Just finished ANNA AND THE FRENCH KISS, an engrossing and amazingly romantic novel by nerdfighter @naturallysteph SO GOOD

Followed by the EVEN MORE AWESOME comment from John to Maureen Johnson:

@maureenjohnson have you read ANNA AND THE FRENCH KISS? It’s like you and me and Sarah Dessen had a really sexy baby.

Stephanie Perkins and I are, as we speak, petitioning to have that put on the paperback edition of Anna.

As it happens, I’m seeing a ton of chatter about the book on Twitter — from other authors, editors, and agents. It’s today’s high tech digital form of word-of-mouth! I’m doing my part to contribute to it, of course, but I’m also curious about the flip side.

What books have you bought or otherwise picked up because you heard about them online? And not just one review, or tastemarker tweeting about it, but also those books that swarmed into your consciousness like angry bees. But with less stinging. Let the comments ring!

How would publishing change if agenting moved from commission-based payment to billable-hours? Discuss.

Amid all the hand-wringing, whinging, diatribes for and against, a couple of things got me thinking.

First of all, I’m very grateful to have come to agenting as an employee of a large agency, where I worked on salary for many years before taking on my own clients. Though there were times when I complained about it, as a young agent, I was in a unique position to take on new clients because selling their books wasn’t what I needed to do in order to eat, pay rent, and survive living in the big city.

When I left that company and started kt literary two and a half years ago, bringing almost all of my clients with me, I also was able to bring along commissions, so that as I set up my business, I was able to survive on work I’d been doing for years already, rather than throwing myself into the deep end without a life preserver, hoping to do enough deals in the first few months of my business to afford to keep it going.

I know not every agent has that opportunity, and I’m well aware that I am exceptionally lucky to have had supportive mentors and a continuing relationship with my old agency.

That being said, I think one of the points that Colleen was trying to put across was that agents now are doing much more than agents 20 years ago probably did for their clients, and yet the methods by which we get paid have stayed the same. Is billable hours the answer? Not for me, certainly. Nor do I want to go to a fee-based structure. I like getting paid when my client gets paid. It keeps me hungry — even if that is, happily, just a metaphor now.

Do I do a lot of work for my clients that I don’t get reimbursed for? Sure! But I don’t mind. If I have to make 30 calls to editors to pitch a book, send 30 emails with the manuscript, countless follow-ups, and hours more hammering down deal points and/or reviewing contracts, it’s STILL worth it, no matter what the advance, to flip to the acknowledgements page of that brand spanking new book and see my name there — as worth it, I’m sure, for the author to see their name on the cover.

Would it be worth MORE if every deal was a six-figure one? Maybe. Or maybe it’s enough that some of them are, and some of them just get to be about making dreams come true.

I’m not sure I have a point here. But I wanted to say my part about the conversation, and see what you guys thought. To the comments!

UPDATE: Author Jodi Meadows has another great take on the conversation on her LiveJournal.

Now, get your dirty minds out of the gutter. I’m not talking about anything salacious, but I did discover some more details about her politics and beliefs and deeply-held truths to cast some aspersions (in my own mind, at least) on what I’ve liked of her work before.

Has this ever happened to you? You read an author’s book and love it on whatever level, and then you find out something more about the author, or what the book is reported to be ABOUT, and suddenly, you can’t help but look at the work differently.

Or can you help it? Are you able to separate an author’s personality and politics from their prose? Do you even want to? Do you care? Do you think it ADDS to their work?

In this world of celebrity connections on Twitter, once you know what someone’s thinking about at 3am in the morning, can you still enjoy their art?

LorelieBrown I know why I need an agent, but how do I succinctly explain to my spouse why I need one?

So that you can concentrate on the creative aspects of being a writer, and can trust someone dedicated to your interests to handle the business. To me, that’s easily worth 15%. Plus, with an agent, many more doors are open that would not be so to an unagented author.

JenniA8677 Should you ever reference knowing a client of an agents personally in a query letter?

