The Wordsmiths Project Journal

Finding the right literary agent to represent you doesn’t just require that you have a wonderful book or a great proposal – you must get it into the hands of the appropriate agent. That means you need to send your letters and proposals to agents who already represent books similar to yours. As Jenny Rappaport, of the L. Perkins Agency said on a conference panel I was on recently, “If the agent doesn’t represent picture books and says so on her Website, like I do, sending her a 12-page picture book is not going to get you anywhere.” (I’ll be writing more about that panel in the next Journal entry.) So, when I photograph agents and editors for The Wordsmiths Project, I will do my best to garner as much information as I can about their personal likes, dislikes and the kinds of books and authors they would love to represent and publish. Then, I’ll post that information in this Journal. Here’s the first installment of Getting Their Attention.

What Ben Wants

During our photo shoot, Ben Salmon of Rights Unlimited gave me the following hints about the kinds of projects that excite him. “I do about 50/50 fiction, non-fiction. I get into phases. Right now I’m a bit more drawn into nonfiction.” He is particularly interested in seeing projects that have literary sensibilities but commercial potential. “Literary fiction with a hook, something that’s smart and sophisticated and artistic, but at the same time marketable and will sell a bunch of copies.” If you can describe your literary fiction in a high-concept sentence or two, “you’re not changing the quality of the writing, you’re just making the pitch line accessible.”

As far as style goes, he wants fast-paced books that he can’t put down. “I’m not interested in endings that are too obtuse. I appreciate the art and I want to be intellectually stimulated. But I also do want to lose myself in a book.” Slow, languid beauty just isn’t to Ben’s taste. Also, he’s not interested in children’s books, and, for now, he isn’t handling young adult books.

In nonfiction, he’s drawn to narrative that explores subcultures. “I love pop culture and where pop culture meets the other categories. If you want to call that pop science, or pop history, or pop business. I am interesting in reaching the younger audience. Men and women in their twenties and thirties. We say that it’s hard to get those people to buy books; I think we’ve just not been publishing books that they want to read.” To capture that market, Ben says your book has to be voice driven.

Of course, descriptions of books an agent likes doesn’t give you as much information as looking at actual projects they have represented. That’s why I often recommend that writers seek out the agents of other authors whose books are similar in tone, style, genre and market as yours. For instance, Ben talked about a pop career book that he has coming out this spring, called “Getting from College to Career,” subtitled “‘99 Things To Do Before You Get a Job.” He feels it has just the right voice for reaching college age readers. “Her voice is a little ‘Sex in the City,’ really fun to read, digestible, short chapters. You almost feel like you’re reading a novel. She’s a storyteller, and she’s really fun to read. When I’m doing proscriptive nonfiction, that’s the kind of books I’m interested in.”

Contacting Ben

Rights Unlimited’s Website has very skimpy submission guidelines. Ben expanded on them. “We accept both hardcopy and email and treat both equally. We can operate a bit faster with email.” As with all agents, he wants a one-page query letter, nothing longer. “I want to know what your book is about, and what you’re about and who you are. We ask for the query letter and the first five or ten pages of the manuscript, because we understand that the talents of writing a good query letter and writing a good manuscript are very different.”

“I know that a lot of authors stress out about following submission guidelines perfectly. They’re guidelines, and that’s what I say. Sometimes, someone will say what if I send them four pages, is it okay? Or they’re worried about two spaces after a period. I really don’t care. I just want to see good work. Good writing will trump all. I’m willing to forgive a little bit. Obviously, if you don’t include a self-addressed stamped envelope, and you’re sending a mail query, we’re probably not going to go out of our way to send you a rejection. So, there are guidelines that you have to follow. But don’t stress out about it. Stress out about writing really good stuff. That’s what I say.”

Don’t contact Ben directly. Instead, mail your queries and book proposals to Submissions, Rights Unlimited, 6 West 37th Street, 4th Floor, New York, NY 10018, or email submissions@rightsunlimited.com.

My friend Gail Sisolak recently emailed me with a question about model releases. A fellow journalist, she is designing a Website about weddings, which she plans to launch for Valentine’s Day. She wants to include her photographs of weddings, but she also wants to make sure everything is done correctly. Her question was, if she takes the pictures in a public place, does she need model releases. On the one hand, Gail understands that releases are generally needed. However, a number of photographers she knows doesn’t bother with them.

