Agent Sara Megibow On Whether You Still Need an Agent

Today I have with me Uber Agent Extraordinaire Sara Megibow. Yes, I have dubbed her such. She is not only AMAZING at what she does, she is super nice to boot. She's agreed to take time out of her very busy schedule to answer some pressing questions I've heard plenty of writers discussing lately. So without further ado, here is the interview:

1.  The market is rapidly changing as we all know. How is the agent's job changing with it, or is it?

Great question and thanks for having me here today! I imagine that, as with most questions about publishing, this answer will vary greatly from agent to agent. I tend to represent debut genre authors (Stefan Bachmann of the middle grade fantasy THE PECULIAR, Miranda Kenneally of the contemporary young adult CATCHING JORDAN, Roni Loren of the contemporary erotic romance CRASH INTO YOU, etc), so my answers will be skewed to those markets.

For me personally, when someone says "rapidly changing market" my thoughts go to electronic book sales and subsidiary rights.

What does "rapidly changing market" mean in terms of ebook sales? Growth. We've seen huge growth in the ebook market since I started working in publishing in 2006. The impact of that growth affects my job in many ways - this won't be an all-inclusive list, but here's an overview:

         In 2012, Stefan Bachmann's book sales (remember - he writes middle grade fantasy) broke down to 94% print sales and 6% ebook sales. Conversely, Roni Loren's book sales (for contemporary erotic romance) were 33% print book and 67% ebook sales. How does this affect my job? Well, I need to know this stuff. It's important to know the numbers, the trends and the impact for my clients and their books. We see ebook sales growing tremendously, but it's also important to know in which genres that growth occurs and in which segments growth is perhaps plateauing. Ebook growth in the past couple of years has affected my day-to-day job to include: negotiating contracts that include important ebook language and ebook royalties, crafting publicity plans for my clients that focus on print sales AND ebook sales (or just ebook sales for clients with ebook-only releases), weighing ebook-only deals with p&e deals (print and ebook) and researching the impacts of cover design, metadata, release dates and pricing on ebook sales.

What does "rapidly changing market" mean to subsidiary rights? Opportunity. Subsidiary rights (to an agent) means film, foreign rights, audio rights, gaming, merchandise, etc. Possibly as a side result of the growth in ebook sales (or possibly due to the gigantic increase in pop cultural success coming from books like HARRY POTTER, TWILIGHT and HUNGER GAMES) - I've seen tremendous increase in opportunities for my authors to make money on subsidiary rights. I have more interest from Hollywood for film and TV sales than ever before and for a wider range of books (romance, erotica, New Adult, middle grade - etc.). CATCHING JORDAN by Miranda Kenneally was optioned to producer Nick Wechsler last year, and I have more big Hollywood news coming soon. I'm selling more audio rights and making more money for my clients on foreign rights. Tiffany Reisz's ORIGINAL SINNERS series knocked 50 SHADES OF GREY off the #1 bestselling spot in erotica in the UK and Stefan Bachmann's THE PECULIAR is a bestseller in Germany and Switzerland. So, how is my job changing? Basically - I am spending more time shopping, organizing, planning and promoting subsidiary rights sales for all my clients whether they write fantasy or erotica and whether they are debut authors or international bestsellers.

As a side note, many times when writers ask agents about the "rapidly changing marketplace" they are asking about self-publishing. Self publishing is a wonderful trend that has seen tremendous success in the past few years. This trend doesn't affect me much though as I don't tend to represent previously self-published titles. My inbox is still stuffed full of authors looking for traditional publishing deals and that's the model I, personally, tend to prefer. For example, Jaleigh Johnson came to me via the traditional email query letter in December and we sold her debut middle grade fantasy in 12 days in a significant deal to Random House. So, self publishing works for a lot of authors, but it's not a trend that's affecting me much right now as the traditional model is still working for me very very very well.

2.  Many are going the self publishing or Indie route. We've examined the pros and cons in a series here on this blog. What would you say to those that choose this route?

Awesome! Seriously - the success stories are inspiring and heart warming. It's not a segment of the industry that I pursue as I am still rabidly in love with traditional publishing. But, some of my clients are self publishing ancillary works - for example, Juliana Stone is publishing a New Adult,  THE STILLNESS OF YOU, under the name Julie Bale and is very happy with that decision. One big benefit self publishers have (at least in my limited experience) is control - they can control content, length, release date, cover, editing, pricing, metadata, promotions, publicity, audio rights, etc. For authors who prefer a lot of control in the process, I imagine this is a powerful and wonderful feeling. If someone who is not a client says to me, "I've decided to self publish" I say great! If someone who is not a client says to me, "I've decided to traditionally publish" I say great! If that someone IS a client, then my answer is a bit more complex as all clients receive in-depth, personalized career planning. Still, your question is "what would you say to those that choose this route" and my answer is, Great!

