Authors: e-network or die? (part 2 of 3)

Part 2: What do agents think? (or, bear in mind that JK Rowling was turned away by several agents and publishers)

Publisher to agent: "This doesn't look like the menu to me" (image: ereads.com)

For new author, getting published is a daunting proposition. The very nature of the typical writer puts them at an immediate promotional disadvantage – self-doubt is a crippling trait. Then there are the horror stories of authors wallpapering their writing sheds with thousands of rejection slips. Add to that the rumours of slush-piles so large and old that they have their own listed building status.

Simplified, the traditional route for a novel is for an agent (or a sub-contract reader) to receive the manuscript, judge its potential for success in the market, and, if good enough, talk to a publisher who might agree with the proposition. So, where does the futurologists’ publishing new world order fit in with an agent’s lot?

Eve White, head of her own literary agency, said that an online presence would not be the first thing she looks for. She made it quite clear that ‘with a novel, the writing always comes first.’ However, Eve did go on to say that if an author had an online presence, she would mention the fact to a publisher as they ‘are very keen on authors who can promote themselves through social networking.’

Conville and Walsh agent, Alex Christofi, who runs the company’s website and Twitter page, said,’It depends on the kind of book. Non-fiction depends more on profile than fiction.’ Alex gave the example of 59 Seconds author, Richard Wiseman, who has a huge online following and is able to take advantage of it. Alex pointed out a potential downside to having an online existence: ‘If an author has drawn the wrong kind of attention to themselves by spamming, self-publishing or vanity publishing, that’s going to work against us when we try and sell their book.’

When asked if agents consider the internet profile of a prospective author, Sam Copeland, an agent at Rogers, Coleridge and White, was unambiguous: ‘No, manuscript only. Anything else is dressing.’ He felt that having a healthy following wouldn’t hurt, given that it contained the right kind of content. When pushed about whether an author with a large Facebook following might be easier to sell to a publisher than one without, Sam would only commit to ‘possibly’.


Veronique Baxter, of David Higham Associates, said that she would look for an internet background if it existed, but added, 'The writing comes first. If I like a manuscript, a lack of online presence doesn't bother me.' However, Veronique felt that publishers like writers who are clued up on social media matters, 'A good writer, with a good idea and a large social media following, isn't going to find it hard to get a publisher.'

None are fully aligned with the crystal ball gazers’ views, so what does this all mean?

In the third and final part, I'll discuss where I go from here.

Authors: e-network or die? (part 1 of 3)

'If you're not online, you don't exist.’

This is the futurologists' mantra that's being foisted upon businesses and individuals in many industries. The publishing industry is one of those witnessing tectonic technology shifts in business models; first, with the digitisation of the presses, and more recently, with the exponential surge in e-book sales. Now it's the authors themselves who are being targeted for change.

In this three-part blog I'll be discussing whether a prospective author needs a large online following – website, Facebook, blog, Twitter - before approaching a literary agent.

Part 1: Crystal ball gazing (or, if you can tell the future, how come you haven't won the lottery?)

If you pay me a subscription fee, your book has more chance of selling (image: ereads.com)

A tsunami of advice for authors is rolling across cyberspace, typified by FUTUReBOOK’s recent blog, ‘If you won’t have a blog, don’t bother sending us your manuscript.’ Here, Steve Emecz, of MX Publishing, suggests that authors should become a brand, using social media to market themselves. He equates an authors desire to sell books with their willingness to self-promote because ‘good blogs sell more books’.

BookBrunch creator Liz Thompson, using the London Book Fair Spotlight blog, states that ‘social media is not an option for authors but a necessity’, and that ‘having a content-rich website is now de rigueur for established writers and newbies alike.’ She goes on to mention Philippa Gregory, bestselling author of The Other Boleyn Girl, who has a 17,000 army of Facebook followers, and who tweeted an abridged version of The White Queen in the voice of one of the characters.

In her Publishing Perspectives blog, Hannah Johnson writes about online promotion strategies presented at the eBook Summit. She reports that publisher Farrar, Strauss and Giroux has launched a literary blog with the goal of helping young authors advertise their wares. An industry panel spoke about using ‘online content as a way for authors to get discovered and build fan groups.’

Another approach for authors using technological means to advance their sellability would make agents’ lunches with publishers a rather noisy affair. Richard Curtis of e-reads suggests that instead of the traditional discussion about the author’s manuscript, and how it would fit into a publisher’s portfolio, an agent would bring along their iPad to show off the prospective authors dexterity with social media techniques, topped off with a self-made video pitch from the author.

All these opinions seem to be generated from self-proclaimed futurologists or web-based organisations trying to muscle in on traditional publishing turf. Although publishers are running flat-out to catch up with the e-book explosion, I have yet to read from anyone from the ‘old ways’ who says that they need authors to be popular before being published.

In the second part I'll let you know how literary agents respond to this.