Ask Lucienne Diver! Guest agent arriving week of January 15th

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Lucienne Diver

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Answer for Red Sapphire

1. I do career planning with my authors. However, when I first take someone on, they've probably already told me (because I'd likely have asked when I requested the complete) what other works they have in progress, etc., so I'll already have a good idea of where they want to go in the near future. If they have multiple projects, we'll probably discuss which are the most marketable and the order in which to pursue them. We'll talk about the author's strengths, anything that can be improved prior to submission, the houses I'd plan to target, the way I work and our commission structure. I'll also answer any questions they might have.

2. How long would you expect an agent to work with you before letting you go? The answer depends on several variables. Has the agent been actively submitting your work and keeping you informed of progress? Has the agent lost enthusiasm for your work or is he/she keeping the faith and continuing to work hard on your behalf with the conviction that sometimes these things take time? If the answers are that the agent has been lackadaisical, uncommunicative or unenthusiastic, then it's time to go. Likewise, if an agent decides he or she has run out of options for your work or is losing steam, he or she should release you to search out other representation.

Red Sapphire said:
Hi Ms. Diver,

I have a couple of questions:

1. When you agree to represent a writer, do you usually have a conversation with them about their goals as a writer, and where they would like to go with their writing career.

2. What would you say is the appropriate length of time to stay with an agent before you let them go? Say for example an agent has an author's book for over a year and has been unable to get a publishing house for it. Is it wise for the writer to let this agent go and search for another or wait another year?

Thanks in advance for your response.
 

Lucienne Diver

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Answer for ChunkyC

As you can tell, I haven't necessarily been answering things in order, so thanks for your patience. The author/agent relationship is another one of those case by case basis sort of things. I have one author, for example, who's a bit of a recluse and doesn't like to communicate except via e-mail! (No telephone calls, no personal appearances.) In general, though, the key word is communication: the agent should keep you updated about submission, rejections, publication dates, promotional plans, payments, and all that sort of thing. You should keep the agent informed of conversations with your editor, progress on your books nearing deadline and things turned in, which you'd most likely copy the agent on, but you'd be surprised. The relationship works best when the right hand knows what the left is doing (and vice versa) and they both work in concert.

I'm a pretty hands-on agent, meaning I do comment on authors' work and do my best to keep communication flowing. Sometimes I'm so busy doing something that I run out of time to jot an e-mail letting the author know that it's been done, and I don't mention every nudge call I make prodding an editor toward a response. So, if you're an author wondering about progress on your work, ask.

More on the business/contract aspect of the relationship when I answer post #38 from Chibeth later today.

ChunkyC said:
Hi Lucienne, and thanks so much for coming by.

My question is: how do you see the author / agent relationship? We all understand that it is a business arrangement, but I was wondering if you could expand on that.
 

ChunkyC

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Lucienne Diver said:
As you can tell, I haven't necessarily been answering things in order, so thanks for your patience.
Not a problem. All of your responses have been very informative. :)
 

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Agreed - I've enjoyed reading all the questions and answers! We're so grateful to have you... :D
 

Lucienne Diver

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Word count question from Shellsm

There's no hard and fast word count limit that I'm aware of. Different lines have different preferences. However, in general, yes 170,000 words from a new (or often even established) writer may send us running for the hills. The reason is this: the bigger the book, the more resources are used and the more the publisher has to charge for it. Publishers would like to keep cover prices, especially for new authors, down so that readers are more willing to take a chance on them. Also, if you've got a big, thick novel a bookstore may take two rather than three because of space allotments on the shelves, which affects everyone's bottom line. For mainstream/romances, you're probably best off keeping the word count around 100,000 words. Yes, if it's a bit long and you don't know where to cut, go forth and submit, but if it's way too big, trimming the fat will likely improve the pacing and increase your chances of publication.

shellsm said:
What is the upper word limit for most mainstream novels/romances and at what length does a novel become - let's say - cumbersome?

Would it be better to submit an overly-long manuscript and allow the editor to make the cuts, or to cut it beforehand (even if you're unsure about making the cuts) and have a book of more marketable length? Do editors or agents, if they see the words "170k words" in a query letter, automatically think "recycle bin?"

Thanks so much for your time and help!
 

Stacia Kane

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If I may, I was just wondering what you think of authors doing promo in general? How important do you think it is? Do you expect an author to do it, or are you fine if they would rather not?

(By "promo" I mean everything from blogs to contests to interviews to tours and everything in between.)
 

Lucienne Diver

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Answer for Susan Gable

#1: I want to know up front whether something is a stand-alone or series. I think in general that series are easier to sell (yes, depends a bit on the genre), but I wouldn't reject something simply because there isn't a book #2. That said, it is a good idea to have other works in progress that will appeal to the same audience so that you can build readership even if it isn't within a series.

