Literary agent Kirstin Lindstrom values the freedom and ability to work closely with her writers that a boutique agency gives her. In this interview, she gives us the advice that she tells her clients: to have realistic expectations for their success, to keep an eye on the market, and to work closely with their editor.
How does being an independent agent help you help your clients? And what makes you the best agent in the universe?
As an independent, I simply go by ‘literary agent.’ Operating as a boutique agency, I’m able to work very closely with all of my clients, whether the task at hand is to edit a manuscript in preparation for submission or holding an anxious author’s hand during the nerve-wracking process of finding a publisher, contract negotiations, and the cycle of a book’s life. I’m easy to contact and always respond to a client’s call or email within a few hours.
Actually, there is a better agent on the planet Romolac, but she doesn’t represent Earthlings. Second best in the universe ain’t so bad!
What advice do you give your clients about keeping afloat in times like these, while the economy is going down?
In challenging economic times, it made sense to trim my client list and spend more time fine-tuning the projects I’m bringing to publishers. So I represent fewer authors and concentrate on working with people who have an extended vision for their writing careers.
Authors no longer have the luxury of writing without careful consideration and knowledge of their markets. Adaptability is key, as is persistence. And it’s critical to establish a strong relationship with the editor, if possible, rather than working as a loner, which is very often the case with writers.
Authors should have realistic expectations about how much they can earn and how long it takes to earn it: the advance/royalty cycle is a long one. So unless they have a taste for Ramen noodles, they should hang on to their day jobs.
Speaking of the market and its expectations, what are you seeing a demand for these days? And what kind of book would you love to represent right now?
A lot of editors are asking to see historical fiction, and the demand for memoir, while falling, still seems pretty strong. But I have also had quite a few editors say, “Only come to me if you have a blockbuster.” This reflects the increased focus publishers have on the bottom line as a result of the economic climate. No one is in the mood to take great risks.
I’d love to represent the next Malcolm Gladwell or Sarah Vowell — really good non-fiction is hard to find — or, in fiction, Dennis Lehane or Kathryn Stockett. Who wouldn’t? Nothing can guarantee a blockbuster, but I’m always willing to try. (That having been said, please don’t tell me you’ve got the next blockbuster in your submission letter. This tends to be a bad sign. . .)
Ok, so aside from telling you about their next “blockbuster,” how should a writer with a new book reach you?
Writers should take a look at my website at www.lindstromliterary.com for my submission guidelines. I prefer that queries be sent to submissions@lindstromliterary.com.
I’ll give you two pet peeves for the price of one. I’ve tried very hard to be clear about what kind of book I represent wherever I’m listed. I do not handle children’s or young adult books, or poetry. Yet people routinely send queries in these areas. After all, my husband is a poet and I don’t represent him!
And nothing makes me sadder, while irritating me at the same time, than when I read the words: “I have just retired after 40 years as an (engineer, teacher, advertising exec, etc) and this is my first novel.” I’m not saying that person is necessarily a bad writer; but most likely he or she has not been writing consistently over the years to hone their craft while working on their real career. And it’s just as likely they have not taken the time to research and understand the current publishing market and how challenging it is, even for published authors.
Do you think that the shift towards epublishing and ebooks is a good deal for writers?
Clearly, the publishing model is evolving and publishers are testing new ways to deliver books to the market. Technology has finally caught up to the point that electronic books are viable if the user is in a position to pay several hundred dollars to buy the e-reader. This isn’t the death knell for books, though. It’s going to take time for the e-market to shake down and get established in a profit path.
In the heated price wars for e-books, authors in the end are frequently taking the biggest financial hit, particularly when artificially low prices are established as loss leaders. If publishers are going to be able to keep a stable of authors, they will have to compensate them based on a formula that rewards their work.
Before we go, tell us something surprising about you
I’m active in parrot rescue, though unfortunately allergies have kept me from helping them directly in my own home.