I heard a panel recently where half the writers were dropped by their first agent after they pitched their second project. Be sure to ask around outside of the agent on this one.
As we’re heading into the #PitchWars showcase and since the conversation seems abuzz...here’s a thread of questions I would recommend you ask not only potential agents during The Call, but references, and clients you reach out to personally:
I heard a panel recently where half the writers were dropped by their first agent after they pitched their second project. Be sure to ask around outside of the agent on this one.
Meaning, will they revise the manuscript with you beforehand or just do small edits and send it off to editors. Both have their pros and cons, and one might matter to you more.
In other words, how much time do they have to devote to you and your career. You can also ask, on average how long does it take to get a project on sub?
This one I think is rarely in questions lists, but I think it’s a fun one to see how passionate an agent gets about their career.
This one is to see if they are signing and selling projects like yours. If you write sci-fi and all they’ve sold recently are contemporaries in a different age group that’s good to know!
This will allow you to see if they are excited to send to large publishers or are leaning more toward mid-sized, etc. This might matter more to you one or the other way.
If there are things you are not willing to change that the agent mentions, better to have the conversation before. Many agents won’t tell you everything, you can always mentions some things you don’t want to change too.
If this is super important to you, you can definitely ask about money up front and the value they think your project has.
Career building and planning is definitely something that your agent should have some idea on. A lot depends on what happens with project one, etc, but just an overall idea if this is something they do with clients is good!
I’ve found that a lot of my agent sibs and I have a similar commercial style and it makes me feel like I’m in the right coven. Knowing that your writing fits into what your agent likes to read will make you feel confident.
Last year I attended KT’s bi-annual retreat for the first time and got to know some of my amazing agency sibs and my agent. Definitely is a plus!
This is a business and knowing that your agency has access and experience with other avenues that will make your $ is awesome! If they can give you examples of this even better!
Some agents can and some can’t. Some may leave the industry entirely. Important to know what will happen to you if any of this happens.
This might be important to you even if you are not a marginalized writer. Some agents/agencies are sadly are sometimes racist, etc. Good to know beforehand!
At KT, I think it’s one or two years before I could use a manuscript again with another agent if (Gods forbid) my agent and I parted ways. Important to know!
I also love Jim McCarthy’s list of questions here: https://t.co/JtWuqOu3XG
More from Writing
I can second this observation through personal experience. I was only able to start writing because "it's just dumb weeb fanfiction quests, who cares." 100,000 pages of dumb weeb fanfic later, and I actually got better... but only because I was trying my best with every page.
"It's dumb weeb fanfiction" gave me permission to be bad, to vomit things onto the page that I knew fell far short of what I wanted it to be. To just write and write instead of laboring over six paragraphs for weeks like I'd always done before.
But I still *wanted* to be good.
Writing is HARD. And unfortunately, most people don't appreciate just how hard writing (or communication in general) is, and that cultural attitude infects writers, too.
You must give yourself permission to be bad. And realize that all writing is practice.
IT. COUNTS.
And as the folks in my mentions are pointing
... it's an excellent way to find out what actually resonates with other people - putting work out there. Even your early bad stuff you'll cringe at later.
What resonates is NOT easy to tell, because we all, inherently cringe at ourselves, a lot.
I think the mistake a lot of people make is that they write to make a good work instead of writing to make themselves a better writer (who will eventually be able to make good works). The second promotes training and builds humility while the first is just narcissism.
— Dan Kim (@CloneManga) October 31, 2020
"It's dumb weeb fanfiction" gave me permission to be bad, to vomit things onto the page that I knew fell far short of what I wanted it to be. To just write and write instead of laboring over six paragraphs for weeks like I'd always done before.
But I still *wanted* to be good.
Writing is HARD. And unfortunately, most people don't appreciate just how hard writing (or communication in general) is, and that cultural attitude infects writers, too.
You must give yourself permission to be bad. And realize that all writing is practice.
IT. COUNTS.
And as the folks in my mentions are pointing
It gave us hellcow, so it clearly worked
— Argatson (@warhammer651) October 31, 2020
... it's an excellent way to find out what actually resonates with other people - putting work out there. Even your early bad stuff you'll cringe at later.
What resonates is NOT easy to tell, because we all, inherently cringe at ourselves, a lot.
\u201cDumb weeb X\u201d is a concept with a lot of power.
— J (@Becquerl1) October 31, 2020
I want to talk about how western editors and readers often mistake protags written by BIPOC as "inactive protagonists." It's too common an issue that's happened to every BIPOC author I know.