Yes, if it is an actual relationship. That is, can I confirm with my author that you know each other? That you’ve spoken about your novel? Stalkers need not apply. If so, please do feel free to mention their name prominently in your query letter. I’ve also had my authors contact me on behalf of their writer friends, which helps me prove right away that this is a real contact, and not just someone you met once in passing at a Springsteen concert in the 80s. (For instance.)

LSMurphy Could you blog about what happens after a writer gets an offer of publication? How does the agent/author relationship work then?

First, we do a little dance of celebration. It’s a fancy dance. Then, most likely, there are still terms to negotiate before we officially accept. In some cases, there may still be other copies of the manuscript being read, so I have to let the other editors reading the novel know we have an offer, and ask them to get back to me by a set date. If multiple offers come in, we go to auction. If we end up with only one offer, I still do my best to negotiate the most favorable terms for my client. Eventually, that includes going through the contract line by line. I also handle all incoming money, making sure it is what’s due, asking for checks when they’re late, etc. While my client is working with his or her editor, I also act a liaison as necessary, helping each side better understand the other, and as an advocate of my client, stand up for them in discussions about cover design, due dates, flap copy, marketing, publicity, etc.

Eventually, there’s a second book or a new deal, and I again help negotiate the best terms. Rinse and repeat.

JustWriteCat What causes you to keep reading a partial, or to stop reading it? Or when you’re considering offering rep, what else do you consider in addition to manuscript?

Mostly it’s about caring about the characters and being invested in what happens to them. I’m already intrigued by your story idea, or I wouldn’t have asked for the partial in the first place. Once I’m reading it, I ask myself if I’m enjoying what I’m reading, if it’s well written, if it’s something new and unusual, if it feels real (even in a fantasy world — does it feel authentic?).

If I like the partial and want to read more, and ask for a full manuscript, that’s when I might poke around on the author’s blog or website, check out their Twitter feed, see what comes up on a Google search for them. But it’s mostly about the text. If you’re a complete internet cipher, impossible to google, and the novel is outstanding? Nothing’s going to stop me from wanting to take you on as a client.

honeysock How do multi-book deals come about? Does the author usually have several ready to go, and the pub says “oh yeah!”?

Not necessarily “several,” but I usually hope that my clients are working on something else while I’m submitting novel #1, for instance, so when an editor is interested I can say, “By the way, the next book they’re working on sounds fantastic as well! It’s about…” Sometimes, an editor can only do a single book deal. Sometimes, a client has written something that screams for a sequel or two. We look at each project on a case-by-case basis.

Thanks for the blog prompts, readers! If you have more questions, pop them in the comments and I’ll get to them!

Seriously, what is with all these 120,000 word YA novels? Too long, people! Too long! Yes, it’s true that giant YA novels are being published, but please consider them the exception, not the rule. Let’s consider 80,000 words around the top end of YA, shall we? Not that I would automatically decline a query for an excessive word count, but it could be a hatch mark in the “con” column.

To steal from @jodimeadows, if you send me an About My Query letter & then rewrite your query, please send me the new version. Thanks! This isn’t about the queries I read for submissions, but I have noticed a number of About My Query posts lately where the authors have already revised before I post their letter. If you do so, please let me know. And if you have secured representation before I post your query, please do me the courtesy of letting me know so I can pull your letter. This is why I’m only asking for AMQ posts in short bursts. Speaking of which, one more spot for this year’s weekly posts, then I’m cutting them off until January. See Friday’s post for instructions on how to submit.

A note on queries: I would love to give detailed reasons why I reject a query, but then I would never get anything else done. Sorry.I know it’s tempting to respond to a rejection to ask why, but as a matter of time management, I only give detailed responses to partial requests, not queries. If you’re seeking more feedback on your query itself, may I suggest my ABQ series?

Things I say when reading queries: “That’s not the right word.” This one’s pretty self-explanatory. Don’t overwrite your query.

Also, imagine the worst possible answer to a rhetorical question before you start your query with one. An agent may answer with it.Rexroth thought this was particularly good. Sure, we agents often say “Don’t begin your query with a rhetorical question,” but knowing the why is, I hope, helpful. In 99% of all cases, you don’t know the agent well enough to be sure the answer to a rhetorical is going to go the way you plan. Because of my particular life experience, for instance, my answer to one rhetorical posed would have been “Running and screaming in fear.” Would that have been what the author hoped for? Hells no.

