How I Found My Agent

Recently, I attended a Carteret County Writers Network luncheon and listened to a delightful author talk about her writing process and publishing. One of the questions she fielded was, “Is it true it’s impossible to get an agent unless you know someone?”

Obviously frustrated by agent rejections, he was implying that ‘the fix was in’ and that it was impossible to get an agent to represent you purely on the merits of your writing.

That wasn’t the case for me. Back in 2001, I found an agent in New York who, upon reading my second book, Pieces of Jake, signed me to a contract. I won’t tell you his name, but frankly, he was awful. He spent no time talking with me, had an editor suggest some minor edits to the manuscript, and shopped the book to only the top publishing houses in Manhattan. He never took my phone calls and never kept me informed about the publishers’ responses.

Nine months after we signed the initial contract, I got an email telling me he’d snail-mail the publishers’ rejections and that he was giving his notice that he was dropping me like a bad habit.

I was so depressed that I didn’t write another word for nearly a year. Ugh.

But a writer’s gotta’ write, so I went on and authored two more books garnering an impressive collection of agent rejections. Ugh.

But I knew Random Road was different. I loved the characters. I loved the story line. And I loved the first line of first chapter. “Last night Hieronymus Bosch met the rich and famous.”

Okay, that’s all well and good. How did I find my agent?

Confident that Random Road was ready (after untold number of edits and rewrites) I Googled: Literary agents, debut writers, mysteries. A fairly lengthy list popped up.

Now, my past efforts at writing queries were admittedly slapdash at best. Find the name of an agent, send an introductory email (a form letter I'd created that was the same for all submissions…just changing the name of the recipient), attach a synopsis and a few chapters. As I said, rejections. Or worse, no response at all.

But with Random Road, I painstakingly researched the agents and their clients. What were they looking for? What was their style? Were they REALLY looking for debut authors? What authors do they represent?

Then, when I queried, it was unique to each agent. I was meticulous in sending them what they specified in the ‘submissions’ page of their website. Some wanted sample pages, some wanted first chapters, some wanted the first fifty pages.

Four agents asked to see the complete manuscript. That had never happened before. I sent them the manuscript and then really did my research on them. What was it they were looking for in their clients? It wasn’t always just a good story (although I can’t stress how important that is), but some wanted their clients to be easy to work with. I understand, after all, if they take you on as a client, they’re taking a chance with their time and reputation.

Let me take a moment to talk about why I wanted to work with a good agent and not try to reach out to publishers on my own. Many publishers simply won’t look at unagented manuscripts. Agents act as the gatekeepers. Plus, they know the business. I don't.

They have the up-to-date contacts and the knowledge of what publishing houses are looking for.

The agent I signed with (I thank her in the acknowledgments of my published books if you’re curious about her name) gets over a hundred submissions a day. Every. Single. Day.

I attended a panel discussion she chaired at a mystery conference a few years ago and she talked about how important it is to grab a reader right from the very first sentence. Knowing I was in the audience, she asked me to stand and quote my first line. It was what had stopped her from moving on to the next submission.

I knew she was the right agent for me when she initially emailed me and told me to have a hard copy printed of Random Road and we’d talk about it over the phone. Then over the course of a few hours, we went over the book page by page, making revisions along the way.

She knew my book as well as I did. She was passionate about it.

Once we were both happy with the revisions, she began submitting the manuscript to publishing houses. As we received responses, she shared them with me. None were negative. Some were very positive. But publishing houses, just like agents, are nervous about working with a debut author.

She was always reassuring. "We'll find the right publisher for this," she said. "I have no doubt."

Then came the phone call. She’d gotten an offer from Poisoned Pen Press. Needless to say, I was elated. I have a terrific agent and a fantastic publisher. I’m also happy to say that my third mystery, Graveyard Bay, is scheduled to be released in July.

Yeah, it was worth all the effort.

Writing Acknowledgments

For most of my reading life, I’ve skipped over the Acknowledgments (or Acknowledgments, if you prefer) section in every book I read. (Dare I say, I barely acknowledged the acknowledgments? No! She didn’t!)

Now I read them all the time. What changed? I had to write my own and I wanted to see what other authors had done. Pretty soon I realized they can sometimes be more interesting than a list of names might suggest.

When I wrote the section for my first book, Fatal Brushstroke, I admit to being rather nervous. I was afraid I’d forget someone important or say something stupid or...you name it, I probably thought it. The acknowledgments for my books are fairly short, but I try to make them somewhat interesting. I dedicated Fatal to my husband and wrote this in the acknowledgments: “Finally, a special thank you to my husband, Steve, who barely flinches at dinnertime discussions of poisons and other methods of murder and who always encourages me to follow my dreams.”

I’ve begun to think of acknowledgments as a conversation with the reader. So in my latest book, Designed For Haunting, I added an explanation for why I dedicated my book to libraries and librarians: “I’ve dedicated this book to libraries and librarians because of everything they’ve given to me over the years, for all the worlds they’ve introduced me to, real and imagined. Without them, I would not have discovered many wonderful books and authors or learned so many interesting things.”

That’s the fabulous cover you see here. It’ll be out Oct 9th, available for pre-order July 18th-ish.

Okay, back to acknowledgments. They seem to come in all sizes, long, short and sometimes they don’t even exist. Anything’s fair game, I think. Now that I know a fair number of people in the mystery world, it’s fun for me to see their names in the acknowledgments of other’s books. I even, once or twice, found my name there! That pleased me to no end.

I’ve even gotten a chuckle out of some of the things author’s say. Ellen Byron, in Body on the Bayou thanked her local Target stores. “I do some of my best thinking aimlessly wandering those jam-packed aisles.”

Acknowledgments can also be educational. If you’re looking for an agent, one of the things you can do is check the acknowledgments for books that are similar to your own and see the name of the author’s agent. Agents, editors, etc. are usually acknowledged. No guarantee they’ll become your agent, but at least it’s a place to start. Before you look, you’ll find my editors acknowledged but no agent because, well, I don’t have one of those. But if I did, I’d certainly thank them!

Those are my musings on writing acknowledgments. Now I have to hunker down and come up with ideas for my next book. I have an inkling of an idea, but I still have a long way to go. Perhaps one of those muses Rick was talking about in his post yesterday will help me out...