How to become a Book AgentBecome a Book Agent?
10 top 10 hints for frahlings
He is Frahling and Curtis Brown Managing Director. Over forty writers are represented, among them John le Carre, William Boyd, David Mitchell, Tracey Chevalier, David Nicholls and Adele Parks. He has received several prizes, among others as Frahling of the year 2012, in the same year he was appointed one of the most important publishers by the daily Evening Standard.
He' s been a wife for almost 20 years, here are his top 10 hints. and I was sellin' structured wallcoverings (I had a horrible product!). One of my friends said: "You are a book lover and good at sales, so why don't you do it? So I tried to get a career in a publisher or bookstore, but I couldn't, so I eventually drew up a sketch of a site and sent it to Curtis Brown.
I would advise you to find a career in an area you like and are interested in. For me, the best thing in the shop is to be a wife - you can do anything. These days it's all about work placements, you probably have to do two or three and try to really make an impression on them.
In order to be an agent, you have to be a human being who likes humans and is willing to let other humans glow without diminishing. Somebody once told me that being an agent, like going to a bash and then being out while the light is on, but I don't really like it.
One frahling cares for the interests of a novelist. One has to look at the business side of it, such as the sale of a book to publishing houses around the globe, and then there is the other side, careers at work. Since I used to be a salesperson who really did help me, I was pretty good at making the deals.
To call your writer to let him know you have a bargain is just the best feel, that's the vision that's part of the business and I like it. One has to enjoy the book as much as the book and back again, because there is no sense in an agent who can't make a trade and an agent who can't understand his work isn't good either.
The writers want you to have the knowledge, instincts and knowledge to tell them what to do, and then they can choose whether or not they like you. I' ve got to say no to those guys, but I'm still hooked on the new, that's what this is about.
I am interested in those who are obsessive about typing, who cannot do it. It is a very strange and distinctive small group of human beings who will earn their livelihood as writers. It is my real task to find someone who can make a history that only he can do it.
It' simpler to help someone with a history if he can type than vice versa. If I have a relation with an writer, I am 100% behind them and fight for their writers is 90% of the work. As soon as a publishers rejects my book, they no longer do.
It is my task to ensure that everyone works at the highest levels, because if you believe in your writers, what I do, they merit it. There will always be a need for frahlings, I think, because an writer must have an impartial mate. An editor is there to make a living with an author's book, but he's not on his side.
I' m not fond of the word agent anymore, I' m more like a management. I' m helping with global PR for some of my customers, I' m doing editorials and I' m helping with blurring and cover art and getting other writers to get involved with their work. Advertising is very important because that' s why writers interest us and part of my task is to do it.
Confidence is one of the most important things in your relationships with them, your writers need to be able to rely on you. Not only in finance affairs, they need to have confidence that you will be reading their book and telling them the honest facts, and this is one of the most difficult things about the work.
When an agent is not 100% sure of something an editor has sent him, he can either tell the honest story and take a chance on his relation, or he can give it to the publishers and let them do his work. I' m a reader. When I' m on vacation, I`m reading a little nonfiction because it's like a breeze of serenity.
So I think that the capacity to turn that around and get you to use your talent the right way is a big part of being an agent. A lot of suggestions have been made in this room, and it is not about getting writers to produce the book they are supposed to produce, but about hearing them out and figuring out why they are not producing the right book.
You believe in the right guys, it'll be all right in the end. Your authors' work and their confidence in you is dead serious, but it's a great honor to work in the craft industry, it's not really work, so don't take the work or yourself too seriously.
There' re many missiles. I thought there were many important but not successful ones, even my first book. When you were a madly obsessed observer at the tender of 17, try to recall what it was like and just recall that someone, because that is the one who counts, not the old sage agent who seems to know everything but does not.