts. In fact, I loved it so much that when asked whether I’d ever want to be an agent the answer was always a resounding no. And then, five years into my life at Berkley I decided it was time to further my career and move on.
In 1998 I made the move to Macmillan, then the publisher of the Complete Idiot’s Guide series. And I did well, very, very well. Within a year’s time I was promoted from editor to senior editor (I had left Berkley an associate editor) and handling some of their biggest titles and biggest-name authors. Again, I was doing a job I loved. While I was working entirely on one book series, I got to come up with creative ideas for new books and find talented authors to write them. Granted, some did phenomenally well, and others . . . not so much. But I still loved it.
And then it was time for a change. While I loved working at both places and with the varied authors and books, the one problem both houses had (and any house has) is too many rules. I couldn’t work on just any book because I had to always consider the strengths of the house. Berkley, for example, is a terrific commercial paperback publisher. That means they do romance, mystery, SF, and some nonfiction fabulously. They are not, however, the publisher you would go to with a high-end business book or a literary fiction original (meaning it hasn’t been published anywhere else before). And working with Macmillan was obviously working on nothing but Complete Idiot’s Guides.
I wanted more. I wanted to try things publishers wouldn’t let me buy. I wanted the ability to take a chance on something just because I loved it. I wanted to make my own rules. And that’s why I love being an agent and love having BookEnds. Sure, I’ve taken on projects I haven’t been able to sell, but at least I had the opportunity to try. I’ve also taken on projects knowing they might not sell and sold them. I’ve been able to take risks. Some I’ve won and some I’ve lost. But all I’ve enjoyed.
—Jessica
Monday, November 13, 2006
Friday, November 10, 2006
BookEnds Talks to Julia Templeton
Julia TempletonBook: The Bargain
Publisher: Berkley
Pub date: November 2006
Agent: Kim Lionetti
Julia Templeton has loved romance novels since reading her first historical romance over twenty years ago. She says it’s such a thrill for her to see her books on the shelf. She loves research, and when she's not writing she enjoys spending time with her husband of over twenty years and their grown children.
Author Web site: www.juliatempleton.com
Awards:The Bargain won First Place, Spicy category, of the Smoky Writers Sweet, Spicy, Spooky Contest, 2004; Masquerade (Ellora’s Cave) was the winner of the Ecataromance Reviewers choice award for best Ebook 2006; and Now & Forever (Ellora’s Cave) was among Romance Reviews Today "PERFECT 10" in 2003.
BookEnds: Describe your book in 50 words or less.
Julia: Saxon princess Aleysia Cawdor will do whatever she has to in order to save her twin brother after he is taken prisoner by the merciless Norman knight Renaud de Wulf. Aleysia enters into a sensual bargain with the wickedly handsome Norman, offering her body in return for her brother’s safety.
BookEnds: What is your favorite thing about this book?
Julia: My favorite thing about The Bargain is the transformation my hero, Renaud de Wulf, goes through. Renaud is a tough, ruthless warrior who has worked his entire life to gain the impressive fief of Braemere. And yet after he achieves this success, he learns that it’s not about what you have or the riches you gain, but rather who we love and how empty our lives would be without that one person in it. He kept surprising me with each page.
BookEnds: What other authors do you find inspiration from?
Julia: I’ve always admired Virginia Henley and Brenda Joyce for writing such wonderful sensual historical romance. They’re both brilliant at prolonging sexual tension. I also admire Karen Marie Moning and Susan Johnson for their wonderfully wicked alpha male heroes, and Angela Knight and Emma Holly for writing such fabulous sex scenes.
BookEnds: What is your writing process like?
Julia: I usually start with a character and start asking a lot of questions. I’m a fan of the character sheet, which means I interview my characters until I get a good idea of who they are. From there I research the setting and time period. A lot of authors dislike research, but I love it. I have an entire bookcase devoted to research books, and each shelf is broken down by time period and geographic location. Next I start writing a rough outline and then start writing the book.
BookEnds: Why have you chosen to write in the genre in which you write?
Julia: I love historical romance. In fact, I’ve always felt like I was born in the wrong time. After reading Kathleen Woodiwiss’s Shanna, I was hooked, so when I started writing, historical romance was my natural choice.
BookEnds: Has being published changed you or your writing?
