Chip MacGregor .com

More on how to make money with your writing...

Continuing the thoughts about making a living at writing...

4. The most overlooked area of writing is still the ‘zine market. Especially special market magazines -- and there is basically a magazine or e-zine about anything you'd ever want to study. I still do some writing for The Linking Ring (the magazine for the International Brotherhood of Magicians), and have done work for numerous other magazines, e-zines, and newsletters. But don't start sending things indiscriminately. Check out a copy of the magazine at Barnes and Noble, then go to the mag's website and you'll find directions on how to submit, how many words, required focus, etc. 

There are two keys to success in writing for 'zines: (a) Know the magazine so that you understand the readership, focus, and editorial tone; and (b) Know the editor to approach, and how to approach him or her. If you're not familiar with the 'zine, spend some time getting to know the tone and approach they use, so you can shape your writing to best fit their expectations. Remember that magazine editors are like everybody else -- if they like your work and find you easy to deal with, they'll soon be using you on a regular basis. 

5. You might be able to go to your local newspaper and try to get a column. Or go in and suggest a focus for a column, like "gardening" or "farm life" or "parenting" or "travel." Make it unique, think it through, and give the editor a reason to say yes to the idea. Many book writers I've worked with over the years have found a regular column in a newspaper is helpful because it helps get them writing regularly, and helps them build a readership. 

6. Keep in mind that every piece of ephemeral or periodical literature is a monster that must be fed. All of us who started in magazines or newspapers know the pressure that comes from someone saying, "We're going to press this afternoon." It isn't like writing books, where you have months to work on it, then can still turn something in a few days late without major consequences. On magazines and newspapers, you write your piece, you get it done, and you turn it in. If you can't work on a deadline, don't try this.

7. And that leads me to one last comment: THIS IS HARD WORK. I find most writers are in love with the idea of writing a book and seeing their name in print on the cover, but some are not all that interested in working hard. (Sorry -- not trying to offend the hard-working writers out there. I'm sure you're both very nice people.) Writing for a magazine doesn't allow you the luxury of staring out the window for an hour while you think of the perfect lead. There's no extension while you polish grammar, and no waiting on production so you can get the conclusion just right. It's words by the clock, and you train yourself to bang out words in order to meet the deadline. It's also great training -- I suppose I still most appreciate the writers I know who have a jounalism background, since they know what it's like to sit at a desk, one eye on their computer screen, the other on a clock, banging out the best words they can in order to fill the page.

So there are a handful of ideas to help you generate some income at writing. What is it that has worked for you?

 

How can I make money with my writing?

Pam wrote to ask, “Can you say more about the whole freelance writing concept? I’m looking for practical ideas to help me make a living.”

A couple thoughts from a guy who would basically write for anybody, so long as they paid me...

1. If you live near a major city, check and see what organizations are located near you. Most nonprofit organizations have a magazine, newsletter, or web site, and they all need content. Check them out, find out what sort of articles, interviews, and sidebars they use, then offer them some material. I sold hundreds of things to companies and nonprofit organizations when I was free-lancing. Nonprofits have to stay in touch with donors, and that means somebody has to write their copy for them. (They also need report writers, researchers, and grant writers, if you want to check into those opportunities.) 

2. Drive down any of your streets, and you'll see businesses on both sides. Nearly every one of those businesses have a website, and they all need content. That's how the internet has changed business -- every mom-and-pop shop now has the opportunity to hawk its wares worldwide via the web. And think about the changes in websites over the past few years. You used to see something that resembled a highway billboard -- a business name, phone, address, and slogan ["Don's Plumbing of Portland -- Great Service, Low Rates. Call Today -- 555-1234"].

Now if you go to that site, you'll find an introduction to the business, a history of the company, a bio of each employee (complete with photos), a self-help section to fix your own plumbing problems, a link to order specialized plumbing parts, a section on the history of indoor plumbing, and an ask-the-expert compendium. And, of course, somebody has to write all that stuff. Most businesses do it themselves (until they figure out what's they've written is awful, since they are plumbers and not writers), then they go to a PR firm to create copy for them. This is why I've been saying to people at conferences there have never been more writing jobs than there are right now -- ask anyone in the industry, and they'll tell you there is a huge need for creators of content. And, if you really check in to it, you'll find they don't teach writing in schools as much as they used to, so this need has arisen at the very time when there are fewer people who can put together a string of coherent, interesting paragraphs. If you can learn to create good marketing copy, you can make some extra money. OR you can specialize in editing other people's web copy, since it all needs another set of eyes on it. (I have a friend who has made a steady part-time living doing "editing checks" of company websites.) This may not be exactly the type of writing you want to be doing, but it's a great way to generate income while you're working on that thriller novel you've got going.

