Belletrinsic

I didn’t realize this post would be so long, so if you want to skip to the discussion on ethics, answer these questions in the comments or respond to others’ thoughts:

What are the ethics of publishing? Are they different for agents, editors, authors, publicists, and publishers? Does the Golden Rule not apply anymore, or is it now do whatever it takes to sell the most books?

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As a journalism student in college, one topic was consistently drummed into our heads: ethics. The principle goes like this: if people are to trust the news you bring them as accurate, you must collect it in an ethical manner without distorting it or passing on known falsehoods. Makes sense, right?

Now that I’ve been working in publishing for the past six years, I’ve noticed that there isn’t as much emphasis on ethics. Though we hear of writers who plagiarize, lie, and do a number of other unethical (and sometimes illegal) things, it doesn’t seem as though there is as large an outcry as when a newsman (or woman) does the same thing. (An excellent example is the initial outcry against James Frey, but then a year later Oprah publicly apologized to him.)

I bring this up because last night a friend brought a very questionable “contest” on a writers blog to my attention. I’ll share the website and contest information not to humiliate the author, since I’m sure she did it with good (though selfish) intentions. More, I want to show the issue itself, as well as the public reaction.

NOTE: Please do not post any unkind or inflammatory comments on the blog. It will do nothing to further the conversation and will only stir up heated emotions.

I’ll let you read the details of the contest for yourself, though if the author decides to delete the post, let me know and I’ll add the text of it here. Read it here. My comment is on the second comment page near the bottom. I only named myself Michelle since I didn’t want to wake up to hundreds of angry/rude emails and tweets.

My initial reaction to this was disbelief. Why would a reputable agent agree to such a scheme? I checked and the agency is not a part of AAR, though that doesn’t mean they don’t adhere to the code of ethics. Also, previous to opening her own agency, she worked for several agencies that do belong to AAR, so she would be familiar with their canon. Here’s the text of the AAR Canon of Ethics relating to reading fees:

Reading charges. Members may not charge clients or potential clients for reading and evaluating literary works, including outlines, proposals and partial or complete manuscripts. Members may not benefit, directly or indirectly, from charges levied for such services by any other person or entity. There are two exceptions to this rule:

• Members may asked to be reimbursed for the actual cost of returning materials.
• Members may read or evaluate a writer’s work at a conference or other event where writers are charged separately for individual consultations.

The AAR believes that the practice of charging for readings is open to serious abuse and may reflect adversely on our profession. The exception for conferences is granted for these reasons:

• The agent is not acting independently but within the context of an independent writers’ conference.
• The potential benefit to writers cannot be duplicated in another manner.

This exception does not in any way dilute the AAR’s belief that literary agents should not charge clients and potential clients for reading and evaluating literary works in the ordinary course of business.

(http://aaronline.org/canon)

The author is obviously trying to sell books, and it may well be that she doesn’t realize the ethics involved in this situation, but the agent should know better.

After careful consideration, I decided to report this contest to Victoria Strauss at Writer Beware. That action wasn’t intended to tattle on the author/agent, but more to spread the word that these kinds of activities aren’t okay. If one author got away with something like this, I can easily see a flood of others duplicating the effort.

Of course, I knew the moment I acted that I would be lambasted and attacked by devoted followers of the author, as well as people who didn’t realize the implications of such a contest. The only comment I will make on this case is that, though many don’t see a problem with this contest, isn’t it the same as Fergie selling access to Prince Andrew? Money exchanged to gain access to an importan person?

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Over the past year or so, I’ve realized that I can’t stay quiet when something I know is illegal or unethical. For a long time, I’d think about doing something, then deciding not to because it wasn’t my place to interfere. Each time I hoped a braver individual would step forward and call the person or group out for their actions. So this is where it brings me.

The larger issue here is that of ethics within publishing. I can list dozens of cases of questionable ethics within the industry, and those are the ones I can think of immediately. There are surely thousands more like them. Situations like OJ Simpson’s canceled book If I Did It, James Frey’s “enhanced” autobiography, and Last Train to Hiroshima with (allegedly) fake interviews.

So here’s my question: What are the ethics of publishing? Are they different for agents, editors, authors, publicists, and publishers? Does the Golden Rule not apply anymore, or is it now do whatever it takes to sell the most books?

I’m really curious to hear what people think and how they decide how to act. There is so much potential for abuse within publishing, not just with author/editor/agent relationships, but those between the author/publisher and readers, as well as with the public in general. Are we responsible for everything we put out there, whether we know it’s a lie or not? Does it absolve us from responsibility if the action was made by someone else, even though we were concerned about the ethics/legality of the situation?

