New England Publishing Associates and Publish or Perish Agency, Inc. Merge
Edward Knappman and Elizabeth Frost-Knappman of New England Publishing Associates, Inc. and Roger S. Williams of the Publish or Perish Agency, Inc. have announced that effective August 1, 2010, the two literary agencies will be merged into one entity under the direction of Roger S. Williams as Owner, and Managing Director.
New England Publishing Associates (NEPA) was founded by Elizabeth Frost-Knappman in 1983. Elizabeth, author of five titles, was formerly a Senior Editor at William Morrow and Doubleday; an Editor at the Natural History Press and William Collins & Sons (London). Ed joined NEPA in 1990, having been publisher and executive vice president of Facts On File. NEPA currently represents approximately 150 authors and more than 500 titles.
Roger S. Williams has worked in publishing for over thirty years as a bookseller and a sales director at Bantam Doubleday Dell, Simon and Schuster and other houses. In June of 2009 he opened the Publish or Perish Agency, Inc. (POPA). He has been involved in sales, marketing, merchandising, editorial, and product development. Roger, and his wife, author, Gina Cascone, were co-owners of Wit & Wisdom Booksellers of New Jersey. Roger also was one of the first industry sales directors to embrace the new technologies and helped to develop one of publishing’s first umbrella websites (www.bookwire.com in 1995).
When asked to comment, Elizabeth Frost-Knappman and Ed Knappman released a joint statement declaring, “We are pleased that we have been able to develop a transition plan that will be beneficial to both parties, our current publishing partners, and most especially, our clients. We are confident they will be very effectively represented by Roger and his team. ” Roger S. Williams added, “I am very honored to carry the NEPA traditions into a new era of publishing. For at least a few years, we will continue to operate NEPA, as NEPA. We have sent information to our clients and we will begin work with publishers on the transition process.”
The Knappmans will both be Agents Emeriti of the new agency that will operate from the Publish or Perish Agency, Inc. offices near Princeton, NJ. Roger S. Williams can be reached at 609.843.1068 www.popagency.net, roger.williams@POPAgency.net
Publish or Perish Query Queue…May 17
The follow queries are next in line for reading.
Cannon
Bronson
Heiner
Hanson
Hyde
Hallman
Marcom
Wariner
Toner from 4/13
If you sent your query in before 4/13 and you have not received a response, please email me. Thank you.
Publish or Perish Queue…April 5
Reading this week:
1. Mueller
2. Rummel
3. Spiegelhauer
4. Colebrooke
5. Scott
6. Mellin
7. Rothman (Rec’vd March 12)
Publish or Perish Query Queue…March 22
Reading this week…
1. Samoranos
2. Hillier
3. Wolfe
4. Proach
5. Friend
6. Stanberry
7. Neal
8. Reuther
Publish or Perish Query Queue
Moving on…Here’s who I’m reading this week.
1. Tomczyk
2. Williams (tjwilliamsXXXX)
3. Riseman
4. Eyberg
5. Little
6. Crotts
7. Akturk
8. Helms (Received, 1/19)
Along with a number of full manuscripts..
Interviewed…
I was interviewed for writer, Lindsey Currie’s blog. I have reprinted the interview here.
1. You have a unique background. . . tell us a little about where you are from and how you got started in publishing.
RSW ~
I’ve been with my wife, Gina Cascone, since high school. In our junior year in college she announced she was going to write books. So, from college, I too went right into publishing. First, I was a bookseller, then onto becoming a sales rep, then sales director. From 1989 to 1995 we owned a bookstore. At the dawn of the internet, I helped to develop a publishing industry web site, then onto a sales director at another publishing house, and finally as an associate publisher. Through the years I’ve been involved in publishing from many different perspectives. And, Gina has published over 30 books. I agented her most of her books. Her most recent book is her second memoir, LIFE AL DENTE. I am happy I have a lot of friends in this industry. And, like any of the entertainment industries…friends are good.