#2: I find an abundance of spelling and grammatical problems very distracting – too distracting to submerse myself into the narrative, though I =once= wrote an author who'd sent me a partial requesting more material if she would clean up the grammatical problems (she had a lot of raw talent). I never heard from her again. I don't think it's something most people want to hear about their work.

#3: As you say, it's always good to have another set of eyes on material, either from a writers' group or critique partner and this can help a lot in pinpointing problems. However, in the long run, an author's going to need to learn these things for him/herself.

#4: For a pubbed author, a partial is generally fine, unless he/she is switching genres, in which case a full is =very= helpful.

#5: I'm hands-on, but not overly so. I'll point out things that I think will affect whether an editor will offer and how much. Sometimes this involves nit-picks and sometimes major issues only.

Susan Gable said:
Hello, Ms. Diver. :welcome: Thanks for taking time to chat with us. I have a few questions -- some seem to crop up regularly in various circles, so we'd like your take on them.

#1 - 1. When you get a query letter, do you prefer to know right up front that the book is first in a series (or duology/trilogy) or would you rather take the book on as a stand-alone? Do you find it easier to sell series or stand-alone novels? Does genre impact that? (i.e. mystery and fantasy editors love series, romance eds not as much?)

#2 - How important are spelling and grammar in a manuscript? Are you willing to overlook things like that and take the book on if the plot and characters are great? Or do you stop reading if you run across too many of these problems?

#3 - Following on that question, do you think it's wiser for an author with grammar/spelling issues to obtain help in fixing those errors (either from a crit partner or from a paid source) or for them to learn to do it themselves? (That's not saying that all mss don't benefit from having another pair of eyes go over it before submission. I think they do. But which option do you think better serves a writer in the long run?)

#4 - What do you want to see from a published author who's seeking representation? Is it okay to seek representation with just a partial, or do you prefer that a pubbed author have a completed ms before they approach you?

#5 - What is your agenting style? For example, are you an "editing agent" or more of a hands-off-the-ms (pointing out only major issues, particularly issues that impact marketability) agent?

Thank you so much for taking the time to answer our questions! :e2bear:

Susan G.
 

Lucienne Diver

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e-query follow-up question from C.bronco

We don't accept e-queries, but I'd guess it would work the same way as for a snail mail query. Look at the agent's guidelines to see what he/she says about response time. If it's beyond the posted response time, send a nice follow up (either by snail mail or by e-mail, whichever the agent prefers) saying that you haven't heard and were checking in. Cut and paste or enclose your original query in the body of the e-mail for easy reference. E-mails risk getting caught in spam filters or deleted because they look like potential viruses; snail mail queries risk being lost by the post office, so a polite inquiry is always best.

C.bronco said:
Hello Ms. Diver.

If, after two months pass, I haven't received a response from an agent who accepts e-queries, should I query again via snail mail?
Thank you for your time.
 

Lucienne Diver

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Future for paranormal

I've worried that we might glut the market with paranormal romance and urban fantasy, though I dearly love both. While publishers seemed to be kind of booked up with it – with the caveat that there's always room for something unique and wonderful – I haven't noticed readers burning out on the genre. Good news in my book! Vampires…they sell well; they're dark and sexy (generally) and all that. The problem is that so much has been done that it's very difficult to bring something new to the table. Not impossible, just tough. I'm marketing something now that I'm =really= excited about. Plus, Susan Krinard has a fantastic vampire/werewolf romance set in the 1920s coming out later this year!

So, prediction: fantasy and paranormal may not be bought as fast and furiously by publishers in the next couple of years, but I think the market will remain steady and the readers will remain voracious. From my keyboard to the ears of the PTB.

Josie said:
Thanks Ms. Diver for visiting us and giving us your opinions.

There are so many questions put to you by my peers on AW Forum, which I had thought about. But I'm not fast enough :)

I am curious what your opinion is about the future of paranormal in the next two years, particularly vampire stories. I know there has been a lot of it published out there.

Do you take paranormal stories?

Thanks for your time.
Cheers, Josie
 

Lucienne Diver

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Answer for she who talks with squirrels

First of all, I like your tag line <g>. Now to your question: um…. There are a lot of variables I don't know here. Did you originally submit this to publishers? How widely was this distributed? Was there a contract with the POD publisher and, if so, have all rights reverted to you? Assuming the book received some kind of distribution, you should probably let agents you query know how the book was originally published and that this has been completely revamped, rewritten and retitled and let them decide how they feel about it. (See previous comments about self and subsidy publishing bias.)

Without knowing all the details or seeing the material, which may be completely worthy of putting all the work in, my big suggestion to you would be to move on to something new. It amazes me how often writers will endlessly revise an older work rather than move forward. (Again, this may not apply to you, but someone may recognize him or herself in this comment.)