I have my own opinions, which I’ll hold off from sharing until others have joined the conversation. And please, tell me your thoughts on how I should have reacted to this particular case. Is it more important to let some things slide, or should questionable activities always be brought to light?

Please respond, but also remember to treat differing opinions with respect. And name-calling is never appropriate.

Bree Despain is a wonderful writer from my home state of Utah whom I met her several weeks ago at a local writers conference. She shared some great insights into getting her agent, which I thought would be a great benefit to all of you. Her debut novel, The Dark Divine, will be released December 22 by Egmont USA. (It’s on my list of books to pre-order. It looks deliciously scary.)

The Dark Divine

How Bree Beat the Odds and Landed an Agent, by Bree Despain

When attending writing conferences, whether as a guest or panelist, I am often asked the same question—how did you get an agent? The quick answer is I sent queries to agents and one of them decided to give me a shot. But that’s not exactly helpful.

The long answer, however, is much more detailed, and I think more of what people are looking for when they ask me this question. So here we go . . . this is how I did it:

*Actually before we begin I want to give a little disclaimer. If you decide to follow the same path I did, please be sure your full manuscript is ready to go out before you start querying agents.  The worst thing that could happen is an agent you queried asks for your full manuscript, and you either don’t have it to give because you are not done with it, or you are in the middle of your own revisions and are not prepared to send it. (Yes, this IS worse than rejection).

Part One: Doing the homework.

I often frequented the blue boards on Verla Kay writers forum to connect with other writers and authors trying to get published. While there I came across a post telling me about a website called AgentQuery.com, which is basically a database of all the different literary agents. I used this site to do a targeted search for literary agents that would be a good fit for my manuscript. I searched for agents that were actively looking to build their client list, accepted online queries, specialized in YA fiction, and had a fondness for paranormal romance.

The search brought up small blurbs on each of the agents that fit my criteria with links to their agency websites, articles written by or about them, and additional info about their submission requirements. After sifting through the results I compiled a list of my top 15 or so, and started my research by reading all the articles linked to their profiles. I was then able to narrow it down to my top 8 agents that I thought would be a good fit for my book and a good fit for me. Then I double checked all of their websites for submissions guidelines to make sure they hadn’t changed from what AgentQuery.com reported. Now I knew who I wanted to query and how to query them . . . but I still needed the query letter.

Part Two: Writing the query.

Writing a query letter always freaked me out. I still don’t think  I’m really much of an expert at writing one. So, I turned to the experts and everyone else I could for help. After writing my first draft, I realized it was waaaaaay too long. So I had my husband (who had read my manuscript) help me revise it. Then I sent that version to my two writers groups (who had also read the manuscript) seeking their input and guidance. This really helped me eliminate details that were not necessary.

I also relied heavily on other resources. I especially liked agent Nathan Bransford’s blog (http://blog.nathanbransford.com). He has a section called “The Essentials” where he outlines the basic formula for a good query letter as well as other helpful tips on formatting, etc. He has also posted some examples of good query letters with explanations of why they are good. Very helpful. Also good for a laugh.

Part Three: The process.

(Ok, so this part might go on for a bit, so I apologize in advance if it gets long.) Right, so I’d done my homework, found my top choice agents, and written/revised/revised/revised/revised a query letter, and now it was time to start sending my queries. I set a goal of sending out at least one query a day for seven days before taking a break and moving on to my second round of submissions.  Here’s how it went:

The top 10 worst times and places to pitch an editor or agent:

10. On Twitter, Facebook, LinkedIn or any other social networking site.

9.  Any time the agent’s information or profile has a place for comments.

8. Pitching someone who is not actually an agent or editor.

7.  Telling the agent they rejected you and then explaining why they were wrong.

6.  Sliding your ms under the stall door while the agent is, um, busy.

5.  Repeatedly sending the same query every week to every agent in the world. Also called Queryspammer.

4.  Arriving at the agent/editor offices and demanding to get a book deal.

3.  Finding out the editor’s home phone number and calling late at night or on Sunday.

2.  Cornering them at a relative’s funeral. Don’t even think about it.

1.  Stalking the agent and watching her children play in a park, then sending her messages about it.

Agents and editors, feel free to add your own examples to the list of when writers shouldn’t pitch their book.

And writers: take note. These things will not earn you brownie points.

*Disclaimer: All of these are real incidents that have happened to various agents and editors at one time or another.