2. What is your favorite part of being an agent so far?
RSW ~
Reading and discovering new writers and reconnecting with old friends. I am totally heartened by the reception I am getting from publishers. A few weeks ago, I called the editorial director for two of the Random House imprints. She and I worked together 20 years ago and I haven’t spoken to her in over 10 years. Yet she welcomed me with open arms and gave me all the inside scoop I need to submit work for some of my clients. That is fun. I sold a manuscript to an editor a few weeks ago. As a former sales director, I was able to negotiate the agreement from the perspective of a sales director; which outlined for both of us, what we expect to achieve – shared expectations is good (especially when it is spelled out in an agreement!). The author and publisher are both happy. That too, is fun.
3. What is the hardest/most challenging part of opening your own agency?
RSW ~
First, like any new business, there are startup issues. I could have looked for a job with an agency, but in today’s tough environment, I felt that I could offer something more proactive for clients that include full service through editorial, sales and marketing process phases. With all that is going on in the industry these days, everyone’s job is evolving. With a sales background, and having been so wired since the internet’s inception, the supply chain and virtual marketing requirements are moving at light speed and being turned inside out. Traditional agencies need to adapt. I have the advantage of being smaller, adapting and evolving. I can offer both clients and publishers the leverage they will need to grow sales in this new environment. Secondly, and this is a big one…managing writer expectations. Since most writers do not generally understand the publishing process, they tend to have unrealistic or an inflated vision of the financial aspects of a career in writing. It’s not their fault. Most of what writers read about how to succeed is based on outdated models. It is still true than most authors do not make a living at writing. Being an author is not a hobby but even most authors need a full time job to pay for a sustainable living.As a new agent, I am not adverse to looking at debut fiction writers. But statistically and oxymoronically speaking, overnight success, bestselling books, fame and fortune, will be never, or take multiple books and years to achieve. I’m all about building careers, not just hunting for big commissions. Of course, I want to make the most money I can for my clients, but in most cases that will mean building a writer’s career, book by book. I’ve seen what can happen with a writer that gets mucho money up front on a book, then their book fails to “earn out”. Their career hits a brick wall. The end. Lots of disappointment all around. Every publisher loves to support their writers that earn out…and buy more books.
4. I assume you are currently building your client list given that you opened your own agency less than a year ago. Where do most of your clients originate. . . slush pile? Referrals?
RSW ~
I opened my agency 261 days ago. I’ve gotten 1,054 submissions. That’s about 4 every day. Eighty nine percent (89%) are from writers who have found out about me online. The rest (116) are from referrals from editors, booksellers, fellow agents, and friends.
5. Given the effect that the economy has had on publishing, what do you look for in a fiction work from a first time author?
RSW ~
It’s so cliché to say “a hook that keeps me reading”, but no matter what the economic environment, fiction can be so subjective and personal.So first and foremost, I have to love the story. If I don’t like the book for any reason, it may still be a very good book. It’s just not for me. Agents are certainly looking for works that are marketable, and we don’t fall in love with everything we take on. That is, if we think the project is viable, and we have some thoughts on to whom we would send a proposal, we will take it one regardless of our personal feelings, but it helps if I’m totally jazzed about the writing.
Secondly, is the manuscript “market ready” or will it need editing. I am not an editor, but I work with editors to fine tune client manuscripts for submission. This means I have to share my commissions with that editor, so personally I make less money, but I will take it on if I believe that there is a good long term potential in working with the writer.
Third, market potential ~ what are editors telling me they want ~ this of course depends on the editors with whom I have a relationship, or are building up a relationship.
And finally, the writer’s long term earning potential. It is hard as an agent to invest a lot of time in a work that is a one shot deal. I could be a bosom buddy with every editor in the industry and it still takes time to research with whom a submission may fit.
So much changes so quickly that an editor that one might think would be perfect, may very well have NO budget when the book is ready for submission to buy. So when and editor says “…it’s just not right for my list…” what s/he may be saying is ‘…I don’t have the budget to buy this book because the publisher blew the wad on some numbskull down the hall on some celebrity bio that we are banking on to pull us out of the whole for the year and I don’t want you to think I’m broke, but there’s not enough here for me to go into the publisher and knock her/his socks off because s/he’s got a vested interested in making sure that numbskull’s book get all the resources and attention’. This is not always the case. But it is one example of something that does happen. Agents are like literary matchmakers. We are tasked with placing properties, but in the long run, it’s really about matching and developing, and maintaining professional relationships. In the course of a writer’s career, an author may have a number of different editors. I look for clients with whom we can grow over a career.