3.  Here's the big one! Why do we still need an agent?

That's an excellent question! You don't.  :)

Many authors don't want agents and if you don't want an agent, then don't get one. Personally, I want to work with people who WANT to work with me and I'm sure it works the other way around too. This question doesn't offend me at all and it's an excellent one! Here are some reasons why you *might* still need an agent:

There are publishing houses and imprints that only accept material from agents. However if an author has no interest in submitting to those houses, then having no agent is no loss. In general, I would say if an author wants a traditional publishing deal, they want an agent. If an author wants a small-press publishing deal or to self-publish, they don't need an agent (although she/he may want one anyway).

As an agency, we provide serious and thorough contract negotiation. However, anyone can hire an entertainment lawyer (just make sure to hire one that specializes in publishing contracts). If you are self-publishing, then there are fewer contractual issues to worry about. But if you are print and/or e-book publishing with any publishing house - big or small - then the contract is a complicated document that most people need explained and/or negotiated for them.

I provide editorial feedback, career planning and publicity/promotions help - but an author can hire an editor, make their own career plans and pay for a publicity team.

Our agency audits royalty statements for our clients and tracks license payments, advance payments and royalty payments. An organized author can do that for her/himself, especially if they have an accounting background.

The big question is subsidiary rights. Can an author shop their own foreign, audio, gaming, film, TV and merchandising rights? That I don't know. I wouldn't want to have to do that on my own, however there are some very savvy people out there and if this extent of sales floats your boat, then I imagine it can be done. Perhaps the savvy author could hire their own foreign co-agent and travel to LA to meet with film co-agents? Again, I don't know the answer to that one. My gut response in today's market (and that could change next year, next month, next week) is that if an author wants to exercise their subsidiary rights then they need an agent.

Hugh Howey didn't have an agent when WOOL went viral as a self published e-book, but he has one now (my boss, Kristin Nelson). Kristin has closed foreign deals for him, a print-only deal (very rare) and a significant film deal with Ridley Scott. Courtney Milan DID have an agent (again, my boss - Kristin Nelson) when her self published e-books hit the NYTimes bestseller list. If an author wants to self-publish, they don't need an agent, although these are two good examples of authors who wanted them.

So, that's my answer. Why do you still need an agent? If these additional services would be of benefit to your author career then you may need an agent. If these services would not benefit you, or you simply don't want an agent, then you don't need one.

WOW! Thank you, Sara, for being so forthcoming and explaining things so well. 

Want to know more about my guest? You can find her in the following places: 

Sara Megibow

Literary Agent

Nelson Literary Agency

www.nelsonagency.com

on twitter @SaraMegibow

and on publishers marketplace:

http://www.publishersmarketplace.com/members/SaraMegibow/

Susan Kaye Quinn and Laura Pauling Debunk Indie Publishing Myths

*Before we begin I want you all to be sure to come back next week when the amazing Aubrey Poole, Editor from Sourcebooks will join us to provide a more in depth look at why having a publisher is a good idea. But now for our Indie experts!

A post from Susan Kaye Quinn on Debunking Some Indie Publishing Myths, combined with Lisa Gail Green’s posts on Indie vs. Traditional kicked off a discussion between Susan Kaye Quinn and Laura Pauling (both indie authors with the Indelibles author group) on indie publishing myths, publishing middle grade, and the new hybrid author. For a peek behind the curtain at the real experience of indie authors today, check it out…

There are too many self-pub books; mine will be lost in the pile!
NOT TRUE.

Laura Pauling

Laura: Sue’s post is a great list of myths (about indie publishing). (There are) so many more too when it comes to why authors self publish and quality issues. But Lisa has  definitely covered some major ones. :) We're never doomed unless we quit trying. 



Susan: I’ve been countering some myths on the blogosphere lately, so I collected them into a post. Interestingly, I’ve heard less lately about the “all SP (self-published) books are trash” meme – maybe I’m just hanging out with the cool kids now.

Laura: I see the knocks on quality about SP from posts in the traditional world; usually people who don't know much about it or who really don't know how to find the well written books. I just walk away. :)

You have to publish fast to be a successful indie author.
NOT TRUE.

And I agree, the whole rush, rush thing is slightly exaggerated.  A career will not be made or broken based on that factor. Does rushing books to market help? If they’re quality. And it helps get the author to a point in his/her career where they could be full time, but it's not the determining factor.

Susan Kaye Quinn

Susan: Getting quality books out quickly helps for the same reason that being 10 years down the road in my career would help – I’d have more to sell. But I don’t see a good way to short-cut that process – you have to actually write the books and earn the fans along the way.

I try to insulate myself from the indie naysayers of the world – it doesn’t help to listen to people who are dissing what I’m doing. I’ll let them play in their sandbox and I’ll play in mine.