My response to her was that, yes, she does need model releases. In this litigious age, people file suits for some of the most trivial reasons. But this isn’t really a trivial matter. The most personal possession anyone has is their image, who they are. Both ethically and legally, every individual has the right to decide how and where his or her image is used and by whom. If a person is identifiable (and that doesn’t just mean that their face can be seen, but any particular attribute, clothing or characteristic that his wife or mother or boss might recognize), you shouldn’t publish the picture without permission. Putting a photograph up on a Website is, by definition, publishing that picture so that anyone and everyone can see it. After all, that woman he’s with might not be his wife, or maybe he was supposed to be on a business trip in another city, or, perhaps, there’s nothing wrong with him being there, with those people, but he has the right to not have it broadcast all over the Internet.

What’s more, a hotel or similar venue isn’t a public place, even if she photographs it while standing on a public street. To be on the up and up (which is why Gail was asking the question, to be sure that she was doing everything correctly), she should also get a signed property release from the management or owner of the property where the wedding is taking place.

I’m not sure what photographers she was talking to about needing written permission. But most of Gail’s writing is in newspapers, so I wouldn’t be surprised if they were news photographers, who work with a different set of rules. If a picture is news, then the freedom of the press, guaranteed by the First Amendment of the U.S. Constitution, generally applies. Given the intricacies of our legal system, I’m not one to advise where the First Amendment leaves off, and the right to privacy and freedom from defamation picks up. I do have a feeling, however, that while a Website published by an individual might have a tenuous (perhaps, flimsy) claim to be about the news, that individual usually wouldn’t have the resources or desire to spend years arguing the matter in court. I certainly don’t. 

A part of me rebels against this. After all, one of my favorite artists, Henri Cartier-Bresson, created such memorable photographs by simply walking along the street, snapping at whatever inspired him. I love doing the same, and I resent the fact that I often censor myself when the photograph I want to capture includes a person. Do I stop and ask permission first, thereby disrupting the composition that I see at that moment? Do I just shoot away, without asking, risking their ire, and hoping that they might be willing to sign a release after the fact?  Sometimes, I’m just too weary to bother with all the words of explanation of why I want a release. Yet, if I take the picture without getting a release, what is the purpose? As a professional photographer, I wouldn’t be able to use it. I can become quite disheartened when I see a great image that I let get away, when I have no hope of obtaining a signed release. That’s when I shoot anyway, for my own memories, my own artistic expression, even if no one will ever see it.

Even if we didn’t have legalities hamstringing us, sometimes it just isn’t nice to steal an image. I’m embarrassed to say that I overstepped that barrier last week. All my friends are used to seeing me with a camera. It’s as much a part of my everyday wardrobe as my shoes. They are also used to me taking their pictures. When I was speaking at a conference last week, I saw my friend and fellow writer Lawrence Schoen talking on his phone. The expression on his face was quite warm and appealing. Without thought, I took his picture. I did it so instinctively that I didn’t register the slight shake of his head until afterwards. He didn’t want his photograph taken just then. As I walked away, I felt guilty that I had stolen that moment from him. I have deleted the picture and, when I saw him next, I apologized.

Of course, I do take pictures of strangers, and I do get model and property releases from them. Often, if the person is standing some distance from me, I gesture with the camera, and give them a chance to nod yes or no. Then, I show them the picture on the camera’s LCD, and explain that I am a professional photographer, and that I may want to use the photo in a book, exhibit, lecture or other ways. But that I can’t, unless I have their written permission. I then show them a model release, and say that I would appreciate it if they would consider signing it. It’s done conversationally and respectfully, with my hope for their approval quite evident. I almost always get a signature, and I give them a copy, so they know what they have signed.

I keep my model and property releases simple and short (Wordsmiths model release, Wordsmiths property release, general property and model release). You will notice that the Wordsmiths releases are more limited than my general photography release. That’s because it would be inappropriate to ask editors, critics, agents and others whom I’m photographing for this project, to give me permission to use their images commercially or in stock photography. But for my general photography, I need a wider range of rights to use the pictures. Of course, I’m not an attorney, and I can’t say that the releases I use cover all bases or are correctly worded. Check out the American Society of Magazine Photographers’ Website for legal guidelines on model and property releases.

While I have long been pleased to say my friends span nearly every living generation, from teenagers to octagenerians, I have had reason to consider myself young. I’m the younger sister. I’m [mumble] years younger than my husband Daniel. And I’m often the youngest person in social gatherings — particularly those made up of the higher age range of my friends. So, it came as a rude awakening to recognize that a new, younger generations has come up and is changing publishing.

Ben Salmon, an agent at Rights Unlimited, is one of the New Breed making an impact on what books are now being published. When I photographed and interviewed him, I asked him to help me understand what defines and distinguishes his generation. After all, as an author, I need to know what they want.. what would sell to them.