6. Are there any common mistakes you see beginning writers making?
RSW ~
Not getting enough feedback from objective sources BEFORE submissions are made. Of course family members, non-editors, and friends are probably going to say your book is wonderful. Even your fellow writer’s group members, as well intentioned as they may be, may not be in a position to give objective feedback. Debut writers really should work to get some solid objective feedback before they begin submissions. I hear so many writers say “…but if an editor buys my book, I’m willing to make changes…” WRONG. The reason that is wrong is because it is implicit that that may/will happen. But editors do not have the time they once had to…well…edit. They are looking for agents to give them projects that are “market ready”.This is why hiring and independent editor is often a good idea. When you hand your manuscript to a reader, the question to ask is not “do you like my manuscript”? You have to ask the question that we, as agents, are asking of editors…” Do you believe in this project enough to invest tens of thousands of dollars (little of which is the advance, most of which goes to composition, materials, production, salaries, publicity, marketing) and convince dozens of other people (the publisher, sales staff, booksellers, the media, etc.) to also believe in your work enough to spend their time and money to support your efforts. Too many writers expect agents to do the job of an independent editor. That is not a primary task in our job description. Legitimate agents should not charge reading fees, but there are many legitimate publishing professionals whose time is well worth their fee for some solid advice for a reader’s report. These can be found at Preditors and Editors. You can also go to your local bookseller. I don’t know any shy booksellers (only shy writers). But brace yourself. You want honesty. Most of the booksellers I know will be very honest. But remember, you are asking for their professional opinion; they may charge for their time. I see nothing wrong in this practice
7. How should an author go about choosing an agent? What questions should they be asking?
RSW ~
First, it is important for an agent to subscribe to the AAR Canon of Ethics. Certainly, you want to know that track record of sales that is commensurate with their time selling, but so much in publishing is changing, agents need to adapt. The supply chain logistics and channels of distribution are shifting from the traditional to the virtual. As publishers, large and small, are recasting their sales, marketing and publicity, agents need to be able to manage more facets of the entire publishing process. Obviously, having a keen understanding of publishing law is very important, but how financial aspects can be affected the shifts in distribution is critical.
8. Explain your process for reading queries and what do you look for?
RSW ~
I have writers fill out a questionnaire and I ask for a 60 page writing sample. Besides myself, I have three other editors and one of us does read most of the 60 pages. And even before I send it to one of my editors, I usually have to read it first. Unfortunately, for me, reading queries is about third on my list of priorities after preparing/sending submissions to publishers and the daily email and phone communications. So it’s usually after hours and on weekends when I get to the queries. If I like the queries, I ask for the full manuscripts. Since so much of what I get is fiction, and I have to read a lot of it to really make a decision, I’m way behind. I do need to get better at keeping up.
9. Is there anything about editors that writers usually don’t know that you can share with us?
RSW ~
I’ve seen the editor’s role change so dramatically over the past decade, and exponentially more so in the past few years. Editors have become more like internal movie producers or directors. The are stewarding their authors work through sales, production, marketing, publicity…they have less time for traditional editing. Also, so much of what drives publishing these days are the goal numbers that are demanded from the corporate parents. As such, publishers are having to fill budget gaps in their publishing program. To do so, properties have to be published faster, and the corresponding publishing agreement needs afford the publisher to earn out and advance faster. Hence, lower royalties, smaller print runs, tighter supply chain management. The real disadvantage to newer writers is that this kind of publishing demands that editors rely more on either brand name writers, or solid performers from their existing catalog ~i.e less speculative, debut properties.
10. You have a unique submission process that virtually eliminates the dreaded query letter. . . how and why did you develop this format and is it working for you?