Laura: I know what you mean. I'm attending and volunteering at NESCBWI (New England Society of Children’s Book Writers and Illustrators) this spring. I have to seriously debate whether it's worth my $$ in the future. Ansha Kotyk is presenting and will be able to sell her self-published book in the bookstore and sign, so I'm curious to see how that goes for her. :) 

Have you decided what to do with your middle grade? Query? I'm torn about the future. I'll continue to write and self publish some companion novels to promote my middle grade that's out. And I have another idea for a series, that I'll self publish. I’ll see what happens. 

  

Susan: Everything I see still tells me that middle grade indie books struggle. Writing and publishing really are two separate functions in my brain – I write what I love, then figure out the best way to publish. Speaking of: has your small press (Pugalicious) gotten good reviews/distribution for your MG novel about the Mayans? Has that opened any doors you wouldn’t have had with self-pub?

Laura: Honestly, publishing with the small press has certain advantages. Pugalicious Press did fantastic job with editing and cover design. I had a one-hour phone conversation with a marketing specialist. I think it also opens doors for certain contests, if a writer cares about that. I could submit for the bigger awards.

But, over all, in all honestly, it doesn't help as far as distribution. But, let's say, a book took off, then it would be much easier to get into bookstores b/c bookstores would see your book as traditionally published. So it has the potential to open doors that I wouldn't have self-publishing.

I think querying a middle grade would be much easier knowing I was writing and self-publishing other works. That my career didn't hinge on that one manuscript. Middle grade is really hard, even though everyone clamors for it. But, there is a certain freedom knowing that if they're not interested I can go with a small press or self publish. It frees me to write for me, not for them or what I think they're looking for. I don't think I realized how much that influenced me until I started self publishing. 

Susan: This is SO true – and it’s really hard to explain it to people until they’ve self-pubbed and seen it for themselves. There’s an unrestrained variety in self-pub. You’re not locked into what publishers see as having high sales potential.

Laura: I think some authors truly feel that self-publishing is giving up the dream. I guess if you want to be published traditionally, than it could be. But underlying what we've been told for years, is the dream of reaching readers, of possibly making an income. That's never been more possible than it is today. 

Susan: I think it’s definitely ok to pursue the dream (of traditional publishing). In fact, I think it’s imperative that you do so, if that’s your dream, until it plays out, whatever the outcome.

Laura: I do understand writers not wanting to take on all the aspects of self-publishing, so ultimately it's their choice. But I see traditional publishing just as stressful and time consuming as far as the business aspect, worrying about selling through and the huge pressure (along with excitement) that comes with release.

I'm so interested to see what the next couple of years bring, but I see over and over again that 2013 is the new normal. The gold rush is over. Now it's about self-published authors playing it smart, seeing the long tail, producing good work, improving craft, and sticking to a schedule. And most importantly, not giving up. If something isn't selling well - try something else.

What do you think of the hybrid author these days? Advantages/disadvantages?

Susan:  I’m not sure I know what a hybrid author is any more. I thought I knew – it was an author who was trad-pubbed then went indie or who was an indie success and got plucked from the bestseller list and offered a contract from the big six.

These days, I think less and less in terms of publication route and more in terms of distribution, intellectual property, and opportunities. I just finished putting out a live-action trailer that has helped me connect with film agents who might be interested in shopping film rights. I’m working on an audio version of Open Minds where I’ll be revenue sharing with the narrator. And I’m exploring possibly translations to other language. Meanwhile, indie superstars like Hugh Howey and Colleen Hoover are negotiating print-only deals with publishers.

All these things used to be only available to trad-pub authors, but now I see this as the true future for hybrid publishing – managing your intellectual property through all the most effective channels (trad-pub for print, indie for e-rights, film agents or indie producers for the film world, indie collaborations for things like graphic novels, audio books, and translations into foreign languages).

Indie publishing is a whole new business model, and authors are still feeling out all the pathways to success.

It’s a brave new world. Still.

Laura: Definitely!

Indie Vs. Traditional Round 5

photo credit

Personal Satisfaction

Indie:

• Pros:
• You do it your way.
• You get to see your book out there in the hands of readers.
• Cons:
• You may not have shelf space or an end cap.
• You won't get that third party recognition from the big guys. Unless of course you sell above 50,000 books and attract a little attention, which is difficult to do.

Traditional:

• Pros:
• You made it the "hard" way! You have the recognition.
• You are dealing with others who can do certain things for you that you don't want to deal with yourself.
• Cons:
• You may have to struggle to sell more books if you are a mid-list author, which most people are. 
• It may take years. Even decades.

Yup it all comes down to this. What is it that drives us? We don't write because we think it's glamorous - those that do are probably due for a checkup. We write because we HAVE to. But beyond that we each have different goals and preferences. 