Saturday I attended a local writing event* hosted by a slew of authors from my area. Now, these aren’t just any writers—they’re well-known, popular writers who each have a different story on how they got published. But the thing with each of them is that it took many years and a lot of work before they got to that point.

The thing I noticed, both in their stories and in the questions asked by the aspiring authors attending, was that writers always want to get published NOW. We write what we think is a great book, do a few rounds of edits, and then send it off well before it’s ready. It’s a common theme.

Now, not everyone may follow this pattern, but I’ve noticed it time and again. I’ve even done it myself. That’s part of the publishing process, really. But don’t let yourself get hung up on it.

Most of the authors who spoke about getting published mentioned that it was their third, fourth, even eighth book that was the first published. Not the first one they wrote. There are always exceptions, but for the most part, it takes a good eight to ten years from the time you pick up a pen until your book hits the shelves. I’ve been at this five years already, and I’m still waiting to be accepted for publication.

The reason I bring this up is that the most talked about thing at that conference was getting an agent. The question that was brought up again and again: How do I get an agent? Who is your agent? Agent, agent, agent.

Honestly, if this is the first writing conference you’ve attended and you haven’t done research yourself on the intricacies of finding an agent, you’re not ready. You need to focus on your writing and revising a bit more. Then, after you’ve exhausted all of your own efforts, maybe it’s time to start googling to find out a bit more on agents and how to get one.

But until then, focus on the writing. Getting published will come in its own time.

*If you’re curious about the event, it was Writing for Charity, and the authors included Shannon Hale, Brandon Mull, James Dashner, Sara Zarr, Jessica Day George, and many others.

What is your book about? Seriously, I want to know. But here’s the thing, I need a succinct description. Me, I’m a busy person. When I want to decide what to read, I need to know quickly if I’ll be interested.

Agents are the same way. They need a quick, efficient description of a book that will make them sit up and say, “Send me the whole thing! Now!”

So let’s practice. In the comments, post your elevator pitch, as they’re called. You get 50 words or less to hook me into wanting to read more. And, if you’d like, in your comment say that you want your pitch critiqued and I’ll post critiques and edits of the pitches on Thursday.

Consider it practice for writing queries.

Jenny Bent

The Bent Agency

Books & Such agents

Books & Such Literary Agency

Nathan Bransford

Curtis Brown

Robert Raymond Brown

Wylie-Merrick Literary Agency

Terry Burns

Hartline Literary Agency

Danielle Chiotti

Upstart Crow Literary

Jill Corcoran

Herman Agency

Peter Cox

Redhammer Management

Sarah Crowe

Harvey Klinger

Sarah Davies

The Greenhouse Literary Agency

Lucienne Diver

The Knight Agency

Dystel & Goderich agents

Dystel & Goderich Literary Management

Jessica Faust

BookEnds

Diana Fox

Fox Literary

Rachelle Gardner

WordServe Literary Agency

Barry Goldblatt

Barry Goldblatt Literary Agency

Ashley Grayson

Ashley Grayson Literary Agency

Jennifer Jackson

Donald Maass Literary Agency

Caren Johnson

Caren Johnson Literary Agency

Deidre Knight

The Knight Agency

Steve Laube

The Steve Laube Agency

Byrd Leavell

Waxman Literary

Colleen Lindsay

FinePrint Literary Management

Kim Lionetti

BookEnds

Jonathan Lyons

Lyons Literary

Chip MacGregor

MacGregor Literary

Lauren MacLeod

The Strothman Agency

Sharene Martin-Brown

Wylie-Merrick Literary Agency

Laurie McLean

Larsen Pomada Literary Agency

Kristin Nelson

Nelson Literary Agency

Lori Perkins

L. Perkins Associates

Marsha Philitas

L. Perkins Associates

Jenny Rappaport

The Rappaport Agency

Janet Reid

FinePrint Literary M
anagement

Chris Richman

Upstart Crow Literary

Elana Roth

Caren Johnson Literary Agency

Holly Root

Waxman Literary

Jacky Sach

BookEnds

Kate Schafer

KT Literary

Miss Snark

Unknown (I had to include her because there’s so much good info on this blog)

Michael Stearns

Upstart Crow Literary

Wendy Strothman

The Strothman Agency

Nephele Tempest

The Knight Agency

Scott Treimel

S©ott Treimel NY

Simon Trewin

United Agents

Matt Wagner

Fresh Books Literary Agency

Scott Waxman

Waxman Literary

Adrian Weston

Raft Representation

Andrew Zack

The Zack Company

I’m sure I’ve missed a few agent blogs, so if you notice any, leave me a comment and I’ll add it to the list.