RSW ~
I’m amazed at how much consternation there has been on the writer bulletin boards about our submission questionnaire. Our process jumps a few steps which, in the long run, is going to help our clients. When an author gets a contract from most publishers they are sent an author questionnaire, or “AQ”. The questionnaire that I have put online is an abridged version of an AQ that most of the larger publishers use. The “Tell me about your book” section of the questionnaire is basically the traditional query content. But many of the questions contained on our questionnaire are questions that an editor is going to want to know to know to make an acquiring decision. So it’s more info than the traditional query, but it is information that any writer should be ready to explain. My questionnaire helps me decide on market worthiness, marketing, how and to whom a project should be pitched. There are other processes that we use over the entire publishing timeline that, other agencies also do not deploy, are as a result of my sales and marketing background. When I show editors what I’m doing the reaction is universally positive.
11. Best piece of advice that we haven’t covered yet?
RSW ~
The six ingredients to happiness in publishing as a writer are Resume, Style, Connections, Persistence, Patience, and Expectation. (RSCPPE) or what I call “Recipe” for Success in Publishing. Everyone can crack eggs, but not everyone can make a good omelet. But just as you need eggs, milk, oil, heat, pan and a spatula to make an omelet, you need RSCPPE to be an author.Most of the ingredients in RSCPPE are counterintuitive for most writers. But this is why so few get to the point of being bestselling authors. There are fewer bestselling authors than there are players in the NFL. And even fewer name brand “stars”. But if a writer embraces the tenets of RSCPPE, they can have a fulfilling life as an author.
a. RESUME ~ Credentials help. Whether through education, autodidactically, life experience, or accomplishment, what you have done to understand your subject, your world, your craft, or the publishing industry will help you in your journey from writer to author.
b. STYLE ~ Everyone has a unique style or voice. What I like may not be the same as what you like. Members of your book group my hate your manuscript, but there may be one editor that sees the potential. But then again, your book group colleagues may be right. This is a conundrum indeed. But the more feedback you get, the greater your objective audience, the more apt the constructive criticism. As I outlined in your question #6 “…common errors”, hiring an independent editor may be a good investment.
c. CONNECTIONS ~ This is a big one. Life is not fair. There is a person that has been a major bestselling author for decades. Worth millions. Has sold millions and millions of books in many languages. Movies and TV specials about this writer’s books have been made. Problem is, this writer started out rich, had rich friends and connections, married rich, and to cap is all off, barely writes these bestsellers. This writer’s editor actually book doctors and even writes these bestsellers. I know of another bestselling writer that would be rejected by any agent or any editor in the industry. But this writer is married to a major Hollywood player. Hence, this writer gets lots of $$.
Back to reality. You do not have to have these connections to succeed. But success is relative. The more access you have to industry professionals, the greater your chance of success. Frankly, an agent’s bank is their reputation, but their currency is his/her contacts list. Go to writer’s conferences. Local author events, talk to booksellers. Independently owned bookstores of the American Booksellers Association are run by dedicated booksellers that need to know the business to survive. The top booksellers in the country have excellent connections. They are the most accessible industry professionals in your community, alas they are becoming more rare, but get to know them (and support them!). Frankly, really one of the best ways to learn about the publishing industry is to work in a bookstore. Lousy pay, but good training. Join Publisher’s Marketplace, subscribe to Shelf Awareness and Publisher’s Weekly’s “PW Daily”.
d. PERSISTENCE ~ Anyone can write. But not everyone can become an author. The journey is rarely smooth. If I wanted to be a doctor, I couldn’t just walk into a hospital tomorrow and say, “Please, give me a stethoscope and one of those nice white jackets. I am going to be a doctor now.” Okay, so to be an author, you don’t NEED to go to school for years, and get a license, but for the most part, you are not saving lives either. Still, to become an author, you need to learn about the industry. And the more you learn, you will either say… “This is just not for me, these people are crazy. They work ridiculous amount of hours, for VERY little money”, or you will say “Oh, I like these people, and being a part of an industry that entertains and educates others is wonderful. I understand that to really make some money at this, will take some time, and a lot of patience”
e. PATIENCE ~ We are not bad people; we publishing folk. We don’t like making writers wait. We have a lot of queries and manuscripts. In between the reading, there are phone calls to be made, submissions to be prepared, and email to be answered. If we don’t get back to you it is only because we have not read it yet. Given the volume of proposals we get, sometimes that can take a few months. And, after and agent takes on a project, it takes more time. Editors, like agents, also have a lot of queries and manuscripts to read. And in between, they have meetings to attend, phone calls, email, etc. And, when we get a deal, it will take at least six months, usually 12 months to publish a book after a deal is made. So writers need to engage in another behavior that seems to be counterintuitive to most. Patience, Patience, Patience.
