We wanted to get to know Leslie Truex (NAIWE’s Author Representation Expert) better, so last month we sat down with her. Here are some thoughts she shared with us.

What is a literary agent?

A literary agent helps authors sell their books to publishers — that’s the short answer. Literary agents usually help authors get the manuscript ready for submission (many will edit and work with the author on the manuscript before it’s sent off to publishers), review the contract to try and get the best terms, mediate between author and editor when needed, help keep the authors on track so they don’t miss deadlines or necessary work publishers need, etc. Agents stay up-to-date on what’s going on such as what editor isn’t answering email as quickly, where editors have moved to, what editors are now looking for (they change their minds a lot), and more.

 

Do most authors work with literary agents?

Today, most, but not all, traditionally published authors in the big 5 will have a literary agent. Smaller presses often take nonagented work, but the author needs to understand contracts. Some contracts are bad and an author can commit all their future work to a press if they don’t know what they’re signing (I’ve seen some bad contracts!).

Of course, indie authors don’t have agents for their manuscripts, but some use agents to sell other rights, such as audio or foreign rights to their indie works.

 

What role does a literary agent play in the submission process?

Literary agents prepare the submission based on what editors want (e.g., query, synopsis or proposal, manuscript). Before submission, agents work with the author to make sure the manuscript is its best based on what agents know editors are looking for. Agents usually submit in batches, which allow for edits if the feedback suggests it. I submit to the big five publishers first, but agents can only submit to one imprint in a big 5 at a time (so if a publisher has two imprints that would work for my book, I can only submit to one). After big 5 imprints are exhausted, if there isn’t a sale, agents send to mid-size and smaller presses. Agents submit the package to the editors and correspond with them. If they ask for the full manuscript, agents send it. If they make an offer, agents get in touch with the author and contact all other publishers that have the manuscript to let them know an offer is in and give them a deadline for responding.

If the author likes the deal, agents review the contract and talk to the author about it. Once the negotiation is done and the contract is signed, the author works with the editor directly, but agents like to stay in the loop to help the author through the process.

Advances (if any) and royalties go to the agent and are then distributed to the author.

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Learn how to set your book submission apart from the hundreds . . . even thousands . . . agents receive a year. In this workshop you’ll learn:

• How to get your manuscript ready for submission
• Additional materials you need to prepare for submission
• Where to find and choose agents to submit to
• Pet peeves of agents and how to avoid them
• What to expect when working with an agent

You can join in this conversation on May 17, at 2:00 pm eastern, when NAIWE will host a discussion on the role of the literary agent. The cost for NAIWE members is only $10! Nonmembers can join for $30. Register today!

 

Leslie Truex is a literary agent with Blue Ridge Literary Agency and an author coach. She began her writing career by accident after starting a career website in 1998 that resulted in a freelance writing career and two traditionally published nonfiction books. However, Leslie’s passion lies in writing fiction. She is the author of a dozen romance and mystery novels using a pen name. Leslie enjoys sharing her insights and experiences to help emerging authors get their books published. She also supports authors through her online community for romance writers and coaching to both fiction and nonfiction authors. Leslie has spoken and provided workshops as an author and agent at a host of events, including The Virginia Festival of the Book, Malice Domestic, Maryland Writers Association, The Virginia Writers Club, as an adjunct at Piedmont Virginia Community College, and more, and she is the former president of The Virginia Writers Club.

We wanted to get to know Marcia Rosen (NAIWE’s Public Relations and Book Marketing Expert) better, so last month we sat down with her. Here are some thoughts she shared with us.

What is it about crime that brings it to the forefront when readers are making their selections of reading material?

People like mysteries of life and who dunnits. I think for cozies, like my recent book, they like to read about the lives of the characters and help them solve the puzzles.

Have you written crime stories based on real-life events?

No. There are people who do write what is known as “True Crime” stories.

Please give an example of past famous detectives that have influenced your mystery writing.

Sherlock. The Thin Man series, Nick and Nora Charles, MidSomer Murders Detective Baraby, Agatha Christie.

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Crime is the number one genre people read. Dozens of published authors have created stories hearing the voices of past famous detectives. Many of us mystery writers have the ambition and desire to create thrilling crime fiction with clever detectives. I certainly have been impacted and influenced by these past crime-solvers. Have You?

