This is a followup from my previous blog post, and some Tweets I posted this week about a new agent networking feedback experience. My use of this content is not to appear "unprofessional" in talking about agents, but to share, as I always do, my experiences thinking about and interacting with agent discussion. From the start, I've mentioned being firmly in the camp of "agents work for the writer," when many new writers feel they are somehow at the power of the agents instead. The agent I met with was NOT Deborah Grosvenor, but she has a nice smile as a representative literary agent. I hope she appreciates the free publicity.
He sent feedback on an example pitch recently from one agent, where I had questions about how to present the "genre." I put together a sub package for another agent networking feedback this week. During the week, the wording he used about the sub package didn't instil confidence. However, he is an agent for a friend, so I gave him that feedback. He is a young agent building his list at a very large agency. I'm also intimately acquainted with critiquing the non-fiction manuscript he is representing. It all provides context for me in getting to know him.
He did present some very interesting insight into agenting, as do agents who are kind enough to show up to events to help writers become informed about the process. It was also an interesting opportunity for me to learn more about this very large agency, and that was very intriguing.
I had almost voided my place at the event after the feedback, and it did create doubts for me. I have had meetings with other young agents where the feedback might not have been as helpful, and rather a bit more uncomfortable. However, I did have some other cranky things going on this week. I am glad I didn't give up my place at the event based on other circumstances. I did have the ability to have a nap before the event, to clear my head, and put together some specific thoughts on a more positive note to try to get the most productive experience from the meeting. That did prove successful. I was able to steer the conversation to understanding how more helpful feedback could help me out, and he responded quite well, which I appreciated.
One question was about how to represent the synopsis and plot structure, which was was created the confusion about the manuscript. We addressed that. The other question I had was about this being contemporary, commercial, and is it romcom or dramady? I appreciated his input not to stress about it, that the concept was extremely commercial, and addressing emotional issues helped set it apart from pulp fiction romance, which was encouraging. He is queer himself, and so he really appreciated and we connected over the need in the market for more books like this. He told me to put it in the cover letter even.
Overall that was very useful feedback, and I am glad that we worked through any misunderstanding and got to that level of communication. I am glad I was able to get perspective to bring focus to the table to move toward that direction. There really does seem to be so much about preparation and what you can help bring to the table. Also, so many factors in choosing representation. He doesn't represent fantasy, so since my other novel is such a completely different genre, I am not sure what direction I would go in terms of which could be a debut novel, and how to navigate agents who could handle both. Those conversations will be interesting to have later on in the querying process, and thinking about my path to publishing and career.
Of course both novels have queer content. My third novel, which will be a much more complicated process to write, probably doesn't, but it's such a unique project in itself. Queer agents are not the only qualified agents to represent queer content, I'm sure. You know they will fight hard for queer content because it is so personal to them. One question in the back of my mind - I probably would put a pin it and assess agents further in my process - particularly about younger queer members of the publishing industry might be over-perfectionism to try to prove something with the queer manuscript? In interviewing editors, I had an editor who was so fanatical about feminism, that she couldn't be objective about addressing the content. That, however, is probably down very heavily to individuals. If this agent, for example, did wind up reading the whole manuscript, then gauging what level of attitude he brought to the table in discussing it, and how that communication style meshed.
So many factors to consider. I hope my thoughts about this experience are helpful in providing some perspective about 1) preparation - knowing the market, comps etc. - I know agents really harp on this a lot - and understanding your own writing. Help a LOT in the quality of conversations you can have with agents about your books!
2) when they say publishing in subjective, finding an agent is incredibly subjective as well, and gaining experiences, failing, making mistakes, learning from talking to agents, can help a writer build confidence in their position thinking about an agent who is a good match.
Happy querying. And Agenting.
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