Speaking of squirrels, have you checked out Rachel Caine's blog on her recent squirrel wars? Not to be missed.

Sonarbabe said:
Hi Lucienne! Thank you for taking the time to come here to answer our questions.

I have a bit of a sticky question. A few years ago *when I didn't know much better*, I published through a POD company (NOT Publish America, thank heavens) and have now decided to completely gut the story and rewrite it as a new novel. I would like to keep the same characters and general plot, but do everything over the right way. My question is, will an agent be willing to look at this story now that it has a new name, rewritten and (hopefully) better quality? Or did I totally blow it? The reason is, I would like to turn this into a series and need that particular story as the first one.

Thank you so much for any help you might be able to give me!

Sincerely,

Monica
 

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Thank you so much for replying! (And thanks for the comment on my tagline! You're the first to notice it. <G>)

The story was originally a vampire horror with romantic elements. I did sign a contract, but the rights are now mine. What I would like to do is rewrite it completely, only instead of as a horror, I want it to be a romance this time.

There wasn't much distribution. I was given availability online and being able to walk into a bookstore and order it. (Hardly a stellar way to go, but like I said, I was young and not all that bright)

No, I didn't send it out traditionally prior, so agents and publishers don't even know it exists. Hopefully, my story isn't completely tarnished goods because the new version is nothing like the old one. :)
 

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for LilaDubois

Sadly, you've heard correctly about chick-lit. It's very difficult to sell these days. However, the voice hasn't died, just moved over into mysteries and urban fantasies that have sassy or snarky voices. As mentioned in my recent response to Josie, paranormal romance and urban fantasy are not dead, but the field may be getting crowded and more difficult to break into.


I'm not looking for a particular genre right now, but what I'm =always= looking for is something new and different with a fantastic voice. I love edgy, I love quirky. Dark is good. Funny is good. If you can combine them both for me, like in House or Buffy the Vampire Slayer, I'm there.

LilaDubois said:
Ms. Driver,

Thank you so much for coming!

I would like to know your thoughts on what genres are strong in the current market. I have heard, and read, a lot of speculation and don't know how accurate the rumors are.

Is chick-lit on it's way out?
Is it true that the paranormal is oversaturated and no one is buying it anymore?
Are there any genres that you are looking for at this time?

Thank you for taking time to answer all our questions.
 

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Thanks Ms. Diver for answering my questions! You were very helpful.
 

Lucienne Diver

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For Dawn R

It's true that Americans can be ethnocentric (note my flashy use of SAT words), but I'm not sure we're more so than other cultures. There are a lot of non-American writers who've done extremely well in our market: Paulo Coehlo, Michael Ondaatje, J.K. Rowling, John Le Carre, Naguib Mahfouz, Umberto Eco, Isabel Allende, V.S. Naipaul, Garcia Marquez, Anne Perry, M.M. Kaye, Sir Arthur Conan Doyle…. There are a ton of authors I've left off the list.

Still, I agree that it can be difficult to break into the US market with a novel set elsewhere. On the other hand, an intriguing locale, especially if you give a really solid, wonderful sense of time and place, make the setting almost a character, might be what makes your work stand out in the marketplace.

Dawn R said:
Hello from New Zealand, Ms Diver.

I have heard that Americans enjoy reading about Americans. How true is that? What are the difficulties for non-American writers trying to break in to the American market?

Thank you for spending time at the Water Cooler.

Sincerely

Dawn R
 

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For HorrorWriter


See responses to Irysangel and DecemberQuinn (yes, I know, I'm jumping around). Since I don't want to short you by not answering directly, you can also check out "The Importance of Being Earnest or Billy Bob or a Man Named Sue" (ignore what the link says it's taking you to) at:
http://www.claudiabishop.com/web/2005/10/the_secret_life_of_agents__what_we_do_and_where_we_can_be_found.aspx. This article talks about voice, which is, I guess, a big buzzword for me. I'm looking for great characters and a wonderful story much more than for a particular genre.

HorrorWriter said:
Ms. Diver,
Hi. Welcome to AW! My question is this: what types of novels are hot right now and relate to what you are looking for? I know urban fantasy is hot but are you tired of the genre or do you look for these types of books and how well do they sell? Thanks for your time! :D
 

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for Blackpen

There have been many short stories that have subsequently become novels, like Spider and Jeanne Robinson's Stardance. Most short story contracts are for first serial or one-time use and other rights are either retained or revert to the author after a period, so there should be no problem with turning a short story into a novel. You should mention the earlier short story when you send out queries, but the novel will not be a reprint; it will be something new.