Also, one forgotten word can change the entire meaning of a sentence. Forget to proofread, please! I think this one was based on a strong, loving marriage between a very traditional couple and a building, but it has many applications.

If I believed what I read in queries, something like 90% of all abortions seem to end with long-lasting infertility. Uh, no.

And most kids only have one parent. Sometimes it seems the unusual and plot-worthy is just way too overdone.

Every alternate world in existence sent someone to live on Earth, as a just in case scenario. Another thing I learned from queries. Much like the single human who is the one being in the Universe with the power to X, where X equals “save the planet/beat the evil sorcerer/complete the riddle/etc.”.

Things I say when reading queries: “What? That’s not a sentence.” Again, please proofread. And read your queries out loud to make sure they make sense. Then have someone else read them out loud as well, to make sure you aren’t adding words you meant to include, but didn’t, or the reverse. I’m nt saying you can’t use ANY sentence fragments — they have their place, in moderation.

I don’t believe that most teens think their lives are “normal and uneventful.” I think every moment is fraught with anxiety & excitement. I saw a ton of queries about average, ordinary teens living normal and uneventful lives. And maybe the world has changed, but I don’t think teens emotionally believe anythign about their existence is normal and uneventful. every moment of their lives seems imbued with drama, even without vampire/angel/werewolf boyfriends.

And none in queries, pls. RT @doycet Rules of 3 http://bit.ly/2z5L5h for #NaNoWriMo: Only 3 exclamations points per story, all in dialogue. Rexroth is blogging NaNoWriMo advice all this month, and his post on Sunday was particularly apt advice when applied to queriers. Grab ten books off your shelves and let me know how many exclamation points you find in the flap copy. That’s how many you can use in your query (i.e. None).

A phrase not to use in your query: “I just completed my novel…” or any variation thereof. Again, it’s not going to make me reject you automatically, but this screams to me of a writer who’s not really ready to query. Your manuscript should be finished, polished, sat on for a while, polished some more, and THEN queried.

Yes, you need to complete your manuscript before querying! Unless you’re already a client, or have a strong track record in the genre and age range you’re querying, yes, you need to have a finished manuscript. And as per above, “finished” doesn’t mean “just completed.”

If your email holds msgs for verification, add agent emails to your Approved sender list. I’m not going to jump through hoops to send a rejection to a query — don’t make it hard for me to respond to you. Another agent had posted this the other day — I think it was Colleen Lindsay — but if you’re using earthlink or a similar email service to send your queries, make sure that all agents you’re querying are added to your list of Approved Senders. I don’t respond to requests for additional information on my rejection, and I don’t submit my email address for verification. Make it easy on yourself, and make it easy for me to reply.

Please note the difference between my clients & my clearly marked list of authors I admire, but do not represent.
I think there was only one query that prompted this tweet this weekend, but it’s come up before. For the record, the list of authors I like on my submissions page is clearly marked as “our favorite authors (other than our own clients, of course)”.

So that’s a little of what went through my head this weekend. Of course, the above doesn’t include responses to other twitterers, but is a pretty good compilation of my thoughts. Need further clarification? Let me know in the comments!

I am a big fan of social networking. No matter what I’m doing or where I am, I have my phone close by so I can check in with my twitter or facebook account to stay up to date on everything. I know it’s important to build a following, and to meet and talk about things with literary agents and fellow writers, but I am also scared that I am going to put off some of the agents I really love by being so accessible at all times and always commenting on their statuses and twitter updates.

How do we find the balance? I feel like the internet can really help my career, but I don’t want to overdo it.

In other words, Am I stalking my future agent?