3. If you are friends with academics, think through which professors have popular classes that you could turn into books for them. Frequently a popular seminar speaker will have great content, but will struggle with moving his or her ideas into print.  This is how I got started in the freelance writing business -- I introduced myself to a couple profs who had great seminars, but wrote like academics. I simply turned each section into a chapter, and in the end, they had a book.

By the way, if you know any motivational speakers, or if you live near a mega-church with a well-known, charismatic pastor (um..."charismatic" in the classic sense of the word) who creates and sells downloadable or CD sermon series, go in and offer to turn those speeches into book chapters, You can also create study guides to go along with the series. I made great money doing this, thanks to a writing friend who introduced me to some people who were creating these types of projects. 

There are opportunities with both digital and print writing. For all the talk about publishing being dead, the fact is more people read now than ever before. That means there are plenty of avenues for making freelance writing money. 

 

How do you set up your writing business?

Chantrelle asked, “How do you set up your writing business? What are the benefits to treating your writing business as a ‘real job’ by setting it up in a professional manner? And what did you do to make that happen?” 

Let me offer a handful of thoughts for you...

1. Find a place. Make this your writing place and designate it as your office. 

2. Make that your official home office, then read up on what the IRS will allow you as a tax deduction.

3. Establish a writing time. For most authors, that's simply "morning." Protect a time each day when you can do some actual writing and not just checking email, answering letters, meeting people for coffee, etc. When I started, I set aside 6 to 8 every morning. (I had young kids. Later that would not have worked. I hate mornings.) Tom Wolfe starts writing at 9 and stops at noon. Find a time that works, in which you'll just WRITE.

4. Create a filing system. ("Alphabetical by title or author" works well. Don't rely on the "Eureka!" system.)

5. Set up a bank account that is just for your writing business. Sign up for PayPal.

6. Set up your address list. Keep emails and phone numbers handy... and if you want to move into the bold new world of, say, 1996, invest in a phone that will keep those handy.

7. Create a calendar. Not just for your day, but for the big projects you've got. It'll help you figure out what you're writing when. It'll also remind you that you've got to take Fiona to the orthodontist.

8. Group similar activities. Do all your mail at one time. Group your phone calls back to back so you get through them more quickly. Ditto email, if that were possible. Things that are "occasional but regular" should be scheduled -- for example, I look at submissions every Friday morning.

9. Create a budget. How much do you expect to make this year? How much do you expect to spend? (Having more of the former makes for a better business, by the way.)

10. Create a to-do list. Every day. Work through it. On Friday (or every other Friday) start at the bottom and work up – that’ll prevent you from never doing the one task you hate.

11. Create a contact list. Capture names and email addresses, so you can stay in touch with the people in the industry who matter. 

12. Invest in a separate business phone line or business cell phone.

13. Invest in a website and business cards.

14. Make sure you've got quality high-speed internet. (Duh.)

15. Invest in the help you need – training or people or space or tools.

16. Invest in a great computer and the software you'll need.

17. Invest is a good printer, preferably with a scanner.

18. Invest in yourself -- take a class, attend a conference, join a support group, get therapy, whatever it is you need to grow.

19. Learn to keep good records. If you need a class on it, take one. (There are even personal organization trainers who will help you get organized.)

20. Learn about taxes – so that you track income and expenses, and learn to maximize information.

And the BEST advice? Write regularly. If you don't do that, you won't make a living at this.

That help?

 

Want to have a million seller?

In this business, you often see the term "million seller" bandied about. "This book is going to sell a million copies!" is a phrase I've had thrown at me dozens of times at conferences and conventions. In my view, people who talk about million sellers tend to over-promise and under-deliver. The numbers on 2011 book sales are in, and...well, nothing gives clarity to promises like some hard numbers.

How many hardcover novels released last year hit the million mark? One–John Grisham's THE LITIGATORS. (Stephen King's 11/23/63 fell just short.)

How many hardcover nonfiction books released last year sold a million copies?  Two–Laura Hillenbrand's UNBROKEN, and Walter Isaacson's STEVE JOBS. (Bill O'Reilly's KILLING LINCOLN just missed, selling more than 990,000 copies.)

How many new trade paper releases last year sold a million copies? Three–Todd Burpo's HEAVEN IS FOR REAL (the biggest selling book of the year, at just under 5 million copies), Kathryn Stockett's THE HELP, and Steig Larson's THE GIRL WITH THE DRAGON TATTOO. 

How many YA and children's books hit the million mark? Four, and every one of them was part of a series: Jeff Kenney's DIARY OF A WIMPY KID #6, Christopher Paolini's INHERITANCE #4, Rick Riordan's HEROES OF OLYMPUS #3, and his KANE CHRONICLES #2.

How many mass market releases in 2011 sold a million copies? Five, and three of them were from the same author. The list includes Grisham's THE CONFESSION, Nora Roberts' THE SEARCH, and three from George R.R. Martin: A FEAST FOR CROWNS, A GAME OF THRONES, and A CLASH OF KINGS.