f. EXPECTATION ~ As I’ve said before, earlier in this interview, most writers don’t make a sustainable living on their writing. Some authors can make some decent money, maybe for a vacation, some even perhaps a good supplementary income. A precious few are full time, full-fledged, go to the keyboard everyday, authors. . So, at least for a while…don’t quit your day job.
g. I would describe an author’s life, similar to that of a musician…only lonelier. Have you ever watched an NFL football game? See all the people in a stadium watching the game? It takes fewer people than are in one stadium on any given Sunday to make a book a bestseller, i.e. 30 or 40 thousand. That is, if everyone person in that stadium bought the same book, that book would hit a bestseller list. Problem is… there are very few books that make that mark. Most fall far fewer, think maybe, the number of people who go to a minor league baseball game i.e a few thousand. All but a handful of debut writers are minor leaguers. But just as those players on the field had to excel in high school, then college, then the draft, then make it onto the squad, writers have to grow in their craft.
I’m not saying don’t try. I’m just saying that if you are looking for a quick way to make a lot of money, you might as well buy a lottery ticket. Advances are lower than they have been in years, and publishing corporate parents, and vendors are looking for higher profit margins An agent has a responsibility, and the desire, to get you the best deal possible. Remember, the agent many be the industry professional, but they work for you, not the other way around. Be sure you understand what they are telling you. Have them explain what is going on. If you have questions, an excellent resource is Writer’s Beware. You should never have to talk business with an editor. That is your agent’s job. But you should know what is going on. Your agent should be able to explain the process to you so that you will understand and have a shared expectation on how your career as an author will grow.
12. Are there any upcoming conferences or panels where writers could meet and pitch you?
RSW ~
Nothing on the calendar at the moment, but I do enjoy talking to writers and fellow agents at conferences and meetings. I am happy to have done this interview. Perhaps a writer has read this interview and knows a little bit more about me, and hopefully the publishing process, I would welcome to get query submissions from our online submission form at http://www.publishorperishagency.com I look forward to many more sales; lots more good reading and continuing the conversation.
Thank you.
I am interviewed…
Writer, Lindsay Currie is starting a column on her blog called “From the Other Side of the Desk”. She interviews me about the agenting process. Here are my answers to her questions.
Publish or Perish Query Queue…February 1st
A lot going on this week with respect to eBook pricing. Kudos to John Sargent at Macmillan for putting his authors first.
Here’s who’s on deck in my query reading queue. Fewer this week as I am also reading a stack of complete manuscripts.
1. McClary
2. Radford
3. Huchu
4. Ismail
5. Randisi
6. Peck (rec’vd 11/15)
Publish or Perish Queue… January 25th
We do have about a half dozen full manuscripts in house being considered. The following are the queries next on deck.
1. Deloache
2. Dudek
3. Hanrahan
4. Hooks
5. Winchell
6. Moore
7. Jameson
8. Ramsden
9. Burke
10. Huffman (Rec’vd 11/12).
If you sent your query anytime before 11/12, and you have NOT received a response, please send me a note.
Thank you
WOW. Time flies…
So… here it is, already January 22 and I am still digging out from under the holidays. Don’t let anyone ever tell you the holidays are NOT a busy time. Yes, people take time off (including me) but I have been busy, busy. September and October I got totally swamped with queries…
I have spent most of January catching up. I have finally finished most of my October inbox. Never in a million years did I want to get that far behind. Over the next few days, I will get specific about where I am (I still have some cleaning up to do). Then I will be back on track with postings.
Thanks for your patience!
I have worked in publishing for over thirty years. I have been a bookseller and a sales director at major publishing houses. As an agent, I strive to educate my clients to understand the process of publishing so that they can focus on their creativity, style and content ~ while I manage their business affairs. I've also been known to have an opinion or two...and I enjoy talking books, publishing and...well...just talking.