As far as a market for retellings of Greek mythology – you mean beyond Mary Renault's wonderful novels? Actually, I have heard a few editors say that novels based on Greek mythology don't sell. I've already mentioned one exception, and I'm sure there are others. Besides, several years ago, before Laurell K. Hamilton and others hit big, conventional wisdom said that urban fantasy didn't sell. Look at us now. The truth is that the market is cyclical and it may be that now isn't the time to sell such a work or it may be that yours will be the one to lead the way for others and bring the trend around.

blackpen said:
hello. i have two questions.

first, if i get a short story published and decide to turn it into a novel later on and want to get the novel version published, will i have a harder time doing so? do i still have first rights for the novel or do i have to offer it as a reprint?

second, is there a market for novels that are retellings of greek mythology? i can't find very many for adults and am wondering why. it also seems like most publishers and agents prefer to see more original plots. is this true?

thanks!!
 

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Hello, Ms. Diver!

I write MG and I have a few of questions regarding the time period in which a story is set:

* If a contemporary novel made a few references to the ongoing War on Terror, would the timeliness make it hard for the agent to place it? (What if the war ended before the book was sold?)
*If the story wasn't dependent upon the war, and the agent liked the story, would the agent ask for those references to be revised?
* Are stories set during the Vietnam War (but not about the war) hard to place?

Thank you!
 

LeslieB

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Thank you for answering our questions, Ms. Diver. I have to confess that as a writer working on a fantasy manuscript, your agency is on my dream list so I’ll be engaged in a lot of worshipful gazing while you are here.

My question is this - do agents normally like to see humor in fantasy stories? I don’t mean on the level of satire or comedy, just a book where the characters can see the humor of the situations they are in, or do things that are funny while just being themselves. It seems that a lot of fantasy is divided into two camps, where either the characters are all engaged in Serious Business (TM), or are comedic like in the Xanth books. Is there a market for something in between?
 

Irysangel

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Lucienne Diver said:
Query Etiquette
-Do mention if it's a simultaneous submission. It's good manners and can hurt your chances with an agent if we find out later what we should have known up front. In addition, if you sign with an agent, do the other agents looking at your work the courtesy of letting them know right away so they don't spend their limited time reading something that's no longer available.

I've seen this mentioned a few places, but I guess I'm not sure as to when this is appropriate. Do you care if the author has sent out 10 queries, but no partials? Or are you truly just wanting to know if it's a multiple sub if you get to the partial/full stage?

Maybe this is a no-brainer to everyone but me.

I really appreciate your time here! Thank you so much for answering all of our questions.
 

Lucienne Diver

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for ink wench

Cross genre novels: a few years, maybe even a year, ago I would have said that a fantasy-mystery mix would be a difficult sell. Now with the blurring of the genres, more publishers are taking a chance on this kind of book. One of my authors, Mary Stanton, has a paranormal mystery series under contract with Berkley Prime Crime and I know Berkley has bought others as well. So yes, this kind of thing has a better chance now than at any time I can think of in the recent past.

ink wench said:
Hi Ms. Diver! Thanks for answering our questions.

I'm wondering a bit about cross genre novels. I know some crosses, like paranormal romance, seem to be pretty popular right now, but I'm assuming not all are marketable. I'm working on a (non-urban) fantasy-mystery mix (sort of a cozy but not really), and I haven't found anything quite like it. Could you share some insight into whether something like that has any hope of being publishable? Thanks again!
 

Lucienne Diver

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more on queries

It wouldn't hurt to mention it in the initial query, though at this stage I always assume I'm getting a multiple submission. It definitely must be said at the partial/full stage.

Irysangel said:
I've seen this mentioned a few places, but I guess I'm not sure as to when this is appropriate. Do you care if the author has sent out 10 queries, but no partials? Or are you truly just wanting to know if it's a multiple sub if you get to the partial/full stage?

Maybe this is a no-brainer to everyone but me.

I really appreciate your time here! Thank you so much for answering all of our questions.
 

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Good morning! I've sent queries to Spectrum on a couple of different occasions over the years, but according to my records I've never gotten a response back. Is it worth it for me to keep trying, or is no response the same as a simple "no?"
 

Lucienne Diver

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My strengths?

Okay, I'll bite. It's the hair -- totally a Samson thing -- don't even ask.

Seriously? First of all, my enthusiasm. When I love something, I rave to all and sundry. I like to think that my enthusiasm is contagious and stands me in good stead when it comes to sales. I'm also tough but accessible. I could go on all day long tooting my own horn, but if you get the chance to talk with one of my authors at a convention or in some other forum, they'd be better for giving you an unvarnished look at my strengths and weaknesses. (If any of you are lurking, feel free to jump in <g>.)

Irysangel said:
Hi Lucienne!

(I know, I'm double-dipping by asking two questions...)


What do you feel is your strength as an agent?

Do you feel you're strongest at (for example) communicating with your authors, finding exciting projects, ironing out a firm contract with an editor, meticulous editing, negotiating the biggest auction...or none of the above? Is there something you wish you were better at?

Thanks! I'm thrilled you're stopping by this board. :)
 
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