Please step away from the keyboard!

I understand, ma’am, that you’ve got a book you think it ready to start querying agents with.

Yes, yes. Just take it slow now. Move your finger off of that mouse and we can talk. Nice and easy.

How long ago did you finish writing it? Hmm. Yes, three months to write a book is excellent. And two months of editing? Good job, you.

Hold it! Don’t move a finger toward that send button!

So, five months since you first started working on the book, is that correct? That makes me ask the question: did you set the book aside at all? A week in between edits to “clear your head”?

Put the query down and no one gets hurt.

And during that week, did you think about the book at all? All the time? Really? So did the week actually “clear your head” or just make you irritated you couldn’t start querying already?

I said, let it be. You’re only hurting yourself by doing this.

And all those agents who blog. You didn’t think they were talking to you when they gave their advice? Are you too good for their help? It’s not like that? Really. So you’re just the exception. You don’t need to set your book aside for a few months and come back to it fresh. You, as a new writer, can just edit away. You know exactly what you’re doing. Is that how it is?

Don’t ruin your chance. You’ve only got one shot with this agent. Are you sure you’re ready?

I don’t think you are the exception. Sure you’ve been to writers conferences and you’ve done your homework. And you graduated from college as an English/journalism major? That’s great. But has it taught you how to write an entire book and then edit it? I didn’t think so. You’ve had to learn that on your own, haven’t you. You’ve taught yourself most of what you know about writing. But you haven’t taught yourself how to be patient, have you? You want to be the first-time author who hits it big without putting in the hours of work and tears first. I’m sorry to tell you this, but it’s probably not going to happen like that for you.

Aw, don’t cry. Just put the laptop down and we can help you. It’s not too late.

We want you to succeed, and so listening to all that advice about leaving the book alone for three, four months is good advice. Really. Why don’t we go get you a bag of chocolate and put this little manuscript in the freezer for a few months. Then, when you’ve nearly forgotten about it, you can come back and make it even better. I promise.

This dramatization is brought to you as part of a public service to first-time writers. Anything you write in a query letter can and will be used against you while looking for an agent. Make sure you get it right the first time.

Writers, I’m calling you out, and it ain’t gonna be pretty.

To those who think it fair game to pick on others, shame on you. And by this I mean, writers who curse, belittle, argue with, and generally act childishly toward agents and editors.

I work both sides of this fence as an editor and a writer, so I know what I’m talking about. For several years I went through the slush pile, sending rejections to hopeful writers trying to get their books published. And for the past six months I’ve been querying agents about my own books.

The thing I find most disheartening, though, is the vitriol aimed at agents and editors by frustrated writers. The biggest thing that any agent or editor will tell you is not to take the rejection personally. But that is a daunting task. Someone is saying that your work isn’t up to snuff, or at least they don’t think so. It’s hard to hear that over and over again.

Believe me, I know. Last week I had my own little pity party attended by one valiant friend who let me talk out my frustrations about not being published yet on a day when I received three rejections. It’s hard; that’s all there is to say.

But that does not give you a reason to attack the person who has kindly rejected your work. I say kindly because they harbor no ill will toward you or your work and generally wish you the best with your efforts.

I find it rather ironic that on a day filled with commentary over a hate-filled response to criticism that a writer comments on the apology by attacking agents, who don’t even figure into the story.

Come now, children. Must we have another lesson on how to play well together? Even if your feelings get hurt, that doesn’t excuse you to strike back. As the saying goes, “He who takes offense when offense was not intended is a fool, yet he who takes offense when offense is intended is an even greater fool.”

I’d rather not be a fool, a great one or not, so I’m trying to learn how not to let things people say or do bother me. Why don’t we all practice that a little bit more?

As most of you know, I’m a nonfiction editor, but I also write YA novels in the off hours. This gives me an interesting perspective on the publishing world. One of the most interesting aspects is that I frequently go through the slush pile at work, handling the children’s book manuscripts that come to us. As an editor, it’s just part of the job. But as a writer, it has given me invaluable insight into the whole process, some of which I’d like to share with you.

1) I know the majority of writers will never have the chance to go through slush, but the opportunity presented by Nathan Bransford during Agent for a Day was really eye-opening for many. Reading what other people are doing and evaluating it critically teaches so much about the writing craft.

By the same token, participating in writing groups and online writers forums are excellent ways to develop those necessary critiquing skills. Once we learn how to evaluate others’ writing in a professional, objective manner, we can start to look at our own writing in the same way. I know we’ll never be completely distanced from the words we birth, but learning to see your manuscript as an editor or agent will see it will offer you that needed perspective to make your writing that much better.

