CAVEAT EMPTOR: DON’T BECOME A VICTIM TO PREDATORS


Novice authors are often desperate to sell their books. Desperation leads to mistakes.

Assessing your talent as an author before you have been published is a very subjective experience. Inexperienced authors tend to believe that the quality of their writing is far better than it actually is. When an alleged agent or publisher tells us that our book is wonderful and that it deserves to be published, our unbounded joy may easily obscure our need for clear logic. We become our own worst enemy.

There may be more predators lurking in the dark corners of the writing and publishing world than there are in any other industry. No required education or certification process separates outstanding professional editors, agents and publishers from villains. Either you find the villain before you sign a contract, or they make easy money from you in return for… nothing.

Here’s the bottom line. Do not take compliments too highly from someone calling themselves a successful agent. The predators’ sugary sweetness is designed to convince you to play by their rules because they “will make you a famous, wealthy author.” Alleged agents may tell you who to pay to have your book properly edited. They will convince you that they will sell your book to the very best publishing houses – as they do with many new authors. They may even ask you to pay them for some kind of service before you have a publishing contract. A few hours of sincere research will uncover all types of fraudulent agents and scam agencies.

Editors are paid by you after you vet them, hire them and you are satisfied with their work. Publishers and literary agents will charge you NOTHING – EVER. The publisher will take a share from the book’s sales and pay you a royalty. Thus the motivation to sell is highest with the publisher, as sold books constitute their only opportunity to earn back your advance and gain a profit.

Agents earn money after you have signed the publishing contract by taking a share of your advance or royalty payments. If an agent asks you for money up-front, the little hairs on the back of your neck should stick up. Stay in control. Don’t be fooled by false promises or misled by agents who shower you with false glory – “if you will only pay my standard pre-publication fee.” They will mislead you by saying that they need a little money up front to conduct research, to pay for editing, or to pay a “reading fee” to a publisher’s acquisition editor. None of this is true.

YOU are responsible for fact-checking every alleged editor, agent and publisher. Never discuss an agency contract until after you have completed and evaluated a long and thorough investigation. The same process applies to researching editors. How can a novice author conduct such an investigation? Read on.

The two iconic resources for all things related to professional services in editing, agency representation and publishing are: WRITER BEWARE (http://www.sfwa.org/other-resources/for-authors/writer-beware/) and PREDATORS & EDITORS (http://pred-ed.com/). Bookmark the URLs. Use them regularly. You’ll be amazed with the volume and quality of their information, especially if you are a new author. If an editor, agent or publisher is on a “bad” list with either of those sites – BEWARE; approach with sincere caution.

You might or might not be the next Stephen King. But you can make sure that you’re not the next victim of predators masquerading as editors, agents or publishers.

Agent Queries and Publisher Proposals – Why You Should Use Links, Not Attachments


By Charles S. Weinblatt

Copyright © 2014

Abstract: Agents and publishers do not accept unsolicited letters, proposals or manuscripts from a novice author. Nor will they open an e-mail attachment from an author unknown to them. A well-connected literary agent is your access to major publishers and major publishers can shower you with a hefty advance and place the efforts of the best editors, graphic artists, printers, marketers and publicists at your doorstep, to make your book a market success. So, how do we, as unknown (or little known) authors, get agents and publishers to deliver contract offers?

This series of articles will help new or unknown authors understand how to create desired proposals and what literary agents and publishers will accept or reject. It offers a structural framework for distributing vast amounts of positive author information (platform) in a safe and protected manner that agents and publishers will feel good about opening without a malevolent result. Using a variety of embedded live Internet links, your author’s platform will be instantly available and with significant depth of data. This includes opportunities to sample different kinds of writing, writing awards, major newspaper, magazine and journal articles, TV, radio and broadcast news about you and reviews for your books from the most compelling and persuasive review organizations. This method will deliver the greatest amount of positive platform data in the most benign and viable manner.

Would you open an e-mail attachment from someone you’ve never heard of, who lacks any connection with you personally or by way of business? When someone you’ve never known sends you a poorly-worded e-mail informing you of their desire to share $20 million that their poor dead father left in some obscure bank account in Ghana just for you, do you give them your personal information? If a stranger via e-mail offers a free roof on your house if you will only open the attachment, do you open it? Well guess what? Neither will agents or publishers open your attachment. They don’t know you and now that you’ve contacted them in this manner, they never want to know you.

First, read the submission rules on each and every agent and publisher web site. Some agencies and publishers are closed to submissions or proposals. Sometimes this is only temporary, or for one or two genres. Those that will accept a proposal typically have solid rules for submission. Sometimes they even embed a strange or unusual rule, just to make sure that applicants are obeying. They own the game. Disobey their submission rules at your own risk. But remember, unless you’re a very well-known celebrity, you need them much more than they need you.

Never send a literary agent or a publisher an e-mail proposal in which the most important information has been added as an ATTACHMENT. This might sound like something everyone should already know, but then you might be surprised with the number of neophyte authors who don’t comprehend or who or won’t obey the rules. A number of small publishers and literary agents have regaled me with stories about how rookie authors ignore both submission rules and common sense.

In the past, we wrote manuscripts upon metal typewriters or by hand, paid to have it professionally edited and then we mailed the entire manuscript on paper to a literary agent or a SMALL independent publisher. Major publishers rarely opened or responded to unsolicited proposals then, let alone now.