Julia: It’s changed my writing. I’ve realized along the way that I have to write from an outline. That’s not to say I don’t stray from that outline, but it keeps me focused on the main points of the story. I have a certain amount of time to finish a manuscript, so I need to stay focused, and sticking to the outline helps me do that.
To learn more about Julia Templeton, see Our Books at www.BookEnds-Inc.com.
Thursday, November 09, 2006
Guarantees of Representation
In response to my post on Using Referrals and Requests, a reader asked:
So basically—if you have requested more material, no guarantee that this is a representation request? I'm really enjoying your posts more and more and I feel you have some very helpful information. I have met quite a few authors who have Jacky as their agent and I have even recommended a friend of mine query you all (and she did finally, to Jessica)—I thank you all for the service you have here.
So back to the double-edged sword—if you have a 98% rejection rate (which I can understand that there are a lot of writers out there trying to get their mss sold) and you have requested more, you basically are wanting to add more on your plate but not necessarily making an offer to represent that author? I'm a bit confused on this—but I'm sure it will clear up with more postings - E :)
When you put it that way, it does seem odd, doesn’t it? Why would people who are clearly too busy to even read query letters ask to read more? Because we are looking to add new and talented clients to our list and because there was very obviously something about your work that resonated with us. We probably liked the idea, found your voice intriguing, and connected with your characters. We liked those first three chapters enough that we were hungry for more. And yes, we liked them enough that we were willing to add more to our plates.
As for representation, the only thing that guarantees an offer of representation is the offer itself.
—Jessica
So basically—if you have requested more material, no guarantee that this is a representation request? I'm really enjoying your posts more and more and I feel you have some very helpful information. I have met quite a few authors who have Jacky as their agent and I have even recommended a friend of mine query you all (and she did finally, to Jessica)—I thank you all for the service you have here.
So back to the double-edged sword—if you have a 98% rejection rate (which I can understand that there are a lot of writers out there trying to get their mss sold) and you have requested more, you basically are wanting to add more on your plate but not necessarily making an offer to represent that author? I'm a bit confused on this—but I'm sure it will clear up with more postings - E :)
When you put it that way, it does seem odd, doesn’t it? Why would people who are clearly too busy to even read query letters ask to read more? Because we are looking to add new and talented clients to our list and because there was very obviously something about your work that resonated with us. We probably liked the idea, found your voice intriguing, and connected with your characters. We liked those first three chapters enough that we were hungry for more. And yes, we liked them enough that we were willing to add more to our plates.
As for representation, the only thing that guarantees an offer of representation is the offer itself.
—Jessica
Wednesday, November 08, 2006
When to Say When
In response to my post on Using Referrals and Requests, a reader asked:
I have a general question: let's say you've requested three different partials from one author (over time, clearly); two of those became full requests. If you pass on all three, should the author continue to query you on the next project, or is she/he wasting your time by doing so?
(I'm in the situation—or could be soon. The agent has my full right now, but I haven't heard back either way. I really like the agency, and I'd be thrilled to be repped by them, but I wonder when they want to read more but it doesn't seem to fit. . . .)
My advice is that if you really feel this is an agent you want to work with and strongly believe you would be a good fit, then keep it coming. Requests for fulls mean that she probably likes your voice and style, now it’s just finding a plot that fits. I wouldn’t put all of your eggs in one basket, but if it’s meant to be I believe it will.
—Jessica
I have a general question: let's say you've requested three different partials from one author (over time, clearly); two of those became full requests. If you pass on all three, should the author continue to query you on the next project, or is she/he wasting your time by doing so?
(I'm in the situation—or could be soon. The agent has my full right now, but I haven't heard back either way. I really like the agency, and I'd be thrilled to be repped by them, but I wonder when they want to read more but it doesn't seem to fit. . . .)
My advice is that if you really feel this is an agent you want to work with and strongly believe you would be a good fit, then keep it coming. Requests for fulls mean that she probably likes your voice and style, now it’s just finding a plot that fits. I wouldn’t put all of your eggs in one basket, but if it’s meant to be I believe it will.
—Jessica
Tuesday, November 07, 2006
My Reaction to Rejection
Last week I had a bad day. It probably wasn’t much different from any other day, but for some reason it felt worse. Two editors, both whom I respect and trust, rejected two different projects, both of which I love.
Just as rejection is part of every author’s life, it is part of every agent’s day, and as part of my job I need to get up, brush myself off, and start fresh. Most important, though, I need to find a way to boost the confidence of my authors and remind them why I took them on in the first place—I love their work, love their writing, love their voices, and, most important, have confidence that they have what it takes.