And a new category, how many newly-released ebooks sold a million copies in 2011? The answer will undoubtedly surprise you–one. Kathryn Stockett's THE HELP.(HEAVEN IS FOR REAL just missed hitting the mark.)

The numbers for backlist books are pretty skinny–only three backlist titles sold a million copies, and all three were from the same author. Suzanne Collins' CATCHING FIRE and MOCKING JAY hit the million mark in print sales, and HUNGER GAMES sold a million ebooks. 

And that's the full list. Interesting to note that last year there were no backlist trade paper books; the highest was BREAKING DAWN, which sold 750,000. So a total of 19 books sold a million copies in 2011. Let's put this in perspective...

There were a few more than 250,000 NEW titles released in 2011, and of that group, 16 sold a million copies. There were approximately three million books for sale in the US last year (that number is much in dispute, and some would put it closer to four million), and a total of 19 of them sold a million copies. (Okay, time for the disclaimer: These figures are being pulled from Publishers Weekly, the bible for those of us who work in the industry, but a publication that relies on publishers and retailers for their figures. So could some author have sold a million ebooks from his or her website and not made the list? Sure. But when you look at these numbers, it makes you wary of the inflated claims some authors have about their personal ebook sales.)

One of the most interesting details that arises from looking over the full sales reports, which can be found in the March 19 edition of Publishers Weekly, is that the vast majority of bestselling authors have been there before. Of the thirty top-selling novelists from across all publishers last year, only two names show up on the list that weren't there in previous years. So the same old names (Patterson, Roberts, Sparks, etc.) are what are paying the bills for publishers. This is a business that keeps going back to what works (and WHO works) in order to make money.

What's the lesson for the writer? Um...before you decide that writing books is going to lead you to fame and fortune, you may want to peruse the bestseller lists. A little dose of reality can be a good thing. 

 

When is a writer ready to go full time?

Emily wants to know, “As a writer, when are you ready to go full time?"

This is a favorite question of mine, since I routinely see wannabe authors get a book contract, quit their jobs, then wonder why that lousy agent of theirs can't help them survive financially.

I have three rules of thumb for authors who want to go full time:

1. You need to have four-to-six books earning you a royalty;

2. You need to have 18 months to 2 years of book contracts;

3. You need to have a plan in place. (That plan will include a budget, a writing calendar, an accountability partner or writing support group, a writing space, adequate equipment, and most likely a therapist, since you're probably delusional to consider the idea anyway.)

Let's look at reality for a minute -- let's say you just got a decent two-book deal. The publisher is paying you, say, $10,000 per book on an advance, so the total deal is for $20,000. You get a third of that on signing ($6666 -- but if you're an evangelical, don't take that as a sign of the apocalypse, okay?). You need to be able to live on that for the next few months while you write your book. If you can write it in three months (relatively fast for most novelists), you've had to live on $2200 per month. Pretty thin stuff. If it takes you six months to do a novel, you're having to make do on a thousand bucks a month. You see where I'm going with this?

Once the publisher approves your manuscript (which can sometimes take a few months), they'll send you your completion check for that book -- another $6666, payable thirty days after they request the check. You've now made a whopping $13k, you're months into the process, and you just used up all your good ideas on your first book. So it's on to book two!

Many novelists take eight months to write a book. But at that rate, even a healthy $16,000 advance (which is pretty good for any novelist) means you're getting by on $2000 a month. AND if you take that part-time job to make ends meet, you now find you have LESS time to work on your novel, so it takes you a year to complete. You don't want to hurry it up, since then you won't write as good of a novel, and writing a lousy book is sure to kill your career.

This is why I'm always reminding authors how tough it is to make a living at writing. You need to have books that are already out there earning you money, so that you know you've got some income from projects you are no longer working on. (Without this, you're simply trading your time for income.) You also need to have contracts in hand that will earn you MORE money -- and that money is easy to track, since you know when and how much you'll be paid. AND you need a plan for how you're going to move forward. 

Let's be honest: the first rule of writing is "don't quit your day job." Stop acting like writing full time is some sort of God-given right. If you had chosen painting or sculpture or singing or dancing or any other art, you'd probably be facing even longer odds at making a living at your craft. The fact is, MOST artists struggle financially. That's why most writers have some other source of income. Either they work full time, or they work part time, or they have a job related to the industry (freelance editor, reporter, book salesperson, counterfeiter), or they are married to somebody who has a real job that pays the bills. Don't lose sight of the fact that it takes most people years to get to the place where they are writing full time... IF they ever get there.

It's easy to hang out at a writing conference and assume that "everbody else in writing is making a living at this except me." Not true. Many of these folks are doing something to pay the bills. (For example, Steve Laube serves as a "double" for Shaquille O'Neil whenever he's in Phoenix. Sandra Bishop is the Queen of Roller Derby. Janet Grant is soon going to be taking over the judge's role on "The People's Court." And, of course, I'm a model for Speedo.) I'm really not trying to dissuade you, just trying to help you gain a realistic picture of what it takes to make a living in this business. 