Today, agents and publishers do NOT want to read your manuscript. Nor do they want your snail mail. If they desire you to hear from you at all, it must be in an e-mail with a brief description of who you are, why you have contacted them and why they should have any interest in your writing. All platform data should be in links, not attachments. If your platform measures up and if the topic is of any remote interest, then they will want to know more about your talent. And they will not open an attachment, period. If you send one anyway, your wonderfully-crafted e-mail and its attachment will be unceremoniously dumped into the e-trash pile.

Nor does an agent or publisher want to read a ten page electronic document that explains in great detail who you are and why you are making this contact. They desire your platform, but only in an electronic format that allows then to pick and choose which aspects to access in detail, with no attachment to open. Think about how Wikipedia encodes a vast amount of information about a person through a combination of headings, narrative and links. This is what you need to accomplish, but in an even more concise manner, via your e-mail message and embedded links. Your goal in submission should be three or four paragraphs, filled with LINKS and NO attachments.

That’s a lot about what not to do when contacting an agent or a publisher. So, how does a novice author win this contest?

First, and most obviously, you must have talent. No dashing protagonist or wondrous topic can make up for a lack of writing talent. Second, you must have a marketable book. James Michener could not have sold a book about how to drink a glass of water, regardless of how eloquent the prose or how deep the characters. Finally, you must be willing to spend a great deal of time marketing, show that you understand how to effectively promote books and demonstrate that you have already done so with other published books. All of this is part of your author platform. You can and must be able to prove that you have done this with other books. If you simply haven’t had the time to write a number of books and have then trade-published, then consider that your best years are ahead. You won’t be making the same mistakes as others. But there is no substitute for the time it takes to write, read, write some more and gradually use the learned aspects for future platform enhancement. The more you read, the more you’ll incorporate the best aspects of those author’s talents into your new books. I’m sorry if this does not coincide with our society’s value for instant success. The best authors spend decades reading the best authors and incorporating their winning attributes into their own books. If you are unwilling or unable to devote years toward learning how to be a great writer, then SP or vanity publish and best of luck to you.

For the rest of us, the answer lies in creating a relatively short (three to four paragraph) e-mail narrative that contains all of your platform and writing qualifications opened with LINKS, not attachments. While almost no one will open an attachment from a stranger, most of us will open a link. Why? They’re safer. Your computer might be wide open to attack if you expose a dangerous attachment; but chances are your browser will detect a threatening link and stop it before it opens. Add to that the protection derived from your firewall and anti-virus programs. Attachments are DANGEROUS, while links are much more benign. This article is about how to pass along positive aspects and details of your author platform via links that are live and safe, rather than via potentially-dangerous attachments.

Since your only real shot at an agent or publisher lies in placing all of your critical platform information in links, you will obviously need to put the data on commonly-used formats, such as You Tube, Facebook, Goodreads, book landing pages, major Internet interview sites, publisher sites and retailers, like Amazon, Barnes & Noble and Smashwords. I love using two major free frameworks. One is BlogSpot. The other is WordPress. Both platforms are easy to use and are globally recognized. An important criteria in this decision is how well you can understand and use analytics. Analytics provide the reason for the season. They show us who is paying attention, where they discovered us and how much of our message is received.

Contacting an agent or a publisher is not simple or free of risk. As your author platform constitutes everything positive about you as an author, the way you deliver that platform is absolutely critical. In essence, you have a few sentences to sell yourself. The paragraph below elicits how I might contact an agent or a publisher.

I was born in Toledo, Ohio in 1952. I am a retired university administrator. I’m also the author of published fiction and non-fiction. My biography appears in Wikipedia,the Marquis Who’s Who in America, and I am a long-time reviewer for The New York Journal of Books. I write novels, short stories and articles. I’ve received many positive reviews for my recently published novel Jacob’s Courage, including by Jewish Book World and The Association of Jewish Libraries, which you can review here.  Additional information is available on LinkedIn, Goodreads and a Facebook fan page for my novel.

This one paragraph opens almost every aspect of my author platform. The Wikipedia page alone reveals most of my recent writing achievements. But it goes one important step further. It reveals my ability and my desire to heavily market and promote my books. Today, virtually all authors must market – self-published, subsidy-published and trade-published. If agents and authors do not see proof that you are willing and able to market, they are going to be less interested in you. But if they see you working very hard to market, they will give your book and talent a closer look.

When I decided to find a publisher for my debut novel, I understood nothing of how unknown authors are published or how to acquire a literary agent. As the years passed, I read a great deal more about the process. More recently, I’ve interviewed dozens of writers, agents and publishers. I gradually made fewer mistakes. While I remain a relatively unknown author, I have a decent author platform, my recent books have been trade-published, I have a well-connected literary agent and a major university will be publishing me for fiction later this year. That’s not a career in writing; nor do I desire one. But I’m happy to share what has worked and what industry leaders accept as the bare necessity of acquiring an agent or publisher.

Technology marches on and the publishing industry continues to adapt. This serves the interest of both sides. Authors can waste far less time on proposal and query generation. Agents and publishers can access multiple layers of information about an unknown or poorly-known writer electronically. The deeper they want to delve, the more links they decide to open.

NEXT: What to put into your literary agent query and your small publisher proposal.