So what does an agent feel when getting rejected? I imagine most of you know very well what it feels like for an author, but how do agents take it? Obviously I can’t speak for anyone but myself. However, I imagine that all agents have had a similar experience. When I answered my email and picked up the voice mail, both came in at once, which should really be outlawed: my stomach knotted up and my heart felt heavy. It actually, physically hurt. I knew I had to make those phone calls and disappoint my clients, and you know what? It just plain sucks (excuse my language). I’m disappointed and angry. Why can’t these editors see what I see? I’m frustrated. We’re so close. In one case the book had been read by most of the editorial staff, and while the editor I submitted to really liked it and had nothing but extremely positive things to say about the author’s writing and voice, ultimately she couldn’t get the support she needed.
I’m also kicking myself. I feel that in some way I have let down my authors. By being excited about their work, by telling them how much I love it (which I truly do), did I set them up for a fall? After all, it’s my job to sell these books and I have yet to do so. I have, thus far, failed at my job. I know in the end both of these authors will see success. They are much too talented not to. But for today I wallow in my own feelings on the rejections, and tomorrow I will get up, brush myself off, and start fresh. I will send out more submissions, brainstorm new and better ideas, and dang it, I will sell these two authors . . . and many, many others.
—Jessica
Just as rejection is part of every author’s life, it is part of every agent’s day, and as part of my job I need to get up, brush myself off, and start fresh. Most important, though, I need to find a way to boost the confidence of my authors and remind them why I took them on in the first place—I love their work, love their writing, love their voices, and, most important, have confidence that they have what it takes.
So what does an agent feel when getting rejected? I imagine most of you know very well what it feels like for an author, but how do agents take it? Obviously I can’t speak for anyone but myself. However, I imagine that all agents have had a similar experience. When I answered my email and picked up the voice mail, both came in at once, which should really be outlawed: my stomach knotted up and my heart felt heavy. It actually, physically hurt. I knew I had to make those phone calls and disappoint my clients, and you know what? It just plain sucks (excuse my language). I’m disappointed and angry. Why can’t these editors see what I see? I’m frustrated. We’re so close. In one case the book had been read by most of the editorial staff, and while the editor I submitted to really liked it and had nothing but extremely positive things to say about the author’s writing and voice, ultimately she couldn’t get the support she needed.
I’m also kicking myself. I feel that in some way I have let down my authors. By being excited about their work, by telling them how much I love it (which I truly do), did I set them up for a fall? After all, it’s my job to sell these books and I have yet to do so. I have, thus far, failed at my job. I know in the end both of these authors will see success. They are much too talented not to. But for today I wallow in my own feelings on the rejections, and tomorrow I will get up, brush myself off, and start fresh. I will send out more submissions, brainstorm new and better ideas, and dang it, I will sell these two authors . . . and many, many others.
—Jessica
Monday, November 06, 2006
Books We'd Like to See
Recently I participated in a Backspace (bksp.org) forum discussion where I was asked a number of terrific questions—some of which I’ll elaborate on here.
The BookEnds website says: "BookEnds works with authors and publishers to produce the books we all want to see on our shelves." I wondered if you could elaborate on that statement for us.
It’s always interesting when someone puts your own words in front of you and asks you to explain them. This was a statement Jacky and I made when we first started the company seven years ago and one we still strongly believe in, despite how its meaning has evolved along with the company.
While I suspect all agents want to work on books that they want to see on their shelves, I’m going to break down what this statement means more specifically for BookEnds agents. Ultimately all agents, and all editors, work on books that they love (which means that statement so often put into rejection letters is true), which usually means books they want to read. In the case of BookEnds that tends to mean commercial fiction and nonfiction: mysteries, romance, women’s fiction, and self-help nonfiction. While all three of us have areas of interest that cross over (we all do cozy mysteries, for example), we also each have areas of expertise that the others don’t handle.