Needless to say, Ben is young. (”Not that I believe that age has much to do with talent,” he told me. ”But let’s stick with mid- to older twentysomething”). Angular and thin, with a slightly spikey faux-hawk haircut, precisely trimmed goatee, and explosive laugh, he has a presence and style somewhat reminiscent of bas-reliefs I’ve seen of ancient Assyrian kings. Looking through the camera lens, I couldn’t help but feel that he’s managed to make himself into the embodiment of the type of books he likes…. Edgy.

The first task in understanding a new generation is to “get” their language, the vernacular they use to describe what they like — and what they don’t like. “Edgy” is a word I hear frequently these days. They all seem to want books that are edgy. Yikes! What the heck is that supposed to mean?

Ben explained it within context. “A lot of what I do tends to be a little edgy or a little quirky or a little sexy, a little young. A little bit of something – attitude, personality – I call it the outer ring of mainstream. So, it’s still going to have mass appeal. It’s still going to make the New York Times bestseller list, but has something that makes you cock your head and say, ‘Wow! That’s an interesting perspective, that’s something new.’” In fiction, he feels that ”Bee Season” by Maya Goldberg or “Or the Curious Case of the Dog in the Night Time” by Mark Haddon are good examples, for their successful quirkiness. 

Of course, every generation struggles to define itself as different, not realizing how much has already been done before. (”Everything old is new again.”)  In this case, however, the young agents and editors I’ve been meeting recently definitely have a distinctive, common manner, and many acknowledge that they share a similar mindset.

But when I asked Ben what that mindset was, he had difficulty pinpointing exactly what it is. “I think there’s a lot more outward energy and passion involved. We’re becoming more nimble and we can move faster; we might be a little more empathetic to the author, but not quite as tweedy. Tweedy. You know, like the old tweed jackets and the two martini lunches. Although I also think that’s partly a societal and partly a gender thing. Because it used to be the old boy’s club and it’s changed to… well, the joke is that it is changed to women and gay men in publishing now. People in publishing, especially in the younger set, are more likely to put emotion and passion and energy into their projects. And they make them personal.”

Older agents also talk about passion, how they have to be excited about a book and author, before they will want to handle it. But the New Breed is more effusive in their passion. They certainly use more exclamation marks. Not only in their lively, highly communicative emails — you can actually hear it when they talk.

Ben feels that one of the important differences about his generation of agents is their career paths. For example, he knew exactly what he wanted to do when he was just beginning college: he wanted to be a literary agent. Most of the older agents I have known started out wanting to be editors… or, if you dig even deeper into their psyches, writers.

As he sees it, in previous generations, agents tended to be former editors or editorial directors. Sometimes, they were fired from their jobs. Or, they had been promoted so high that they had become corporate managers, no longer involved in the day-to-day handling of books. One way they could get back to the basics – working directly on books, relating to individual authors – was to hang out their shingle as agents. According to Ben, the New Breed of agents are what he calls “born and bred agents.” They tend to start as assistants in literary agencies (or move over to agencing rather early in their careers) and stayed there, making their way up the ladder within that one branch of the industy. “You don’t necessarially have to have proven yourself in the publishing house for twenty years, and then move over to agenting when you’re 45. You’re moving over to agenting when you’re in your twenties. You start as an assistant and then move up, and there’s a different kind of energy involved. You don’t have old school editors becoming agents now. You have these people who are seeing things differently because they weren’t always in a house or never in a house. And I think it’s a different mindset with a different style.”

One thing that hasn’t changed is that, even in this Internet age, a lot of publishing business still requires face-to-face personal connections and networking. “Let’s do lunch” is as important a phrase as ever, and how often such invitations are accepted can be an indication of just how successful and repected you are. Some agents may make as many as three lunch appointments a week, though just as often, a date will be cancelled, because one or the other person suddenly has other obligations or crises to handle.

“But you know what is done over lunch?” Ben confided. “It’s relationship building. I work so well with editors who I have a relationship with, and they know my sensibilities and I know theirs. And they trust my instincts and I trust theirs. We just generally enjoy each other’s company, which makes for better business dealings. While to a certain extent you have to keep the personal and the professional separate, the personal is professional, and the professional is personal.”

In other words, publishing is still a small village. And, as in any such community, the young generation is doing its best to flex its muscles. It will be interesting to see how they mold the industry, and what effect they will have on what we will be reading (and writing).

