I hadn’t planned on doing more about agents, but all this talk got me thinking.
See, there’s a big difference between how the publishing industry (or anything, really, but I’m talking about publishing today) looks from the outside, compared to what it looks like from the inside. Most people know that, at least intellectually, but too often, nobody stops to really consider what it means.
From the outside, it looks as if there’s this big wall around the Promised Land of Getting Published, and every so often there’s a door in the wall labeled “Editor at work!” In front of the doors, there’s a long row of agents, and in front of them is a vast crowd of eager would-be writers, waving manuscripts and query letters. Every so often, one of the agents takes one of the manuscripts, reads a bit, and then looks up with a discerning nod. She/he waves the Chosen Author forward and escorts him/her to one of the doors, which immediately opens to let the author and agent in. A few minutes later, the agent emerges to start the process all over again.
Obviously, from this perspective, the absolute most important thing is…to get inside the wall. It’s next to impossible to catch even one agent’s attention, and since all of them seem to be doing pretty much the same thing, it doesn’t seem to matter who the writers choose. Heck, it doesn’t seem as if the writers have much of a choice; it’s the agents who are doing the picking and choosing.
The view from the other side of that wall is a little different. For starters, it isn’t a green and pleasant field; no, it’s more like a maze of twisty little passages, all different, all interconnecting, all ending up in slightly different places. When the agent and the author walk through the door and start down a passage, what happens next can be very, very different, depending on things like how much experience the agent has, what sorts of choices the agent makes about navigating the maze, and which place the agent figures they’re going to end up (which may or may not be the same place the writer was envisioning).
And the agent doesn’t just walk the author through the maze to the editor(s) and then bow out. On the contrary, for a first novel, the agent/author pair may make many stops before they find an editor who’s interested. Then the contract negotiations begin, and after that, keeping an eye on payments and production…all with an eye to how this is going to affect the writer’s second book, and third, and so on. And then comes selling the next manuscript, and negotiating, and so on.
Publishing being the slow, lengthy process it is, the agent doesn’t hover at the writer’s elbow every minute. There are weeks and months when she’s busy negotiating and selling and collecting things for other clients, while her new client is writing. But it’s a long-term relationship…and even if you figure you’ll move on to someone else after a few books, you will still be dealing with your original agent on every book that agent represented for you, probably for years, if not forever. (It depends on the contract.)
An agent who is very good at getting a writer through the publishing door, but who is lousy at everything else, is worse than no agent at all. He can do everything that Eager-Would-Be-Writer wanted, back when EWBW was outside the wall – and if that is all that he is good at, EWBW is going to be desperately unhappy, at the very least. At worst, the so-called agent can make it much, much more difficult for the newbie writer to get a career off the ground – not out of malice, maybe not even out of incompetence, but just by automatically steering the newbie writer in a direction that said writer isn’t happy with.
From inside the Great Wall of Publishing, the agent isn’t just a gatekeeper; in fact, being a gatekeeper is probably the smallest and least important thing he does. From inside the Great Wall, agents aren’t all doing the same thing; different agents have different approaches and are good at different things. From inside, an author-agent relationship is something you’re going to be stuck with for years. From inside, it pays to do your homework and be a little choosy, even if it seems to be to your disadvantage in the short run.
Because from inside, it’s all about the long run.
The difficulty is always, always in communicating all this to the Eager Would-Be-Writers on the outside. Because from the outside, all that stuff sounds impossibly far away. The immediate, important problem is still Getting Inside, and it seems like the folks inside just don’t understand. Meanwhile, the folks inside are equally frustrated, because all the EWBWs Just Don’t Listen. (Well, obviously not - they’re being told all this stuff about problems they don’t even have yet; why should they care?)
I don’t know that there’s a solution to this (and if I knew the solution, I could probably make mega-bucks as a successful international mediator). It’s part of how people are wired: getting across the river to the grove of juicy fruit trees is a lot more important right now than worrying about the snakes and scorpions and tigers that won’t be a problem until we’re over on the other side where they are, especially when one can see the river and the fruit, but the snakes and scorpions and tigers are all hiding. But really, planning ahead so that one brings along the insect repellent and the snakebite kit and the elephant gun is a really good thing to do beforehand. Wishing for them after one has been bitten or stung or pounced on is too little, too late.