Thank you for making this video! Finding the "right agent for you" is very tough. I actually have 3 offers of Rep after interviews with agents this week (hooray! Thanks for all your helpful videos Bookends!) and I've got really valuable feedback from them, plus it has been very introspective for me as to what I actually want based on their responses to my work. So I actually really appreciated it when a couple agents passed, because it meant they weren't as you said "all in" or really the right place for my projects to be (and future projects). I think (gut feeling) I have found an agent who is passionate about me and my ideas though - so that is VERY exciting!!!
I found this topic be quietly positive: getting rejected can be a reflection of the agent's belief in the work, and not always a judgment of the work's quality. I used to teach so I respond to this mentality 100%. I stopped teaching when I realized that as much as I loved it, and what it represented, it's a job that requires so much of your time and energy, you have to love it completely or not at all. Speaking of topics, I'd love to see any of the following: What can authors learn from query responses? (I got what I assume was personalized feedback, but without knowing the industry standard, and with the response being broad though briefly specific to the story - positive no less! - I can't tell how to extrapolate anything further) Or more specifically: what types of responses an author can expect, and what they represent (apologies if you've already done this: still going through ya'll's endless library!) Querying is time consuming, physically and spiritually too. When is a good time to stop querying, assuming you're getting rejected, and work on the next book to query?
Y'all must be following me around because this is the second video in a row that's talking right to my situation! An agent just read my full and said it was compelling! She couldn't offer me rep! TY
I love you guys! I've learned so much watching your videos and I can't wait for you to read my query letter! I am recruiting beta readers and working on comps right now. Thank you.
Thank you for the vid! Could you talk about what is going on in the industry, the editor burnout and how slow everything has gotten? Thank you so much❤️
Another interesting video. I really appreciate your willingness to tell the hard truths. That gives it all extra credibility. Thanks! (I looked up "MSWL." It's "manuscript wish list"! :)
This was the first of these videos that I felt was speaking directly to me. I’ve learned a lot from this channel hearing the agent perspective but this was particularly helpful. Best of luck with your current list of clients. Here’s to hoping I find the right someone ✌🏻
I would love to enter Pitch Wars, but they don't accept chapter books, which is what I have written. Do you know of any of these mentor competitions that do?
I actually have a question - if you're an author illustrator (like myself) is it a good idea to have a literary agent for all your book projects AND an illustration agent for editorial, advertising etc? What do you think? Is it accepted, uncommon, or weird?
Great question! We have quite a few author-illustrator clients who just have 1 agent, and their agent not only submits their books to editors but also creates lookbooks and samples to send out to art directors to get interest in illustrations for books or merch designs. Every situation is unique, however. Maybe we can do a video on this some day!
@@BookEndsLiterary thanks so much for your reply!! I think I saw this when you replied, but my response must have slipped me by. Coincidentally, I've found that what you've said here is what my current agent is doing now - submitting my work to publishers but also showing a lookbook of my work to editors. It's been a very successful strategy so far so it must work!! I'm VERY relieved I don't need two agents and very grateful my one agent can handle all this :)!
As always, this post is really great and makes total sense. The notion of finding an agent that is 'all in' is helpful. Through the process of querying a project (let's call it project A) I got a 'no' from an agent, but they said they would be interested in reviewing future work. Soon I will be querying project B and of course it would be amazing if they liked it. On the other hand, if I know they didn't like project A, then they wouldn't really be 'all in' so to speak. Just wondering if these types of considerations matter much. Obviously, project A hasn't found me representation yet, so maybe this is all too academic, but curious to hear if you have any thoughts.
Thank you for sharing. Always interesting to hear from you and I believe that you provide a very valuable service to authors . However as a writer from a minority background with a plethora of rave rave rave rejections, I do think this topic has many layers. The subjectivity of an agent's mindset when approaching a new work means invariably that the work will be viewed within a context that is familiar. This is a shame for all the stories that will never see the light of day. The issue of 'connecting' with a book and it's characters is hugely problematic in this regard and I know you in Bookends are the good guys in the struggle so this isn't to criticise you in particular. Just wanted to flag that as our world is changing in so many ways, 'representation' isn't going to be the only thing that will bring these stories to light.
If you're too busy for new projects that you know will sell, why would you say you're open for submissions? That doesn't make sense. To land an ez mode project? Are you trolling? I feel like you're trolling. James literally says "We are one person" lol
Because we're not too busy for new projects. We just can't take on all the projects. If it will sell another agent will. We're not trolling it's just we have active and full lists and only really take on a few new clients each year. We are still consistently selling for the 30 or so clients we're working with.
@@BookEndsLiterary What a weird industry this is. Why not hire more agents? If you know a book will sell, why give it to your competition? And if you want to be silly and give it to your competition, why not put the author in touch with someone who will buy it? What if all agents felt the same as you, and an author gives up because everybody passed on the thing they could represent but don't want to be bothered with? Agents send impersonal rejections, if they respond at all. (I know because I've been through the trenches, including with your agency.) This is why traditional publishing feels so gatekept and dependent on blockbusters. The next time another author tells me agents actually care about making money, I'll be sure to show them this video. Myth busted.
The volunteering comparison really helped me understand this concept more!
Thank you for making this video! Finding the "right agent for you" is very tough. I actually have 3 offers of Rep after interviews with agents this week (hooray! Thanks for all your helpful videos Bookends!) and I've got really valuable feedback from them, plus it has been very introspective for me as to what I actually want based on their responses to my work. So I actually really appreciated it when a couple agents passed, because it meant they weren't as you said "all in" or really the right place for my projects to be (and future projects). I think (gut feeling) I have found an agent who is passionate about me and my ideas though - so that is VERY exciting!!!