For example, I represent cozy mysteries with a hook, mystery and suspense, romance, erotica or erotic romance, business, career books, finance, parenting/childcare, women’s fiction, and general self-help nonfiction. Right now, I would love to see anything involving the paranormal, forensics (or better yet, a paranormal forensic novel or series), nonfiction authors with a large platform, or romantic suspense that’s different and exciting. And of course I’m always looking for a cozy mystery series with a fresh and exciting hook (think of what popular hobbies your friends and family participate in or a character with a career that’s intriguing and different), erotic romance that makes me sweat, historical mysteries or suspense that feature actual historical figures. I would also love to see women’s fiction that makes real life fun—I want to laugh at motherhood and menopause or see an abused woman face life in a new way. And romance—give me something that makes me laugh and cry, give me a romantic suspense that goes beyond the cop and the female victim and give me characters that jump off the page. In nonfiction I am always on the lookout for new books for women in business, marketing, entrepreneurs, and a new look at your career. The author, though, must have the platform to back what she’s writing. I’d also love self-help parenting books that haven’t yet been done (try to find that).
A few of my most recent deals should give you an idea of what I’m looking for: Corporate Confidential for Job Seekers, a follow-up book to the successful Corporate Confidential by Cynthia Shapiro, False Impressions: A Rubberstamping Mystery, a three-book deal by Terri Micene, A Parents’ Guide to Vaccinations, a follow-up to Natural Baby and Childcare by Lauren Feder, MD, Dream Wreaker, a two-book paranormal romance deal by Kimberly Dean, Scandal’s Daughter, a two-book historical romance deal by Golden Heart winner Christine Wells, and A Wolf in Chic Clothing, Charlaine Harris meets Mary Janice Davidson in this three-book deal by Karen MacInerney. Of course there are many other fabulous books and authors on my list, and if you’re ever wondering who at BookEnds represents a certain author, feel free to email and ask at editor@bookends-inc.com.
When I asked Jacky what she wanted, here’s what she said:
I am looking for terrific new books in both nonfiction and fiction. Please see our website for the kinds of books we DON'T represent. In general, I am looking for mysteries of all kinds, suspense of all kinds (especially women's romantic suspense), women's fiction of all shapes and sizes, and practical, how-to nonfiction in the following areas: business, health (both mainstream and alternative, and especially a mix of the two), spirituality, pets, puzzles, fun gift books (but not coffee table books), relationship books, and lifestyle. With nonfiction it is especially important that the author have a substantial platform relevant to the work, and be able to deliver a solid marketing plan.
I love to read about new subjects and learn something from my reading experience. Therefore, I am especially drawn to fiction that has a setting or subject matter that is unusual. For example, mysteries featuring a caver, or women's fiction set in the conservation corps. Competition for fiction is fierce so anything that gives a story a leg up on that competition is welcome. I believe that unusual and foreign settings, jobs, interests, and plot lines add a great deal to a story. And naturally the writing must be top-notch as well. In order to stand out in any field today professionals need to specialize. I find this to be true in fiction as well, so a novel that focuses on a character with an unusual job, hobby, or location is a plus. I am always looking for cozies with a strong and different hook (and it amazes me that they still keep coming in: Wonderful!), erotica with a new and different twist, women's fiction with a powerful emotional element as well as an unusual and engaging setting. I would love to see a few forensic thrillers, or a character with an unsual twist; I'd love to see some new paranormal mysteries and some terrific suburban suspense. Soccer mom novels are always welcome, especially with a little darkness invovled. Of course, I'm always looking for the I-just-can't-put-it-down novel, but aren't we all?
With nonfiction I'd like to see the same kind of specialization, which has a built-in market. If you have a great idea, feel free to email me first at jsach@bookends-inc.com.
And finally Kim’s request:
On the fiction side, Kim represents mysteries, westerns, women’s fiction, and all areas of romance, but she’s specifically interested in romantic suspense, paranormal and historical romances. On the nonfiction side, she handles true crime, pop culture, and pop science projects.
At present, Kim is hungry to read a great emotional women’s fiction novel with a lot of depth and complex, meaty characters. In addition, she’d love to see a historical paranormal romance that feels fresh and not like all of the many other paranormals that are already out there. Finally, she’s always looking for experienced journalists to cover gripping true-crime stories that can appeal to a national audience.
The other part of this question involved the word “produce.” Originally BookEnds started as a book packaging company (which I’ll explain later), but after much thought we decided that truly we wanted to be literary agents and use our editorial skills to make our agency unique. You see, all three of us began our publishing careers as editors and have carried those skills over to BookEnds, which means that we feel very strongly about working with our authors to help create those books. How closely we work with an author depends a great deal on the author and how closely she wants us to work. With some authors I have brainstormed from conception to create an idea from the ground up (for both fiction and nonfiction authors), and with others I simply work to come up with a submission plan.