 

More on how an author negotiates a book contract...

We're continuing our thoughts on what to have in mind when facing a book contract negotiation.

4. Be Clear when Talking. One thing that will hurt you in a negotiation is to wander around your point. For example, if you know you don't want to grant dramatic rights to your novel, be clear about it. Problems often arise in a negotiation because of the things that aren't said -- an author wants a certain advance but won't admit it, or the writer wants to retain foreign rights and doesn't say so clearly. If you know what you want, be ready to say so clearly in a polite, organized, and clear manner. This is why it's important for you to have a plan and write it down before you begin talking, so when faced with a question, you can refer to your notes and remind yourself of what is important.

5. Learn to Listen. Kenneth Tynan once referred to the activities at the United Nations as "a dialogue for the deaf." One speaker gets up and harangues people with some information, then the next guy gets up, starts talking, and acts as though he heard nothing that was just said. You'll be amazed at how much better negotiations will go when you learn to be quiet and hear the other side occasionally. You'll discover you learn things about the publishing house when you listen. It will make you a better negotiator. And a bit of silence can help you focus in the midst of a discussion.

6. You Have Options. Keep in mind that you don't have to agree to a bad deal. You always have options -- even if the only option is to say no thanks, get up, and walk away (whether permanently or temporarily). This is a basic truth that people in negotiations sometimes forget. The fact is, you may not be able to come to an agreement, so it could all fall apart. If you have a plan for what you really need in a deal, you'll know what that threshold is. But remember that there's a give-and-take in negotiations -- the publisher will ask you to give them world rights, and perhaps you counter with granting foreign rights so long as you retain dramatic rights. Or the publisher is offering a small advance, and you counter with something a bit bigger, but offer them a reason why they should be able to pay a bit more. Keep track of what you get and what you give away -- it'll show both sides that this is a good-faith negotiation.

7. Everything is Negotiable. Everything. Not just the advance and royalties, but the grant of rights. Your book title. The page count. The due date. Author copies and buy-back rates. Revisions, acceptance policies, cover approvals, reversion rights, publication date, termination, and non-compete language. Everything is negotiable. You're not going to win every point. You're probably not going to get everything you want. But that's what a negotiation is -- a series of compromises, so that both sides feel they like the deal that's put into place.

Know what's important to you ahead of time, do some research so you know what's fair and workable, then negotiate in a spirit of cooperation. This will keep your negotiations from being those painful, knock-down/drag-out affairs that leave you with a bad relationship and too much brain damage.

I hope this helps you. Best of luck with your negotiation!

 

"I'm trying to figure out how to work with an agent..."

Rita wrote to say, "I've been offered a contract on my novel. Since I don't have an agent, should I seek one at this point? And if the agent accepts, should he or she still receive 15% of the deal, even if they didn't market my book or secure the deal for me? Would it be better to have the agent simply review the contract for a fee?"

There's quite a debate about this issue. I suppose many agents would say, "Sure -- call me!" They'd be happy to get 15% for a deal they've done no work on. But my advice would be to think long term. Is there an agent you like and trust -- someone you want to work with in the long term? If so, call him or her. Talk about the situation. They may be willing to take less in order to work with you. They may review the contract for a fee. If, for example, you've got a $10,000 advance coming, make sure it's worth the $1500 to have the agent assist with this contract. (It may be worth it -- a complex situation, or a novel that is going to be made into a movie, or a potential bestseller probably call for a good agent to get involved). That said, it doesn't really seem fair to me to take the full comission for a book I didn't sell, though not everyone in the industry agrees with me. You can always talk with a contract-review specialist, who will review your contract for a flat fee (usually somewhere in the $300 range). You can also talk with an intellectual property rights attorney, but be careful -- they're generally paid by the increment (anywhere from a six-minute to a 15-minute increment), and their goal is to keep the clock moving. The longer it takes them, the more they are paid. I know of at least one author who paid more to have a top-flight entertainment lawyer review the contract than they were paid in advance dollars. Generally speaking, your family lawyer won't have enough experience to really help you with a publishing contract. Congratulations on getting the book deal, by the way.

Chris asked, "Should I worry about a literary agent who turned me down, but suggested I work with his editorial service?

Absolutely you should worry. Here's how this commonly works -- you send a manuscript to an agent, who says, "I really like this, but it's not ready. However, we have an editorial service here who can help you. For just $500, they'll get this proposal ready for us to represent..." The agent sends you to his editor friend, then pockets half of that "editorial fee," so he or she is making money off the author. That's a total violation of ethics for literary agents (and I'd argue the reason we're seeing some agents do this is because we've had a group of people jump into agenting who don't really know what they're doing). The Association of Author Representatives has a clear canon of ethics printed on their opening web page which precludes an agent from doing this very thing. It's ripe with potential for abuse. My advice: If an agent tries to cross-sell you some other literary service that charges you a fee, stand up and walk away. You can find a better agent.

