Simon Whaley’s Business of Writing: September 2024 - Anything But Straightforward
Welcome to my September 2024 newsletter.
“Does anyone have any questions for our author panel?”
The compare looked expectantly at the gathered audience, searching for a raised hand or two. There was a momentary pause, which felt seven times longer than it probably was, until a gentleman bravely raised his hand.
“Yes?” the compare encouraged.
“What are the pros and cons of having an agent?”
“Ooh, that’s a good question! Let’s see what the panel has to say about that.” She turned to the five of us seated at the front and smiled. “Which one of you would like to go first?”
You may remember from previous newsletters that I’d been booked to run a travel writing workshop at the South Warwickshire Literary Festival this month. The organisers also asked me to join the author panel at the end of the day, which is how I found myself sat in a packed room with author Alison May, children’s author (and agent!) James Catchpole, author Sophie Hannah, and scriptwriter Billy Ivory.
Thankfully, the lovely Alison May kindly offered to kick things off, which gave me a few more minutes to come up with an answer. But as I listened to each answer, I realised how different everyone’s agent-journey was. And it became clear from the questioner’s expression that perhaps our answers were not what he was expecting.
For anyone writing fiction, in particular, getting an agent can be a game-changer, especially as many of the larger publishers won’t accept submissions directly from authors. If you’re seeking a traditional publishing contract for your novel from the likes of Penguin, Macmillan, Hodder, Simon & Schuster, etc, it’s only by having an agent that your manuscript stands a chance of getting through the door.
(Many of the smaller, independent publishers will accept submissions direct from authors.)
So it’s quite understandable why many writers think getting an agent will make things easier and transform their writing business.
Alison explained she was currently without an agent at the moment, although she has had representation in the past.
James eventually joined the literary agency originally set up by his mother, as an agent, but has since written his own children’s book, so he went about things differently!
Sophie Hannah explained how she was with one agent, but later changed to another agency, and she reiterated the importance of having a great relationship with your agent.
I mentioned that I have an agent, but after three near misses at publisher acquisitions meetings, she encouraged me to self-publish my novels while we continue looking for a traditional publisher and explore foreign translations.
And Billy explained that as a scriptwriter, his relationship with his agent was vital because in the film and TV business, agents often have to do a lot of liaising with actors’ agents. (He illustrated this with a story from when his film, Made in Dagenham, was being made, which I won’t repeat here to protect the innocent!)
As we answered the audience member’s question, all the obvious pros were discussed. An agent can get your manuscript in front of the right people at the big publishers, and they can also make you more money by selling foreign rights, along with film and TV rights. They also act as a go-between when authors don’t want to deal with editors and publishers directly, and they can be a great sounding board for ideas. (When pushed for a con, James reminded everyone that agents take 15% commission 😁!)
But the panel’s answers also illustrate that getting an agent in itself is not necessarily the game-changer you might expect it to be for your writing career. In our heads, we can draw a lovely straight line: write a novel, get an agent, get a publishing deal, see our book on a shelf in Waterstones. Real life is anything but straightforward.
Getting the right agent is far more important than getting an agent.
Nothing in the writing business is ever a straight line. When another audience member asked about how we deal with rejection, I explained that I now treat them as plot twists. They weren’t the ending I was hoping for, but hopefully, that’s because there’s something far better just around the corner.
So the next time something with your writing doesn’t pan out how you’d hoped it would, just remember that is all part and parcel of the writing business. Straight-line journeys are quick and easy. The more circuitous routes are often far more enjoyable and a worthwhile experience in the long run.
The Author
Talking of not going in straight lines, I often go out for a walk when I get stuck with my writing. Studies suggest that the physical activity of walking can help our mental processing power. I wrote about it in the Summer issue of The Author (a publication sent to members of the Society of Authors), but as newsletter subscribers you can read a copy here on Medium (this link gets you past Medium’s paywall).
Money Course
One of my Writers Bureau students, Luca Caruana, reached out to me recently, updating me on his current projects. For the last few years, he’s been running his own Money Coaching Club and has just launched a new course exploring attitude and mindset towards money.
I love hearing from past students, and some regularly keep in touch. It’s always nice to hear about projects that were once ideas we discussed during the distance learning course that have become reality.
Until next month, keeeeeeeeeep writing!
Best wishes,
Simon
😁
Ah, words of wisdom to brighten my morning.