I’ve noticed a trend in publishers relying more on the authors to help with marketing and promoting their books. Do you feel like this is a positive situation, or more of a challenge?
I feel it’s both? On the one hand, I think it’s incredible that an author can use social media (and other tools) to have some semblance of control, re: marketing and publicity, especially in those cases where their publisher isn’t doing as much for them. I’ve found it such a stress reliever knowing that no matter what happens w/ my publisher that I have a whole platform I’ve built on my own, that I control. I also like knowing I have many of my own relationships/connections for book events.
But, there is so much an author simply cannot do, and publishers really need to be the ones pushing books–and in some cases the rise of social media and author platforming has lead to publishers being a bit lazy about it. They take the easy way out, acquiring more titles than they can reasonably market and then being well “well it’s ok they’re good on Twitter they’ll be fine.” That’s where authors get very justifiably frustrated. I do worry that the more we focus on authors and their platforms the more entrenched we will get and the power imbalance will shift away from publishers and onto authors… which is not great. And all that marketing authors have to do takes away from our time to write…
Amy
2 months ago
When you’ve had a setback, what tricks do you use to bounce back again?
evalangston
2 months ago
Hi! I had an agent back in 2015 and we worked together on my MS, but then he abruptly quit agenting so I never went on submission. I never got another agent with that manuscript and am now querying with something totally different.
Should I mention that I previously had an agent in my query letter or wait to tell them if they are interested in representing me? Thanks! And sorry for such a specific question!
You can talk in general about parting ways with your agent and where to go from there. 🙂
There’s a thread in the forums right now of writers sharing their experience with separating from their agent. How common is this, and do you have advice for dealing with the disappointment of feeling like you’re back to square one?
Tara Kennedy
2 months ago
The pandemic has created some special challenges for authors – with dates getting pushed and events moving to virtual. What are some tips for managing those changes?
Is it possible to “work around publishers” by having your own, separate goals? Or is your pace sort of dictated by what they need from you and what they’re interested in?
Can an agent who seems to have lost that initial spark for your work still be a good champion for it, or is it time to face the reality of maybe breaking up?
I think if it’s one manuscript, yes, certainly… but if it’s two, three, etc than it’s not fair to the author to stay. Your agent shouldn’t make you feel unsure about your work or writing, which is what apathy will do. Overtime it just erodes your confidence. And that said, I think it also depends: if the agent repeatedly negs your work and doesn’t want to sub it, say goodbye. But I do think it’s possible for an agent to champion and sell a book they’re not as in love with as your debut, especially if you’ve reached the point of selling to your existing editor.
Jennifer Bushroe
2 months ago
How do you deal with the setback of writing a novel of your heart (as we’re told to do–not chasing trends) only to discover that it’s a taboo genre in the YA publishing sphere? Do you query it anyway?
So this is going to vary widely on how your sold books have done, as well as what new thing you are querying with. I have seen people get new agent offers in 24 hours, as well as those who had to query a bit longer and it felt more like a “back to square one” situation. A new agent is going to look at your brand/career and sales so far and evaluate how they might help a mid-career author… if you have a decent platform and a new book that has commercial appeal/works with your brand, it’s usually easier. It’s also often easier if you have a guaranteed option with a big house–that’s an easy sale for a new agent (it’s why it’s better to leave before selling your option, not after).
Monica Hay
2 months ago
Be honest. Are agents actually looking for neurodiversity/#ownvoices manuscripts, or are they often just saying that to follow the crowd?
It’s going to be different for every author and every project, but some bigger signs: if you’ve been working on the same book for 3+ years and keep revising it but query results aren’t better. If you’ve queried 100+ agents (and the responses remain mostly forms/you are scraping the bottom of the barrel on agents). If more than one person has told you the book is in a dead genre/won’t sell in the market (one person is one person, but multiple is a trend).
And with regard to the “if it’s been X years” one: one of the reasons I strongly advise authors not to work on the same book for too long is that you get entrenched in it and you’ll hit a wall on craft/writing ability. Sometimes you literally CANNOT grow/demonstrate your growth as a writer unless you write a new book. So you may have improved through the process, but you’re still too close to that old book/it’s gone stale and it’s just not going to work. But something new can be magic–your ideas should always be getting more sophisticated and your craft better, so it’s always best to move on with fresh work.
Monica Hay
2 months ago
How do you handle mean people in publishing? Writers are sensitive!
Jeanette
2 months ago
How to tell if an agency is legit? Are “boutique” literacy agencies safe?
What are some of less-expected things that can set you back?
How do you handle rejection from Pitch Wars, AMM, etc? I know these events are extremely competitive, but it’s still easy to feel depressed about it.
What are some of the most common setbacks a writer will experience on the road to publication?
What’s something you wish you could tell your debut-self?
I’ve noticed a trend in publishers relying more on the authors to help with marketing and promoting their books. Do you feel like this is a positive situation, or more of a challenge?