Phoebe had this situation: "I signed with an agent, but wasn't happy. I fired that agent, and moved on to another. But now my first agent is claiming that anything I ever talked with her about is her responsibility! She claims that if I ever get a publishing deal for the projects she represented, she is to be paid the agent's commission. Is that legal?"

This is another one I can't fathom. I understand getting paid if I've done the legwork -- let's say that I've worked with an author to develop a project, showed it to publishers, and started to get some interest. If the author hears about it, fires me, then approaches the same publishers to try and get the deal and save themselves the 15% commission, I should still get paid. I state in my agency agreement that if I'm working with a publisher on your behalf, I'll still get paid even if you fire me and do a deal with them within a year. But I've seen this a few times lately -- an agent claiming that if you EVER sell the book they represented, they'll still get paid. I'm not a lawyer, so I cannot give legal advice, but I would think this would be awfully tough to have stand up in court. My advice: read any agreement carefully before you sign it. If the agent has a clause that's incredibly restrictive like this, ask to have it altered.

 

Does a beginning writer need an agent?

Amy wrote to ask, "In your opinion, does a beginning writer need an agent?"

It depends on the writer. There are some authors who are well connected in the industry, don't mind dealing with contracts and negotiations, understand career direction, and can survive without an agent. But in my view, it's rare to do those things well while maintaining a writing career. I used to tell people that I'm not an evangelist for agents, and over the past 15 years or so I've tried to maintain a balance -- I haven't always believed that every writer needs an agent in order to succeed.  But I'm now changing my tune. Most publishers require you to have an agent or they won't look at your material. Things have changed significantly in the past few years,  so that publishers are  moving toward relying on agents to be the first line, reviewing proposals and weeding out the chaff. Working with an agent professionalizes the relationship -- an agent is not as emotionally tied to a work as an author, so he or she can be more dispassionate about discussing a project, and the agent is going to be more familiar with the business of contracts, so ostensibly things will move along better for both sides. I recognize that some have said the future is in self-publishing, so that means authors won't need agents. I think that's completely wrong-headed. If you're going to be responsible for your book, you should think about working with someone who knows what they're doing and can help you. Think of the way realtors have changed the home buying market: You can still sell your home by owner, but it's gotten considerably more complex to do so. You've got to know the market, understand how to show your home, know how to get the word out, feel comfortable negotiating a price, and perhaps most importantly, understand how to fill out the mountain of paperwork that goes along with every home sale. (My wife and I sold three homes on our own, and another five homes through realtors, so I understand the difference a professional can make to a deal.) There are still plenty of small publishing houses that prefer to work directly with the author, but any publisher of size will want to work through an agent.

Donna wants to know, "How will I know I need an agent?"

If you're a novelist, but you don't have a completed manuscript yet, you probably do not need an agent. (And, to be completely honest about it, you'd have a tough time landing an agent.) If you're a nonfiction writer, having a great idea and great writing in a proposal is essential, and bringing some sort of strong platform to the table will help a lot. The bottom line is this: if you have something that is worth selling, then unless you know how to sell it and who to sell it to, you’re out of your depth and need an agent. If you have a great book idea and a solid proposal, you probably should at least consider interviewing potential literary agents. Again, you can learn to do some of this on your own, if you want to put the time in. 

Jon wrote to ask, "What should an agent do for me?"

Again, that depends on your needs. My relationship with one of my authors (say... bestselling novelist Lisa Samson) is quite different from my relationship with another one of my authors (let's say a first-time nonfiction writer). Each author is going to have a unique set of needs. But, generally speaking, an agent should help you evaluate ideas and discuss publishing trends and the salability of your manuscript. He or she should help you create a dynamite proposal, tweaking it as necessary and working with you to make the writing as strong as possible. (You get one shot with a publishing house... so don't turn something in that's only 80% ready.) A good agent will help you improve your work, understand the industry, suggest editing or writing help if you need it, introduce your work to key acquisition people, and sell your proposal for you. He or she will negotiate a good deal on your behalf, paying special attention to key contract issues, and help you create a partnership with your publisher. The agent should ensure contract compliance, help you maximize your marketing opportunities (something that's becoming more important in the current marketplace), be a pain when you need someone to kick things into gear, read a royalty statement and spot errors, be your biggest fan and encourager, assist you with career planning, champion your projects, and grow with you over time.

So the follow-up question probably needs to be, “What do YOU need in an agent?” Because your needs may be very different from your friend’s needs. And every agent is different. Some are great editors. Others are great contract people. Some are basically sales people. Others are negotiators. And still others are life coaches. If you figure out what you need most from an agent, you’ll be better equipped to find the agent that’s right for you, Jon.