2) In going through the slush, you see everything, from good to bad to laughable. Especially with children’s books, you find that people sit at home, type out a story in a few minutes, and think it’s ready for publication. It’s not that easy. Writing is a business, and if you really want to succeed at it, you have to think of it that way.

For me, writing is my second full-time job. I have time to devote to it since I’m single without children, so for many others it might be a part-time job. But you must think of it as a career, and not a hobby. Of course you need to think creatively if you are to write, but you must structure your writing time like any businessman would. In addition, rewriting and revising are essential, but many writers don’t think of it that way. Grammar is necessary, as are following established writing rules. Treat your writing like a creatively based business, and see how your thoughts on it will change.

3) #Queryday on Twitter offered so much advice on writing queries that I’m not going to rehash the things said here. But I will say that if I guessed, about 90% of the queries I receive do not follow the established rules. As I said above, most of the queries I see for children’s manuscripts consider it a hobby, and so they don’t put forth the time and research necessary to write a query properly.

Present yourself as a writing professional. If you do that, many of the query fatal errors that are committed wouldn’t happen. Do your homework and you’ll have a far greater chance at success than otherwise.

4) The last thing I want to mention is that going through the slush can be humorous. You wouldn’t believe some of the things people write. (You really wouldn’t.) But more than that, it has taught me to respect writers and editors and agents. It is work to write a good, well-crafted, interesting story. Even more than that, it takes effort to turn those stories into salable products, which is what books are when it comes down to it.

So please, if you participate in any way in the publishing industry, learn respect for the others who are working in the same industry. Opinions and ways of doing things vary, but we all have the same essential goal: to make the best books possible. That’s really what it’s all about. So the next time you get frustrated at agents who reject your manuscript, editors who want to slash and hack their way through your words, or writers who make basic mistakes, remember that they have the same goal in mind. And each of them pours in blood, sweat, and tears to get it there, so respect that and the person behind the effort.

I just finished reading a blog post from a writer filled with so much poison toward agents, I now feel sick to my stomach. I won’t link to it because I don’t feel it deserves so much attention, but I’d really like to say a few things about how harmful and unsuccessful it is to blame a group of business people for your failings as a writer.

I’m no expert when it comes to writing. I’m the first to profess that I’m still learning, and will be learning until the day I die. I love to find a new way to say something or realize during the editing process that I actually did something well. I hope I never get to the point where I see myself as an expert and therefore know everything there is to know about writing. That will be the day my writing dies.

The reason for that is writing, like any creative effort, comes with experimentation, with learning and constantly growing. You can tell the best writers by what they say they don’t know and are striving to learn. Pride is the destroying factor when it comes to creativity; the moment we think we know everything is the moment we prove how little we know—and not in a good way.

I’m also more than willing to admit that I’m not a literary writer, but who, really, can tag themselves with such a label? In many minds, literary writing is akin to being a genius in other fields. The biggest fault I find among unpublished writers who say they are literary (and even some published writers with small presses) is an elitism that hampers their ability to write well. They think their own work so above other forms of literature that they disdain anything that sells well or appeals to any audience other than their own.

Vanity and pride are sins indeed when it comes to literature, and those who possess both set themselves up for certain failure. Their own writing will never stand up to that of the greats. A few trifling words of praise from a small-time book critic has done more to inflate some egos than a glowing review in The New York Times ever could have done. I find it egregious when someone compares their own writing to Steinbeck, Hemingway, Shakespeare, etc. Even then, those writers that we now call great have often been lambasted for their work. You can’t please everyone, and to think that somehow your book will do so is foolish vanity at its worst.

So when an individual so full of their own worth sees a system in place for finding new talent, they shudder that anyone dare reject their masterpiece. The system must be broken if their book is slighted. While the system isn’t perfect, it does work. But the writer must suck up their pride and learn to navigate a system in order to succeed. That’s the way it is, and blaming someone else for your inability to do so is stupidity.

Yes, there are many good writers out there who are still unpublished. Yes, publishing is a business, and everyone involved is looking to make money. Will spewing poison make the situation any better? No. Will skewering an easy scapegoat get you published? Definitely not.

You can’t have it both ways and win. Publishing may feel like a game to some, but unless you’re willing to play by the rules, you’ll never win. That’s pretty much how it is, in this and every other profession in the world.

Only when we’re willing to learn from others—including the literary agents who are the means to getting you published—will any of us ever find literary success.