You can join in this conversation on April 25, at 2:00 pm eastern, when NAIWE will host a discussion on the mystery writer mindset. The cost for NAIWE members is only $10! Nonmembers can join for $30. Register today!

We wanted to get to know Karin Beery (NAIWE’s Fiction Expert) better, so last month we sat down with her. Here are some thoughts she shared with us.

What role do editors play in the publishing process?

Editors are the diamond cutters of the publishing world–they see the potential in a manuscript and help their authors cut and polish their books until they shine.

What role do agents play in the publishing process?

Agents are often called the gatekeepers–authors need to go through an agent before they can reach many publishing houses–but they’re more than that. They’re almost like an older sibling. They’ll fight with you and support you to see your project succeed, but they also need to be brutally honest (regarding your manuscript and the publishing process) to help you do it.

Can the same manuscript be published in the different publishing methods? (self, traditional, hybrid)

That depends on the contracts you’ve signed. Who owns the rights and for how long? It’s possible to self-publish a book, then have it picked up by a traditional publisher. It’s also possible that a traditional publisher will release the rights of a book back to the author, allowing him/her to self-publish. Hybrid publishers also have contracts, so make sure you know what you’re agreeing to before you sign anything.

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What’s the difference between a freelance editor and an acquisitions editor? Do you need an agent? If you do, how do you find one? How do you decide between traditional publishing, self-publishing, and hybrid publishing? With so many options available to authors, it can be confusing (and frustrating!) to figure out the best route for your book. In this webinar, we’ll take the confusion out of editors, agents, and publishers and help you figure out which options will work best for your publishing goals.

You can join in this conversation on March 21, at 2:00 pm eastern, when NAIWE will host a discussion on the publishing process. The cost for NAIWE members is only $10! Nonmembers can join for $30. Register today!

We wanted to get to know Jennia D’Lima (NAIWE’s Creative Nonfiction Expert) better, so last month we sat down with her. Here are some thoughts she shared with us.

How do historical details add depth and context to nonfiction manuscripts?

Just like in a work of fiction, details contribute to immersing the reader in the story. They can also be used to heighten the emotions at a given time. For example, a manuscript may be primarily focused on examining the life of a frontier family in depth. A surviving diary entry from one of the members of this family may state a child came down with a disease that would not seem worrisome to contemporary readers. Including statistics for the mortality rate by age, prevalent issues for those who survived the disease, and typical length and severity of the illness would give the reader a better understanding of how the parents may have reacted to this diagnosis. Without this information, an included diary entry along the lines of “Mary was stricken with a fever; we believe she has scarlet fever” may not be given its due significance.

In some cases, these details may also add credibility to the author and any stances taken in the manuscript. This is especially true when making a claim or speculation based on little-known facts. Essential historical background to back up these positions will help decrease the reader’s skepticism while also creating a richer narrative.

What type of historical details should be added to nonfiction manuscripts?

Only those details that are relevant or will add to the reader’s understanding should be included. It is vital to remember that, unless the manuscript is being marketed as a history textbook, there is no need to provide more than the basics. As will be discussed in the webinar, the key is learning how to identify those areas that will most benefit from these inclusions.

Are authors also adding historical details to nonfiction manuscripts to educate readers?

Some are, yes, but this depends upon the author’s original intentions and the larger scope of the work. With a memoir, the focus may not be on education so much as sharing and providing a unique viewpoint. It could be argued this alone is a form of education though it may not be from a historical perspective. However, there will often be ways history naturally and logically incorporates itself even when that isn’t the main goal. For instance, when explaining a medical procedure performed even a decade in the past, providing details may be necessary to give the reader the required information for understanding how it was performed, why it was considered risky or not, and so on. The reader’s knowledge base has now grown despite the author only including this information for clarity-related purposes.

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Want to find out how historical details can add depth and context to your creative nonfiction manuscript? Apart from bringing credibility to your topic, these details have the benefit of helping your reader better understand the context surrounding your subject. This session shows how to sift through research and facts to find what will have the most impact and meaning as well as how to identify which areas of your manuscript would most benefit from these additions.

You can join in this conversation on February 27, at 7:00 pm eastern, when NAIWE will host a discussion on adding some history to your manuscript. The cost for NAIWE members is only $10! Nonmembers can join for $30. Register today!