Tammy states the obvious roadblock: "I feel stuck -- you can't get an agent unless you're published, but you can't get published without an agent. Help! What's the best way to go about finding an agent?" 

You're right -- it's not fair, and you're screwed. Sorry! The most important step in finding the literary agent that's right for you is to make sure you've got a great idea, expressed through great writing, and you can back it all up with a strong platform. Those are probably the first things you need to have completed. Once you're ready to start looking for an agent, you can begin by looking in any of the "find an agent" books that are on the market. Check with Writers Digest books, and look at B&N for a book that lists literary agencies. Next, you can meet agents at writer's conferences, book shows, or at publishing functions like BEA or ICRS. These are still the best places to get 15 minutes of face-time with an agent. It allows you to get a feel for him or her, and see if you think the two of you might work together. At some writers' conferences, you can send in your material ahead of time and sign up for an appointment. If you're going to do that,  remember to create a good presentation -- after all, you are selling yourself. Put together a cover letter that tells about your life and work. Include your previous writing and book sales. Show the agent a great proposal, and make sure it's as strong as you can make it. Be ready to talk about yourself, your books, your ideas, and your platform. An author who shows huge potential for the future is much more likely to garner interest from a good agent.

I hope you're finding this series helpful. I've got several more questions, then I'm going to move onto contracts. 

 

How do I get an agent?

Elizabeth wrote to ask, "Can you tell me the basics of how to get an agent, when to get an agent, and how the agent relationship works?"

I have responded to this basic question in the past, so let me repeat some of my old ideas...

First, remember I’m a literary agent, so I'm either "experienced" or "biased," depending on your position. I’ve been in the publishing business for more than 20 years, full time as an agent for the last 14 or so. I made my living as an author and, later, as an editor before I fell away from the Lord and became an agent. I was with one of the top literary agencies in the business for many years, and now I’m out on my own – so I admittedly have my own perspective. Second, I’m pretty successful at what I do, in a business where some people call themselves “agents” but don’t seem to know what they’re doing (and, consequently, don’t last very long), I’m fairly well known in the industry and, by and large, have developed a pretty good reputation (more evidence for the existence of God). Feel free to ask around and see what others say. Third, most people who know me will tell you that I’m not an agent evangelist. I happen to know there are some very good things a literary agent can do for you (no matter what Jon Konrath says), but I’ll be the first one to tell you that not everybody needs an agent. And I’m fairly safe in talking about this because I’ve been saying the same stuff for years.  So I’m going to give you my opinion…

When NOT to get an agent:

-When you're not a proven writer. Generally, publishers are looking for great ideas, expressed through great writing, and offered by a person with a great platform. Sometimes they get all three, usually they settle for two of three. (I’ve taken on some unproven writers because I liked an idea or the writing, but understand that I have to work MUCH harder for an unknown author, and get less return, than I do for a proven author… and that's why agents prefer to work with proven authors.)

-When you don't have either a full manuscript (if it’s fiction) or a dynamite proposal and sample chapters (if it’s non-fiction). Without those, you’re simply not ready.

-When you won't let others critique your work. Criticism is how we get better. Why is it the worst writers seem the least ready to listen? (Maybe because in their hearts they know they aren’t that good, and admitting that would hurt their self-esteem… or maybe I’m guilt of psychologizing.)

-When you're not ready for rejection. This is a tough business. Do you have any idea how many times I hear the word “NO” in a week? If you can’t take some rejection, or if you can’t take criticism, or if you can’t take direction, go back to the dry-cleaning business. You obviously aren’t tough enough for the writing biz.

-When you have so much time on your hands you can do everything an agent does. (Right. Like THAT’S going to happen.)

-When you feel like you're "giving away" 15% of your income. I don’t think many of the authors I work with resent my percentage… they know I help them earn more than they’d get on their own. But if you don’t feel that way, you’re probably not ready to work with an agent.

-When you enjoy selling books and negotiating, you know what you're doing with marketing and contracts, you have the relationships with editors to set up your own book deal, AND you don't mind singing your own praises.

When TO get an agent:

-When you have a dynamite proposal that a publisher will fall in love with. The agent should help you find the right house and maximize the deal.

-When you don't know who to go to. An agent should have strong relationships in publishing… ALWAYS ask a prospective agent who he/she represents, ask to talk with some of his/her authors, and ask what deals he/she has done lately. If an agent doesn’t really represent anybody, or hasn’t really done any deals, you have to wonder if they’re really an agent or just playing one on TV. An agent lives or dies on his/her relationships. Make sure you pick somebody who is good at relationships.

-When you don't know about contracts (they are legal documents that govern every aspect of your book for as long as it's in print -- a contract can impact your life for years) or how to negotiate. 