I found this topic be quietly positive: getting rejected can be a reflection of the agent's belief in the work, and not always a judgment of the work's quality. I used to teach so I respond to this mentality 100%. I stopped teaching when I realized that as much as I loved it, and what it represented, it's a job that requires so much of your time and energy, you have to love it completely or not at all. Speaking of topics, I'd love to see any of the following:
What can authors learn from query responses? (I got what I assume was personalized feedback, but without knowing the industry standard, and with the response being broad though briefly specific to the story - positive no less! - I can't tell how to extrapolate anything further)
Or more specifically: what types of responses an author can expect, and what they represent (apologies if you've already done this: still going through ya'll's endless library!)
Querying is time consuming, physically and spiritually too. When is a good time to stop querying, assuming you're getting rejected, and work on the next book to query?
Y'all must be following me around because this is the second video in a row that's talking right to my situation! An agent just read my full and said it was compelling! She couldn't offer me rep! TY
I recently submitted my first query to Jessica Faust. I received the most polite rejection letter.
I love you guys! I've learned so much watching your videos and I can't wait for you to read my query letter! I am recruiting beta readers and working on comps right now. Thank you.
Thank you for the vid! Could you talk about what is going on in the industry, the editor burnout and how slow everything has gotten? Thank you so much❤️
We have it on our video docket now, thank you for bringing it up!
@@BookEndsLiterary Thank YOU! Can't wait to hear what you guys have to say
Another interesting video. I really appreciate your willingness to tell the hard truths. That gives it all extra credibility. Thanks! (I looked up "MSWL." It's "manuscript wish list"! :)
Thank you.
Informative, and understanding. Thanks 'Bookends.'
This was the first of these videos that I felt was speaking directly to me. I’ve learned a lot from this channel hearing the agent perspective but this was particularly helpful. Best of luck with your current list of clients. Here’s to hoping I find the right someone ✌🏻
So glad to hear this!
I would love to enter Pitch Wars, but they don't accept chapter books, which is what I have written. Do you know of any of these mentor competitions that do?
I actually have a question - if you're an author illustrator (like myself) is it a good idea to have a literary agent for all your book projects AND an illustration agent for editorial, advertising etc? What do you think? Is it accepted, uncommon, or weird?
Great question! We have quite a few author-illustrator clients who just have 1 agent, and their agent not only submits their books to editors but also creates lookbooks and samples to send out to art directors to get interest in illustrations for books or merch designs. Every situation is unique, however. Maybe we can do a video on this some day!
@@BookEndsLiterary thanks so much for your reply!! I think I saw this when you replied, but my response must have slipped me by. Coincidentally, I've found that what you've said here is what my current agent is doing now - submitting my work to publishers but also showing a lookbook of my work to editors. It's been a very successful strategy so far so it must work!! I'm VERY relieved I don't need two agents and very grateful my one agent can handle all this :)!
As always, this post is really great and makes total sense. The notion of finding an agent that is 'all in' is helpful. Through the process of querying a project (let's call it project A) I got a 'no' from an agent, but they said they would be interested in reviewing future work. Soon I will be querying project B and of course it would be amazing if they liked it. On the other hand, if I know they didn't like project A, then they wouldn't really be 'all in' so to speak. Just wondering if these types of considerations matter much. Obviously, project A hasn't found me representation yet, so maybe this is all too academic, but curious to hear if you have any thoughts.
It’s depressing that PitchWars doesn’t happen anymore, I feel like with the downfall of Twitter it’s harder to get my book in front of agents.
I agree.
Please make a video about instances where you passed on books you really liked but you knew they wouldn't sell.
would you mind doing a video around women's fiction, please? I'm curious to understand more about it from a lit agent perspective
You guys rock!
It is like any other business after all😉
Thank you for sharing. Always interesting to hear from you and I believe that you provide a very valuable service to authors . However as a writer from a minority background with a plethora of rave rave rave rejections, I do think this topic has many layers. The subjectivity of an agent's mindset when approaching a new work means invariably that the work will be viewed within a context that is familiar. This is a shame for all the stories that will never see the light of day. The issue of 'connecting' with a book and it's characters is hugely problematic in this regard and I know you in Bookends are the good guys in the struggle so this isn't to criticise you in particular. Just wanted to flag that as our world is changing in so many ways, 'representation' isn't going to be the only thing that will bring these stories to light.
Definitely a super necessary addition to the conversation, thank you!
If you're too busy for new projects that you know will sell, why would you say you're open for submissions? That doesn't make sense. To land an ez mode project? Are you trolling? I feel like you're trolling. James literally says "We are one person" lol
Because we're not too busy for new projects. We just can't take on all the projects. If it will sell another agent will. We're not trolling it's just we have active and full lists and only really take on a few new clients each year. We are still consistently selling for the 30 or so clients we're working with.
@@BookEndsLiterary What a weird industry this is. Why not hire more agents? If you know a book will sell, why give it to your competition? And if you want to be silly and give it to your competition, why not put the author in touch with someone who will buy it? What if all agents felt the same as you, and an author gives up because everybody passed on the thing they could represent but don't want to be bothered with? Agents send impersonal rejections, if they respond at all. (I know because I've been through the trenches, including with your agency.)
This is why traditional publishing feels so gatekept and dependent on blockbusters. The next time another author tells me agents actually care about making money, I'll be sure to show them this video. Myth busted.