There are some authors I’ve spent time on the phone with and together we’ve taken what was a germ of an idea and created a fabulous mystery series or romance trilogy. Other authors have come to me with the idea and I’ve worked with them to massage and mold it into a fantastic book. Beyond just the work, though, I work with my authors to create and build a career. We negotiate with the publisher for more marketing and publicity and I come up with tips and tricks for wowing editors and getting into the good graces of the sales department.
So BookEnds does truly work with our authors, and together, as a team, we are creating and have created a shelf of books that I’m very proud to say I’ve been a part of.
—Jessica
The BookEnds website says: "BookEnds works with authors and publishers to produce the books we all want to see on our shelves." I wondered if you could elaborate on that statement for us.
It’s always interesting when someone puts your own words in front of you and asks you to explain them. This was a statement Jacky and I made when we first started the company seven years ago and one we still strongly believe in, despite how its meaning has evolved along with the company.
While I suspect all agents want to work on books that they want to see on their shelves, I’m going to break down what this statement means more specifically for BookEnds agents. Ultimately all agents, and all editors, work on books that they love (which means that statement so often put into rejection letters is true), which usually means books they want to read. In the case of BookEnds that tends to mean commercial fiction and nonfiction: mysteries, romance, women’s fiction, and self-help nonfiction. While all three of us have areas of interest that cross over (we all do cozy mysteries, for example), we also each have areas of expertise that the others don’t handle.
For example, I represent cozy mysteries with a hook, mystery and suspense, romance, erotica or erotic romance, business, career books, finance, parenting/childcare, women’s fiction, and general self-help nonfiction. Right now, I would love to see anything involving the paranormal, forensics (or better yet, a paranormal forensic novel or series), nonfiction authors with a large platform, or romantic suspense that’s different and exciting. And of course I’m always looking for a cozy mystery series with a fresh and exciting hook (think of what popular hobbies your friends and family participate in or a character with a career that’s intriguing and different), erotic romance that makes me sweat, historical mysteries or suspense that feature actual historical figures. I would also love to see women’s fiction that makes real life fun—I want to laugh at motherhood and menopause or see an abused woman face life in a new way. And romance—give me something that makes me laugh and cry, give me a romantic suspense that goes beyond the cop and the female victim and give me characters that jump off the page. In nonfiction I am always on the lookout for new books for women in business, marketing, entrepreneurs, and a new look at your career. The author, though, must have the platform to back what she’s writing. I’d also love self-help parenting books that haven’t yet been done (try to find that).
A few of my most recent deals should give you an idea of what I’m looking for: Corporate Confidential for Job Seekers, a follow-up book to the successful Corporate Confidential by Cynthia Shapiro, False Impressions: A Rubberstamping Mystery, a three-book deal by Terri Micene, A Parents’ Guide to Vaccinations, a follow-up to Natural Baby and Childcare by Lauren Feder, MD, Dream Wreaker, a two-book paranormal romance deal by Kimberly Dean, Scandal’s Daughter, a two-book historical romance deal by Golden Heart winner Christine Wells, and A Wolf in Chic Clothing, Charlaine Harris meets Mary Janice Davidson in this three-book deal by Karen MacInerney. Of course there are many other fabulous books and authors on my list, and if you’re ever wondering who at BookEnds represents a certain author, feel free to email and ask at editor@bookends-inc.com.
When I asked Jacky what she wanted, here’s what she said:
I am looking for terrific new books in both nonfiction and fiction. Please see our website for the kinds of books we DON'T represent. In general, I am looking for mysteries of all kinds, suspense of all kinds (especially women's romantic suspense), women's fiction of all shapes and sizes, and practical, how-to nonfiction in the following areas: business, health (both mainstream and alternative, and especially a mix of the two), spirituality, pets, puzzles, fun gift books (but not coffee table books), relationship books, and lifestyle. With nonfiction it is especially important that the author have a substantial platform relevant to the work, and be able to deliver a solid marketing plan.