-When you don't know what a good deal or a bad deal is.

-When you don't know how to read a royalty statement.

-When you don't know how to market your book.

-When you don't have time on your hands and don't want to negotiate with the publisher yourself.

-When you don’t want to be the person promoting or selling yourself and your work.

-When you need career guidance. 

If these apply to you, then you'll probably find an agent helpful. 

That said, my advice for finding an agent isn't necessarily going to please everyone...

-Go meet agents up close and personal. Attend conferences, make appointments at their office, or connect at a book show. It will give you a feel for what the individual is like.

-Get to know and trust the agent. Again, I think there are a lot of people who claim to be agents but don't really know the business, so make sure you connect with the person one-on-one and ask questions.

-Find out if they like books and if they're good with words. In my view, the best agents are word people first. (That’s an important point. Just because a guy has negotiated contracts doesn’t mean he can help you with ideas or writing or editing or selling.) Ask what they read.

-Ask who they represent, then go check with some of their authors.

-Ask, "How many books have you contracted in the past year?"

-Look for a full-time agent preferably, not somebody who is part agent, part editor, part author, part Amway salesman. More and more I think this is true. Not everybody can be an agent. (Just like not everybody can be an author, a copy-editor, a sales rep, or the quarterback of the Green Bay Packers.) So look for somebody who knows the job and is sold out on doing it, rather than somebody who is trying to represent people while also doing a dozen other things.

-Go create a wonderful proposal with good writing and a complete bio. This is really the most important step. Make sure to include your sales history and a market analysis.

-Remember MacGregor’s Law of Agenting: Make sure you LIKE the person. There's nothing worse than having to do business regularly with people you don't like. I LIKE the authors I represent. Most are personal friends. I can’t imagine working in my office, having the phone ring, hearing the receptionist say, “Mr Farnsworth is on the phone,” and me going into a spasm of disgust - “Yikes! Farnsworth! I HATE that guy! Tell him I’m not here!” Life is too short for that sort of BS. I routinely tell authors that I’m not the agent for everyone. My personal style is fairly gentle (believe it or not…I’m not nearly the smart aleck in real life as I appear in print), I’m pretty soft-spoken at meetings (people are often disappointed when they meet me). So I’m not the right guy for a writer who wants Mr. Take-Charge. If you don’t LIKE the individual, don’t hire him.

-Once you settle on someone, make a commitment to work with him or her long term. A good agent should talk with you about your writing career. My goal is to work with the authors I represent for the next 20 years, so we can all retire together and still be friends. That said, always ask if the agent you’re talking to relies on a “term” agreement or an “at will" agreement. My agency agreement is a letter that serves as an at-will agreement. There’s no term -- it starts the day we sign it; it ends when we start calling each other names and throwing manuscripts at each other. (I’ve talked with too many authors who got locked into really bad term agreements -- “I’d like to have you represent me, Chip, but I’m stuck with Mr. Bonehead for the next two years.”)

-Understand that not all agents are alike. One person is a “contracts” guy – his focus is on intellectual property rights law and tough negotiation. Another person is an “editorial” type – her emphasis is on helping you craft a great manuscript. Some agents are “idea” guys (they come up with great ideas), others are “life management” types (they will coordinate your speaking, writing, media, money, even your wardrobe, I suppose). My strengths are in “recognizing great writing” and “career development,” and those are two things I’ve established pretty firmly as my agent identity over the last decade. Figure out what you need in an agent, then determine what the agent’s strengths are. That’ll move you down the path much quicker.

I used to tell would-be agents (1) only represent people you like, and (2) only represent good writers. I've been able to hold to that, and have done really well in the business. The authors I represent are friends, and every one of them can write.

So... can you get published without an agent? Of course you can. You can also sell your house without a realtor and draw up your own will without a lawyer. But you may not want to do any of those things, and it’s getting harder and harder to do them well. In fact, trying to get a career established in publishing without a good agent is an uphill climb. It’s doable, but it’s harder than it used to be. A good agent should help you decide on a salable idea, create a better proposal, and get that proposal in front of the decision-makers who matter. More and more, your agent will help you refine your work, assist you with your marketing, and shape your career... not just get you another book contract.

Whew... maybe that was more than you wanted. Hope it helps.

 

Ghostwriting: Not as Spooky as it Seems (A Guest Blog)

     There’s no middle ground. If you are a person’s ghostwriter, that person will either hate you or love you. It’s all about ego.

     If the person whose name is going to appear on the cover actually wants people to think that he or she wrote the book, that person will want you to write a brilliant manuscript and then drop off the face of the earth so that he or she can go on radio and TV talk shows and take kudos for writing such a brilliant artistic masterpiece. (I actually had a client break into tears recalling how “emotionally gut-wrenching it was to write chapter nine.”  Oh…pul-leeese!)