One of the ways my 91-year-old father keeps his mind sharp is with his daily Internet fix of U.S. and international newspapers. Every morning, he browses the world seeking stories that intrigue him. He prints out the most interesting articles (or the ones he feels might have some value to us), to share with my mother, my sister, me and my husband Daniel.

Recently, Dad gave me an article from The International Herald Tribune, titled “Book agents explore borderless world” by Eric Pfanner. In it, Pfanner discusses a trend among agents in which he says, more and more literary agencies are handling their own foreign rights sales rather than sub-agenting to specialists in the field of international sales. He sees this as “reflecting shifts rippling through the literary agent business as English-language publishers increasingly look for big borderless hits.” 

I found myself thinking about that article as I prepared to photograph Ben Salmon, an agent with Rights Unlimited. Rights Unlimited has long focused on foreign rights (for over 20 years) — hence, the name of the company. Among their more notable sales have been the international rights for the first 14 John Grisham books, Fern Michaels, Dr. Robert Atkins, John Lescroart, Dr. Ruth and others. But, in an apparent reverse of the phenomenon that Eric Pfanner wrote about, Ben was brought on board to give Rights Unlimited more of a presence in the domestic market (i.e. primary sales to North American publishers). As Ben explained, “Rights Unlimited… had a reputation for representing New York Times best-selling authors internationally. But the international climate has changed. Not that books aren’t doing well internationally, but they’re not being farmed out as much to international agencies.” Not only are the primary agencies going into international sales, he added, but publishing houses have become more aggressive in selling books internationally on their own.

So, one of the first thoughts that came to my mind was that, if primary agents and publishers aren’t using sub-agents as much, why are we, as authors, continuing to sign traditional contracts in which we agree to pay higher commissions for international sales versus domestic sales? Now, I’m certainly happy to have my agent earn a nice percentage of any sales she makes for me. Heck, one of my dreams is that she will become quite rich on her sales commissions of my books. But the traditional justification of international sales commissions being at least 20% (depending on the country), rather than 15% for domestic sales, was that the primary agent would have to split that with the sub-agent.

Ben had a very reasonable response. “The thing to remember is that there’s a lot of processing and administrative work associated with international rights. It’s a bit different than in the domestic realm. And the deals tend to be smaller. Often, you have to make many international deals to come close to what you could make with one domestic one. (I mean, how much money can you really get by selling Estonian rights?) But we like to get as many international deals for our authors as possible, even if it ends up costing more overhead money to make the deal happen than we actually recover in commission.”

What’s more, sub-agents are still an important component of the process. You can see proof of it in Rights Unlimited’s own offices. Of their five agents, only Ben focuses on domestic sales. The other four continue to concentrate on functioning as sub-agents, selling the international rights to books represented domestically by other agencies.

So, when I recently signed with my new agent (Mollie Glick at Jean V. Naggar Literary Agency), one of the things I didn’t argue about was the higher rate of commissions for international sales. As I said, before, I hope she becomes quite wealthy selling my novel — whether or not she uses a sub-agent.

What do you think?

As a writer and photographer, words and pictures are so entwined in my mind, that Wordsmiths is the most natural subject for me to tackle. Whether I am writing, taking photographs or creating digital images, it all stems from the same creative urge and need to communicate. Drilling down to the essentials, seeking the visual and verbal vocabulary that will empower others to see what I see, understand what it is about a single moment or scene that draws me into it.  When it comes to making portraits, the experience is heightened, because it is a partnership. Another person is allowing me, for a few minutes, to enter their private world, to see them fully and try to capture who they are. For many years, I traveled the globe on assignment. I encountered tribes where people believe that a camera can steal the soul. In some ways, I agree with them. Not that I steal souls, but that the photographic experience is an intimate one.

I have only just begun The Wordsmiths Project, having done three photo shoots — of Frank Wilson, Gardner Dozois and Ben Salmon. However, every time I have come home from a Wordsmiths’ photo and interview session, I realize exactly why I love what I do.

As I continue The Wordsmiths Project, I will use this journal (or blog, if you wish) to share the experiences I have photographing and interviewing some of the most fascinating people — the folks behind the scenes in publishing, who influence what we read. I wil tell you about our discussions of books and writing, publishing and marketing, as well as give you any insights I glean from my subjects about what it takes to get their attention, interest them in a book or a writer, and make them excited enough that they will want to work on a particular book or project.

If you have questions (general ones about publishing and writing, not about how to get your book published or written) that you would like me to ask the folks I’ll be photographing and interviewing, please send them to me by clicking on the Contact button above, or by leaving comments in this Journal.