This is exactly what happened on my first book, The Stewardess Is Flying the Plane. An editor thought I was a good writer, we were both passionate about film, so we hammered out a book idea together, and then she got her house to make an offer. At that point, I met an agent who worked with some authors I knew and liked, and I said I had an offer but needed somebody to tell me if I was being treated fairly on the details. She looked the contract over, got a few adjustments made, and we were off to the races!
A book packager/producer went into my friend's shop to buy a pen, saw calligraphy on the wall and knew that Allen & Unwin wanted a book on the subject, and asked if she could write one. She said she didn't have time, but suggested they contact me - my first books (they sold rights to Unwin Hyman UK, too)...and I said 'Yes' to everything. I believe an agent would have wanted contract changes.
I asked an editor for social media friendship. Along with acceptance, she asked if I'd be interested in a project (a third of a Middle Grade book of things to do before you grow up). My second book. She must have visited my website and maybe read unpaid articles I wrote for an online magazine for writers. I sent material by snail mail in a calligraphically addressed envelope. "Oh," she said, "can you write us a book on calligraphy?" ...and I asked an agent I met at an event if she'd negotiate. This, however, was not smooth. I understand why some agents don't like not being in the process from the start.
The offer was made by phone. The Australian editor thought I'd accepted the deal and had told their US head office it was done. The agent did get double what I was offered, but it was not pleasant for her or the editor. The agent reckoned she'd have got four times the figure if present at the beginning. The publisher has since created 16 spin-off products from the book over 14 years.
The agent got me no deals, but I received another from talking to people on their stand at the London Book Fair. I asked if they might be interested in a proposal for a kids' book of fun lettering, but they asked if I could write one for adults on scrapbooking instead. "Yes!"
And I paid for a manuscript assessment at a conference, and the editor loved it and the picture book was published in 2015.
But now the agent has retired. Again from conference appraisals of a Middle Grade/low YA novel, editors of two large Australian publishers have asked for the full manuscript ...and I have been putting off sending the new and professionally edited version to them until I've gained new representation. Querying has been unsuccessful for a long time, but having read this post, perhaps I will send directly to the editors, and if necessary, pay an agent to negotiate if I get a positive response. But I know agents generally want to have all publishing options available for their own submissions.
This is exactly what happened on my first book, The Stewardess Is Flying the Plane. An editor thought I was a good writer, we were both passionate about film, so we hammered out a book idea together, and then she got her house to make an offer. At that point, I met an agent who worked with some authors I knew and liked, and I said I had an offer but needed somebody to tell me if I was being treated fairly on the details. She looked the contract over, got a few adjustments made, and we were off to the races!
A book packager/producer went into my friend's shop to buy a pen, saw calligraphy on the wall and knew that Allen & Unwin wanted a book on the subject, and asked if she could write one. She said she didn't have time, but suggested they contact me - my first books (they sold rights to Unwin Hyman UK, too)...and I said 'Yes' to everything. I believe an agent would have wanted contract changes.
I asked an editor for social media friendship. Along with acceptance, she asked if I'd be interested in a project (a third of a Middle Grade book of things to do before you grow up). My second book. She must have visited my website and maybe read unpaid articles I wrote for an online magazine for writers. I sent material by snail mail in a calligraphically addressed envelope. "Oh," she said, "can you write us a book on calligraphy?" ...and I asked an agent I met at an event if she'd negotiate. This, however, was not smooth. I understand why some agents don't like not being in the process from the start.
The offer was made by phone. The Australian editor thought I'd accepted the deal and had told their US head office it was done. The agent did get double what I was offered, but it was not pleasant for her or the editor. The agent reckoned she'd have got four times the figure if present at the beginning. The publisher has since created 16 spin-off products from the book over 14 years.
The agent got me no deals, but I received another from talking to people on their stand at the London Book Fair. I asked if they might be interested in a proposal for a kids' book of fun lettering, but they asked if I could write one for adults on scrapbooking instead. "Yes!"
And I paid for a manuscript assessment at a conference, and the editor loved it and the picture book was published in 2015.
But now the agent has retired. Again from conference appraisals of a Middle Grade/low YA novel, editors of two large Australian publishers have asked for the full manuscript ...and I have been putting off sending the new and professionally edited version to them until I've gained new representation. Querying has been unsuccessful for a long time, but having read this post, perhaps I will send directly to the editors, and if necessary, pay an agent to negotiate if I get a positive response. But I know agents generally want to have all publishing options available for their own submissions.
Thanks Kate!
Love this! Underline, bold, capitalize, highlight: A contract is not about feelings!
I really liked today's posting. Clear, concise, and kinda fun to read.