     So, let’s put our cards on the table. Most ghostwriters, including me, do this for the money. Thus, rule one is to charge plenty.  I mean it.

     Let’s get the negatives out of the way. First, ghosting causes a split personality: the publisher is expecting the ghost to deliver one kind of book, but very often the client wants a totally different kind of book. (When it doubt, favor the one paying you.) Second, ghosting is hard work, but usually you get no credit for your labors. (One woman, whose entire book was written by me, thanked me on the acknowledgements page for “proofreading assistance and help with typing.”) Third, no matter how the book fares, you, the ghost, will come off the loser. If the book hits #1 and sells five million copies, you won’t get a dime more than the work-made-for-hire flat rate you were originally paid. If the book tanks, everyone will blame you, personally, for producing an inferior manuscript.

WHERE’S THE UPSIDE?

     By now you may be wondering why a guy like me, who has written 34 books under his own name, would also have ghostwritten 18 books for other people. One reason is because writing is what I do, and a bad day writing is better than a good day mopping floors at a fast food restaurant.

     Another reason is that sometimes the clients are really very nice people. For example, when I ghosted a book for Dr. Chris Thurman, a prominent psychologist in Texas, he turned over all of his notes, rough drafts, and research to me, and he also allowed me to follow him for five days, constantly taping interviews with him.  The book I wrote, The Truths We Must Believe (Thomas Nelson, 1991) sold very well. It didn’t carry my name anywhere, but in the book’s preface, Dr. Thurman wrote, “I gave Dennis E. Hensley a lump of coal and he gave me back a diamond.”  That was gracious.

PAYMENT FOR GHOSTING

     Most ghosting is by flat fee.  A publisher will contact you and say that famous model Suzie Sweetsmile needs a book with her name on it. The advance will be $20,000 and it will all go to you (usually half in advance and half upon completion of the manuscript). If the book ever sells enough copies to work off that advance, all future earnings will go to Suzie.  Some small publishers will only pay $6,000 for a ghosted project, whereas Charles Leerhsen was paid an estimated $150,000 to ghostwrite Donald Trump’s book Trump: Surviving at the Top. But then, Mr. Leerhsen was a staff writer for Newsweek and (to quote Chevy Chase) “you’re not.”

     Here’s my suggestion: listen first to what the editor offers, and, if you like the terms, accept the deal.  If not, explain why you need more money, such as you’ve had better offers from other publishers or you could earn more money writing books under your own name.  Make a counter offer. If the editor agrees, close the deal. If she says it’s too much, then thank her for calling you and go back to whatever you were writing that was paying you better.

WORKING WITH EDITORS

     Before you sign a ghosting contract, get three questions answered.

     #1 What is the deadline? If the book isn’t needed for a year, you can work at a leisurely pace and do other assignments along the way. Thus, a 50% advance up front and 50% upon completion isn’t a bad deal. However, if the book is needed in three months, it will consume all your time, so it’s reasonable to ask for 75% of the advance up front so that you’ll have money to live on.

     #2 Will there be an expense account? This is crucial. If your source person is in California and you live in Kentucky, who is going to pay for the air fare for the interview trip? What about motel bills, rental cars, meals, photocopying expenses, mailing costs, and typist fees? You need to nail down how much will be coming out of your pocket so that your entire payment won’t be eaten up in research and operating expenses.

     #3 What sort of recognition will the ghost receive? Get it in writing. Will you get no recognition?  Will you get an “as told to” identification on the cover? Will you be listed as the book’s coauthor? Will you be lauded on the acknowledgments page? Agree on this ahead of time.

BREAKING INTO THE FIELD

     There are several ways you can become a working ghostwriter. If you know someone who is famous or is an expert in some area, try to convince that person to allow you to write his or her story and, thus, hitch your wagon to a star. Another option is to write directly for a client. Not all ghostwritten books need to be written for a publisher. There are individuals who are prosperous enough to hire you directly to write their autobiographies or their specialty books.  I placed an ad in a business magazine offering my services as a ghostwriter and wound up with three deals.

     Try to get someone to recommend you. Networking is important. Have other writers refer you to their agents or publishers.  Go to writers’ conferences and give your business card, resume, and samples of your published works to editors and inform them that you do ghosting.

     Become a topic expert. If you can become a writer who is an expert in a particular field (law, medicine, religion, the military), you can send your credentials to publishers who specialize in publishing books in those fields and line up ghosting assignments. In the late 1980s I started writing a lot of magazine articles about aspects of the insurance industry. I wound up ghosting books for leading agents, and later even wrote four insurance-related books under my own name.

     Obviously, ghosting is a avenue of revenue for writers. After one experience with it, you’ll know if you have a ghost of a chance of surviving another go-round.

 

Dennis E. Hensley, Ph.D. is director of the Department of Professional Writing at Taylor University and the author of more than 50 books, including How to Write What You Love and Make a Living at It (Random House).