I feel it’s both? On the one hand, I think it’s incredible that an author can use social media (and other tools) to have some semblance of control, re: marketing and publicity, especially in those cases where their publisher isn’t doing as much for them. I’ve found it such a stress reliever knowing that no matter what happens w/ my publisher that I have a whole platform I’ve built on my own, that I control. I also like knowing I have many of my own relationships/connections for book events.
But, there is so much an author simply cannot do, and publishers really need to be the ones pushing books–and in some cases the rise of social media and author platforming has lead to publishers being a bit lazy about it. They take the easy way out, acquiring more titles than they can reasonably market and then being well “well it’s ok they’re good on Twitter they’ll be fine.” That’s where authors get very justifiably frustrated. I do worry that the more we focus on authors and their platforms the more entrenched we will get and the power imbalance will shift away from publishers and onto authors… which is not great. And all that marketing authors have to do takes away from our time to write…
When you’ve had a setback, what tricks do you use to bounce back again?
Hi! I had an agent back in 2015 and we worked together on my MS, but then he abruptly quit agenting so I never went on submission. I never got another agent with that manuscript and am now querying with something totally different.
Should I mention that I previously had an agent in my query letter or wait to tell them if they are interested in representing me? Thanks! And sorry for such a specific question!
You can talk in general about parting ways with your agent and where to go from there. 🙂
Since it was so long ago, I wouldn’t worry about mentioning it, but it’s something to bring up on your offer call if you want!
Thanks so much– that’s what I figured but good to confirm. Great session!
How do writers handle online hate? Like bad reviews, reviewers tagging authors in bad reviews, and the like?
There’s a thread in the forums right now of writers sharing their experience with separating from their agent. How common is this, and do you have advice for dealing with the disappointment of feeling like you’re back to square one?
The pandemic has created some special challenges for authors – with dates getting pushed and events moving to virtual. What are some tips for managing those changes?
Is it possible to “work around publishers” by having your own, separate goals? Or is your pace sort of dictated by what they need from you and what they’re interested in?
Can an agent who seems to have lost that initial spark for your work still be a good champion for it, or is it time to face the reality of maybe breaking up?
I think if it’s one manuscript, yes, certainly… but if it’s two, three, etc than it’s not fair to the author to stay. Your agent shouldn’t make you feel unsure about your work or writing, which is what apathy will do. Overtime it just erodes your confidence. And that said, I think it also depends: if the agent repeatedly negs your work and doesn’t want to sub it, say goodbye. But I do think it’s possible for an agent to champion and sell a book they’re not as in love with as your debut, especially if you’ve reached the point of selling to your existing editor.
How do you deal with the setback of writing a novel of your heart (as we’re told to do–not chasing trends) only to discover that it’s a taboo genre in the YA publishing sphere? Do you query it anyway?
There have been a few publishing houses for sale recently. How can this affect your career?
How do you manage the career you have and the writer side of things? (And a YouTube channel, etc)… Admit it, do you have a time turner?
This is a specific question, but when you need to change an agent, how do you do it? Do you start querying again? Is there an easier way? LOL
Tips for spotting a schmagent?
Is it easier to query a new agent after you’ve been published? or do you go through the same process as an unagented author?
So this is going to vary widely on how your sold books have done, as well as what new thing you are querying with. I have seen people get new agent offers in 24 hours, as well as those who had to query a bit longer and it felt more like a “back to square one” situation. A new agent is going to look at your brand/career and sales so far and evaluate how they might help a mid-career author… if you have a decent platform and a new book that has commercial appeal/works with your brand, it’s usually easier. It’s also often easier if you have a guaranteed option with a big house–that’s an easy sale for a new agent (it’s why it’s better to leave before selling your option, not after).
Be honest. Are agents actually looking for neurodiversity/#ownvoices manuscripts, or are they often just saying that to follow the crowd?
When should you shelf a project?
It’s going to be different for every author and every project, but some bigger signs: if you’ve been working on the same book for 3+ years and keep revising it but query results aren’t better. If you’ve queried 100+ agents (and the responses remain mostly forms/you are scraping the bottom of the barrel on agents). If more than one person has told you the book is in a dead genre/won’t sell in the market (one person is one person, but multiple is a trend).
And with regard to the “if it’s been X years” one: one of the reasons I strongly advise authors not to work on the same book for too long is that you get entrenched in it and you’ll hit a wall on craft/writing ability. Sometimes you literally CANNOT grow/demonstrate your growth as a writer unless you write a new book. So you may have improved through the process, but you’re still too close to that old book/it’s gone stale and it’s just not going to work. But something new can be magic–your ideas should always be getting more sophisticated and your craft better, so it’s always best to move on with fresh work.
How do you handle mean people in publishing? Writers are sensitive!
How to tell if an agency is legit? Are “boutique” literacy agencies safe?
How do you know when publishing is just being slow, and when you should be following up?
Thanks for all your advice, Alexa. I watch your YouTube channel too and always appreciate your practical advice.