Are you? Probably not. The wonderful thing about Twitter and Facebook is that the interaction is gated, to a degree. As agents, heck, as PEOPLE, we want to be followed, and friended. We’re choosing to interact with authors and readers, and that means two-way interaction. That being said, there are structures in place with both that allow agents and other public figures a remove, if we need it. On Twitter, for instance, someone can’t send me a direct message if I’m not following them. And I only see @ replies to me if I choose to go look at them (which I do, regularly, but the structure is there to avoid them if need be). On Facebook, I have to accept a friend request to give permission to view and comment on my status updates. If I don’t want someone to see those anymore, I can un-friend them — although that phrase brings to mind all sorts of squeaky girl trauma about breaking up with your best friend, and stuff like that. Anyway, moving on…

But you don’t want to be that person you gets blocked on Twitter or de-friended on Facebook, do you? Of course not. So what to do? Well, let’s go with a stalker analogy. Are you sharing a walk home with someone because you’re interested in what they have to say, and having a dialogue, or are you following them home from a distance, watching them through binoculars, and pawing through their trash to find out more about them? Are you commenting on their updates because something about them connects with you, or just to reply, to remind them that you exist? Social networking conversations, great as they are, aren’t actual conversations. No one minds a little silence, and not everyone involved in the conversation needs to have input into it.

Don’t get me wrong, I love comments of all sorts — on my blog, on Facebook, and in @ replies on Twitter. But the ones that work best for me are the ones with something to say, that add something meaningful to the conversation. If you’re doing that, then you’re cool by me.

So what’s too much? Well, there’s nothing wrong with reading every update, but save your comments and replies for the ones that matter.

What do you think? Where’s the line between interacting online and over-indulging?

Honestly, I debated whether or not to participate this time. I have a sizable stack of queries to get to, so the timing is right (sheer percentages indicate that the more queries I have to look at, the more likely some of them will be far off-base or otherwise lessons for others), but that also means a lot of work I should be doing instead of tweeting. There’s also the fear of yet another AgentFail backlash, but I have no control over that. The most I can do — and what I will be doing — is to take my liveblog of my queries to Twitter.

Now, those of you who follow me already will be pleased to know I’m not going to tweet EVERY SINGLE QUERY. Why? A) it takes a lot of time, and not every query is going to give me something useful to say that would help others improve their own query. B) it gets annoying to followers to see a stream of tweets filling up your homepage when you’re probably also trying to stay in touch with family, friends, and other people.

As per Colleen’s rules for the day, I’m also going to be answering questions about publishing — both those sent directly to me at @DaphneUn, and those posted to any agents participating in #queryday.

So strap in for some educational posting (with a small side of snark), and let’s go!

1. Have a professional or a dedicated amateur take your picture.
2. Use a white background, or at least a neutral one. No trees! No snowstorms!
3. The idea of having your significant other in the picture is a good one, at least in terms of maintaining peace in the presence of a jealous or nervous spouse. But the thing is, I’m not friending your girlfriend, I’m friending you. I’d vote for the picture to be solo.
4. If you are wearing a hat, you better have both a good reason and a good hat.
5. I totally understand that you are shy, modest and self-effacing. But sabotaging your photo is not a good way to communicate that. We just assume you’re a dork.
6. Conceptual photos (your foot, a monkey wearing glasses) may give us insight into the real you, but perhaps you could save that insight for the second impression.

Do take a look at the full list.

I’ve also got avatars on the brain because of a tweet I read earlier this morning, courtesy of Ron Hogan of GalleyCat, who retweeted, “It’s counterproductive when authors have the cover of their book as their Facebook profile pic.” And yet, not only do I know many authors who do just that, but I’ve recommended that they do.

Think of it. If you’re on Facebook or Twitter, looking at a long list of tweets or updates, which is going to stand out more? Yet another headshot rendered in 50×50 pixels, or that same space taken up by a graphic featuring a book cover you recognize? Discuss!

Do you use your book jacket as your profile pic? If you’re not yet published, would you?

Please consider that any queries sent between March 19th and April 1st will not be looked at until April 2nd, at the earliest. I would consider it a great kindness if you just held off on any submissions during that period, and waited until April 2nd to email them.

I will do my best in the next two days, before I leave for Europe, to get through the rest of the queries currently on my plate, after which I won’t have the opportunity to respond to anyone until April 2nd, at the earliest.

I’m also going to be taking a break from my daily updates of this blog, although I will be tweeting on the road, and those tweets do get shuffled over to Facebook as well. There may be occasional posts here, but nothing regular.

What will you be doing while I’m gone?