I love to read about new subjects and learn something from my reading experience. Therefore, I am especially drawn to fiction that has a setting or subject matter that is unusual. For example, mysteries featuring a caver, or women's fiction set in the conservation corps. Competition for fiction is fierce so anything that gives a story a leg up on that competition is welcome. I believe that unusual and foreign settings, jobs, interests, and plot lines add a great deal to a story. And naturally the writing must be top-notch as well. In order to stand out in any field today professionals need to specialize. I find this to be true in fiction as well, so a novel that focuses on a character with an unusual job, hobby, or location is a plus. I am always looking for cozies with a strong and different hook (and it amazes me that they still keep coming in: Wonderful!), erotica with a new and different twist, women's fiction with a powerful emotional element as well as an unusual and engaging setting. I would love to see a few forensic thrillers, or a character with an unsual twist; I'd love to see some new paranormal mysteries and some terrific suburban suspense. Soccer mom novels are always welcome, especially with a little darkness invovled. Of course, I'm always looking for the I-just-can't-put-it-down novel, but aren't we all?
With nonfiction I'd like to see the same kind of specialization, which has a built-in market. If you have a great idea, feel free to email me first at jsach@bookends-inc.com.
And finally Kim’s request:
On the fiction side, Kim represents mysteries, westerns, women’s fiction, and all areas of romance, but she’s specifically interested in romantic suspense, paranormal and historical romances. On the nonfiction side, she handles true crime, pop culture, and pop science projects.
At present, Kim is hungry to read a great emotional women’s fiction novel with a lot of depth and complex, meaty characters. In addition, she’d love to see a historical paranormal romance that feels fresh and not like all of the many other paranormals that are already out there. Finally, she’s always looking for experienced journalists to cover gripping true-crime stories that can appeal to a national audience.
The other part of this question involved the word “produce.” Originally BookEnds started as a book packaging company (which I’ll explain later), but after much thought we decided that truly we wanted to be literary agents and use our editorial skills to make our agency unique. You see, all three of us began our publishing careers as editors and have carried those skills over to BookEnds, which means that we feel very strongly about working with our authors to help create those books. How closely we work with an author depends a great deal on the author and how closely she wants us to work. With some authors I have brainstormed from conception to create an idea from the ground up (for both fiction and nonfiction authors), and with others I simply work to come up with a submission plan.
There are some authors I’ve spent time on the phone with and together we’ve taken what was a germ of an idea and created a fabulous mystery series or romance trilogy. Other authors have come to me with the idea and I’ve worked with them to massage and mold it into a fantastic book. Beyond just the work, though, I work with my authors to create and build a career. We negotiate with the publisher for more marketing and publicity and I come up with tips and tricks for wowing editors and getting into the good graces of the sales department.
So BookEnds does truly work with our authors, and together, as a team, we are creating and have created a shelf of books that I’m very proud to say I’ve been a part of.
—Jessica
Friday, November 03, 2006
BookEnds Talks to Allyson Bright Meyer
Allyson Bright MeyerBook: The Complete Idiot’s Guide to Scrapbook Projects Illustrated
Publisher: Alpha Books
Pub date: October 2006
Agent: Jacky Sach
Allyson Bright Meyer is a nationally recognized scrapbook artist who has published layouts in magazines, including Memory Makers and Scrapbook Trends. Allyson teaches workshops regularly at a local scrapbooking store, and her work was recently featured on PBS television. She holds a BA in English from the University of Iowa.
Author Web site: www.allysonbrightmeyer.com
BookEnds: Describe your book in 50 words or less.
Allyson: The Complete Idiot’s Guide to Scrapbook Projects Illustrated is an all-inclusive scrapbooking guide. The book features step-by-step instructions and ideas perfect for the beginning or experienced scrapbooker. Hundreds of color photographs of pages and albums will inspire readers of any level to create scrapbooks and keepsakes to last a lifetime.
BookEnds: If readers only take away one thing from your book, what would you like it to be?
Allyson: That anyone can create beautiful scrapbooks for their favorite photographs. Many people believe that in order to create a scrapbook they have to be an experienced crafter with a lot of available free time. That’s simply not true! The Complete Idiot’s Guide to Scrapbook Projects will help readers create beautiful albums in a short amount of time. Scrapbooking is a hobby that all people can enjoy, regardless of age, gender, or artistic ability.
BookEnds: What did you enjoy the most about writing this book?
Allyson: When I decided to write this book, I knew immediately that I wanted to enlist the talent of other scrapbook artists in order to have a variety of scrapbook styles represented in the book. Over 5,000 scrapbook pages were submitted for me to review. While the selection process was difficult, I loved looking at all of the beautiful art submitted and reading each individual’s story. Some pages made me laugh, and others made me cry. I was reminded of what I love most about scrapbooking—its ability to bring people together to record their own history for future generations and really connect with others during the process.