Often, our protags are just trying to survive overwhelming odds. Survival is an active choice, you know. Survival is a story. Choosing to be strong in the face of the world ending, even if you can't blast a wall down to do it, is a choice.
It's how we live these days.
Western editors, readers, and writers are too married to the three-act structure, to the type of storytelling that is driven by conflict, to that go-getter individualism. Please read more widely out of your comfort zone. A lot of great non-western stories do not hinge on these.
Sometimes I wonder if you're all so hopped up on the conflict-driven story because that's exactly how your colonizer ancestors dealt with people different from them. Oops, I said it, sorry not sorry. Yes, even this mindset has roots in colonialism, deal with it.
If you want examples of non-conflict-driven storytelling google the following: kishoutenketsu, johakyu, daisy chain storytelling/wheel spoke storytelling. There was another one whose name I forgot but I will tweet it when I recall it.
Writing tip: let\u2019s talk about the INACTIVE PROTAGONIST. I\u2019ve seen a lot of amazing books lately with incredible plots, intricate worlds, and just really great writing with one recurring issue, which is the inactive protagonist. I think it can get tough when you\u2019re writing (1/10)
— Briston Brooks (@briston_brooks) January 26, 2021
Often, our protags are just trying to survive overwhelming odds. Survival is an active choice, you know. Survival is a story. Choosing to be strong in the face of the world ending, even if you can't blast a wall down to do it, is a choice.
It's how we live these days.
Western editors, readers, and writers are too married to the three-act structure, to the type of storytelling that is driven by conflict, to that go-getter individualism. Please read more widely out of your comfort zone. A lot of great non-western stories do not hinge on these.
Sometimes I wonder if you're all so hopped up on the conflict-driven story because that's exactly how your colonizer ancestors dealt with people different from them. Oops, I said it, sorry not sorry. Yes, even this mindset has roots in colonialism, deal with it.
If you want examples of non-conflict-driven storytelling google the following: kishoutenketsu, johakyu, daisy chain storytelling/wheel spoke storytelling. There was another one whose name I forgot but I will tweet it when I recall it.
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1/ Some initial thoughts on personal moats:
Like company moats, your personal moat should be a competitive advantage that is not only durable—it should also compound over time.
Characteristics of a personal moat below:
2/ Like a company moat, you want to build career capital while you sleep.
As Andrew Chen noted:
3/ You don’t want to build a competitive advantage that is fleeting or that will get commoditized
Things that might get commoditized over time (some longer than
4/ Before the arrival of recorded music, what used to be scarce was the actual music itself — required an in-person artist.
After recorded music, the music itself became abundant and what became scarce was curation, distribution, and self space.
5/ Similarly, in careers, what used to be (more) scarce were things like ideas, money, and exclusive relationships.
In the internet economy, what has become scarce are things like specific knowledge, rare & valuable skills, and great reputations.
Like company moats, your personal moat should be a competitive advantage that is not only durable—it should also compound over time.
Characteristics of a personal moat below:
I'm increasingly interested in the idea of "personal moats" in the context of careers.
— Erik Torenberg (@eriktorenberg) November 22, 2018
Moats should be:
- Hard to learn and hard to do (but perhaps easier for you)
- Skills that are rare and valuable
- Legible
- Compounding over time
- Unique to your own talents & interests https://t.co/bB3k1YcH5b
2/ Like a company moat, you want to build career capital while you sleep.
As Andrew Chen noted:
People talk about \u201cpassive income\u201d a lot but not about \u201cpassive social capital\u201d or \u201cpassive networking\u201d or \u201cpassive knowledge gaining\u201d but that\u2019s what you can architect if you have a thing and it grows over time without intensive constant effort to sustain it
— Andrew Chen (@andrewchen) November 22, 2018
3/ You don’t want to build a competitive advantage that is fleeting or that will get commoditized
Things that might get commoditized over time (some longer than
Things that look like moats but likely aren\u2019t or may fade:
— Erik Torenberg (@eriktorenberg) November 22, 2018
- Proprietary networks
- Being something other than one of the best at any tournament style-game
- Many "awards"
- Twitter followers or general reach without "respect"
- Anything that depends on information asymmetry https://t.co/abjxesVIh9
4/ Before the arrival of recorded music, what used to be scarce was the actual music itself — required an in-person artist.
After recorded music, the music itself became abundant and what became scarce was curation, distribution, and self space.
5/ Similarly, in careers, what used to be (more) scarce were things like ideas, money, and exclusive relationships.
In the internet economy, what has become scarce are things like specific knowledge, rare & valuable skills, and great reputations.