Over this series we've examined pros and cons to both Indie and Traditional publishing. Does it look like one is better than the other? There's no knockout here. I believe they are both valid and wonderful ways to pursue our art. That's why I'm pursuing both. 

Now I don't expect you to rely on my word for it. In the next couple weeks I'm going to have some better authorities weigh in on BOTH sides. Next week we will start with the amazing Susan Quinn and Laura Pauling, both successful Indie authors, discuss the benefits of Indie publishing from their viewpoint. Then we'll give the other side a chance. :D So don't forget to stop by!

Indie Vs. Traditional: Round 4

Audience

Traditional:

• Pros:
• They can get the word out and are featured prominently at chain bookstores and online. So you have a boost right away
• People trust what they know
• You have a better chance at hitting the best seller list and your book becoming big
• Cons:
• They may be trying so hard to mass market that they miss the real gem inside your book
• If it flops, it usually happens right away and it's tougher to get a second book deal

Indie:

• Pros:
• You can publish a book designed to fit the needs of a small or particular audience
• You build your name as an author over time and by word of mouth, so if you don't "make it big" right off the bat, you're still doing just fine
• Cons:
• It's tough to get noticed
• You have to work hard to get the book in the hands of the right people to spread the word 

What do you think? Did I get that right? It's tough to say, but that's what I've gleaned so far. Next time? The final round: Personal Satisfaction.

Indie Vs. Traditional: Round 3

Quality

Indie:

• Pros:
• You control the quality of everything from each word to the cover. It's all your decision and if it doesn't fit your vision, you don't have to do it. 
• Cons:
• You control the quality. Yup here we go again! See, here's the thing... Having a good editor is priceless. I truly believe if you don't have your book edited, you shouldn't put it out there. There are things you just can't see because you are too close to it. Great beta readers are important, but you need a healthy line edit and of course copy editing as well to make it perfect - or as close as you can get it. It's so important that I can't stress this enough. You have to rely on others to help you out. A great cover artist is important too. You have final say - and that's awesome! But you have to take your time and approach it like a business and DO IT RIGHT.

Traditional:

• Pros:
• You are dealing with a known quantity. You can go to B&N and see their work for yourself. You can rely on the professionals and know that you are in good hands.
• Cons:
• You usually don't have much of a say (if any) in things like cover art and design. Sometimes even marketing. I know of authors who've had issues with the ages their publishers have suggested on both ends of the spectrum (too young and too adult). 

Confused yet? Next week is round 4: Audience.

Indie vs. Traditional: Round 2!

Timeline

We all know how long it takes to write a book. We also know how long it takes to publish one. Here are my pros and cons on the time involved in both traditional and indie publishing.

Traditional:

• Pros:
• It may take a while, but you know they're doing it "right".
• If it's delayed even longer, it's possibly because your book will do better if released at another time.
• Cons:
• It typically takes a MINIMUM of a 1 1/2 years from deal to publication.
• Many times the list gets shuffled and your release is delayed. Sometimes it's better for the house and not your specific book.

Indie:

• Pros:
• You control the timeline. If you decide to put all your effort and time in, it's not like you're splitting that between dozens of other books and submissions, so you can push it through faster. *note this will also appear as a potential con below.
• You can put out secondary novels/sequels faster than a traditional publisher would, potentially reaching more readers/fans faster. 
• Cons:
• You control the timeline. Yup. You might be so excited or so sure your book is perfect that you don't invest the time necessary to do it "right" as sited above. That's up to you as a professional and a true writer. 
• You can become so overwhelmed with trying to act like the publisher that you forget to spend time writing and revising and subsequent books can suffer.

So there you have it. My second edition. What can you add? Next week is something I touched on today: Round 3. Quality

Indie Vs. Tradiitonal Round 1

This isn't about competition. Most people think it is. That only one format can come out on top. I'm not here to play that game. Personally I believe they can coexist and in fact, I'm going to continue to pursue both. But I do want to take a look at the pros and cons of both as I see them in a series of blogs. I know there are so many people out there better researched than I, but maybe you're just as confused as I was not that long ago and perhaps a layman's view will come in handy.

Today I want to look at Publicity.

Traditional: 

• Pros: 
• Sometimes you get a publicist!
• You have a name behind you
• You have wider exposure in print
• Cons:
• Most new authors have to promote themselves
• Other books from the publisher may take precedence

Indie/Small Press:

• Pros:
• You can release more books in a shorter period of time (provided you still use professional editing/copyediting/design etc.) 
• The publisher (sometimes you) might be better invested in your book.
• Cons:
• You definitely have to promote yourself
• You can pretty much count B&N out unless you are doing NOOK. 

The truth is I'm not sure I see much of a difference in work unless you are one of the lucky few the big five decide to help publicize. The biggest difference is in traditional print and availability. It's not impossible with Indie by any means, but in a large chain it is.

What did I miss? Fill me in!