BookEnds: What was your road to published author like?
Allyson: After earning my BA in English at the University of Iowa, I had always wanted to pursue writing. Since I love scrapbooking, combining my two passions seemed like the perfect fit. I began writing short articles for Scrapjazz.com, one of the scrapbooking industry’s premier Internet destinations. Shortly after that, I was presented with the opportunity to write The Complete Idiot’s Guide to Scrapbook Projects, and I jumped on it. I have loved the opportunity to teach people the fun of experimenting with new techniques and theme ideas, all while creating fantastic scrapbooks they can enjoy for years to come.
BookEnds: What was most surprising to you about writing a book?
Allyson: I really loved the editing process, and I was really surprised by this. I guess I had a preconceived notion that working with an editor would be a difficult and frustrating process, but it was really the opposite. The development editor for my book knew exactly how to help me make my book even better, which was a real treat.
BookEnds: What’s your next book? When and where should we look for it?
Allyson: My second book, The Complete Idiot’s Guide to Altered Art Illustrated, will be released on April 3, 2007. It’s great for scrapbookers and anyone else looking to get crafty. It guides the reader through the process of taking ordinary, throwaway objects (such as old books and tins) and altering them to give the object new life and artistic meaning. Plus, most of the projects are just plain fun.
Thursday, November 02, 2006
The Submission Race
I got a letter today from an author pulling her work from submission. Apparently she had found other representation, and hopefully it is someone she loves and feels truly connected to. Most important, though, I hope it is an agent she trusts, values, and can work well with. I wish her nothing but the best and continued success. Believe it or not, I wish that of all writers.
However, I’m kicking myself. I wish I were magic and could read things faster. I wish Kim, Jacky, and Donniee (our assistant) had nothing better to do than read all week so we could stay on top of these things. Does it mean I would have offered myself? Not necessarily, but at least I would have played (as we say in the biz).
I don’t want to get into another discussion about hiring readers and how agents should read faster, blah, blah, blah. I’m bored with that. All agents and all editors face this sort of rejection regularly. When doing anything in life we have to prioritize, and in this case I prioritized another author’s submission over this one. Did I lose? Not necessarily, but I’m happy to hear that this author won.
—Jessica
However, I’m kicking myself. I wish I were magic and could read things faster. I wish Kim, Jacky, and Donniee (our assistant) had nothing better to do than read all week so we could stay on top of these things. Does it mean I would have offered myself? Not necessarily, but at least I would have played (as we say in the biz).
I don’t want to get into another discussion about hiring readers and how agents should read faster, blah, blah, blah. I’m bored with that. All agents and all editors face this sort of rejection regularly. When doing anything in life we have to prioritize, and in this case I prioritized another author’s submission over this one. Did I lose? Not necessarily, but I’m happy to hear that this author won.
—Jessica
Wednesday, November 01, 2006
Reader Questions
Besides the basic rants and raves about being a literary agent, and the comments they generate, I like to make sure we are giving you, the readers, what you want. So, please let us know if there are any questions you have for us, and don't be shy. Is there anything you want to know about BookEnds, literary agents, publishing. . . ? Or even anything more specific? A situation you are in that you would like some feedback on? We'll read all of your comments and answer some soon, some later.
—Jessica
—Jessica
Tuesday, October 31, 2006
Trick or Treat
I love Halloween. I’m a decorator and any excuse to deck out my house and yard is a good one. So as a special Halloween Trick and Treat I want to make sure everyone gets the opportunity to check out the International Independent Literary Agents Association list of Publishing Myths at www.iilaa.com (click "Enter" then "Publishing Myths"). I promise that it’s guaranteed to both give you a treat and scare you all at the same time. Sadly, it might also trick a few unsuspecting authors.
For those not interested in linking to the site, here are my thoughts on the IILAA list of Publishing Myths:
Myth #1: Writers don’t need an agent—they are a luxury and not a necessity.
I agree, more or less, that this is a myth. It’s true that in this day and age an agent is more and more important to your publishing career. However, I do know a lot of very successful writers who don’t have an agent or went quite some time without one. The little treat in this myth isn’t the myth itself, but the answer. IILAA actually believes that computers are to blame for agents and that because agents are necessary to sell to publishers, retainer fees are necessary as well. Please! So now we are, in a sense, blaming computers for agents who charge fees. Those dang computers! Clearly they are to blame for all the crooks in the world.
Myth #2: Fee-charging agents are scam artists.
So here’s your trick. IILAA is actually trying to convince you that because advances are so small it’s necessary to pay an agent upfront and help cover marketing expenses. Hello! If the advance is so small that your agency can’t live on commission alone, maybe you need to sell more books or work on your negotiating skills.
Myth #3: Your agent needs to be based in NYC.
Okay, here again I can agree that this is a myth. Obviously you don’t need to be in NYC anymore to be an effective and successful agent. However, it’s not because publishers have imprints all over the country (another myth created by IILAA). It’s because email, fax, and phones make it possible to work closely with editors without needing to be in their backyards.
Myth #4: Anything posted on one or more Web sites must be true.
Another instance where I can agree that it’s a myth, but with this one for exactly the opposite reason that IILAA has it posted. As far as I’m concerned you need to be careful about the many scam agents out there who would lead you to believe that charging retainer fees and reading fees is ethical. And one or all of them are happy to put up a Web site and post on message boards their version of how an agent does business.
Myth #5: That Preditors and Editors, SFWA, and Writer Beware, among others, are working for the author.
Certainly not a myth. These are some of the hardest working groups in the business. They have made it their mission to stop scam agents and have been very effective in more than one case. You would do yourself a lot of good to pay attention to what these sites say. IILAA also says that these sites are not trying to protect the author, but destroy independent agents. Another myth. BookEnds is an independent agency and has received nothing but support from these people; it’s bound to happen when you run a fair and ethical agency.
So take a look at the Web site and have yourself a good treat, but do not be tricked by what IILAA is trying to tell you. A good, reputable agency does not charge reading or retainer fees (reasonable expenses are fairly common though).
Happy Halloween! I’m dressing as a witch.
—Jessica
For those not interested in linking to the site, here are my thoughts on the IILAA list of Publishing Myths:
Myth #1: Writers don’t need an agent—they are a luxury and not a necessity.
I agree, more or less, that this is a myth. It’s true that in this day and age an agent is more and more important to your publishing career. However, I do know a lot of very successful writers who don’t have an agent or went quite some time without one. The little treat in this myth isn’t the myth itself, but the answer. IILAA actually believes that computers are to blame for agents and that because agents are necessary to sell to publishers, retainer fees are necessary as well. Please! So now we are, in a sense, blaming computers for agents who charge fees. Those dang computers! Clearly they are to blame for all the crooks in the world.
Myth #2: Fee-charging agents are scam artists.
So here’s your trick. IILAA is actually trying to convince you that because advances are so small it’s necessary to pay an agent upfront and help cover marketing expenses. Hello! If the advance is so small that your agency can’t live on commission alone, maybe you need to sell more books or work on your negotiating skills.
Myth #3: Your agent needs to be based in NYC.
Okay, here again I can agree that this is a myth. Obviously you don’t need to be in NYC anymore to be an effective and successful agent. However, it’s not because publishers have imprints all over the country (another myth created by IILAA). It’s because email, fax, and phones make it possible to work closely with editors without needing to be in their backyards.
Myth #4: Anything posted on one or more Web sites must be true.
Another instance where I can agree that it’s a myth, but with this one for exactly the opposite reason that IILAA has it posted. As far as I’m concerned you need to be careful about the many scam agents out there who would lead you to believe that charging retainer fees and reading fees is ethical. And one or all of them are happy to put up a Web site and post on message boards their version of how an agent does business.
Myth #5: That Preditors and Editors, SFWA, and Writer Beware, among others, are working for the author.
Certainly not a myth. These are some of the hardest working groups in the business. They have made it their mission to stop scam agents and have been very effective in more than one case. You would do yourself a lot of good to pay attention to what these sites say. IILAA also says that these sites are not trying to protect the author, but destroy independent agents. Another myth. BookEnds is an independent agency and has received nothing but support from these people; it’s bound to happen when you run a fair and ethical agency.
So take a look at the Web site and have yourself a good treat, but do not be tricked by what IILAA is trying to tell you. A good, reputable agency does not charge reading or retainer fees (reasonable expenses are fairly common though).
Happy Halloween! I’m dressing as a witch.
—Jessica
Subscribe to:
Posts (Atom)