How long have you been agent and how did you get your start Chip ?
I used to make my living as a collaborative writer, and about 20 years ago, I decided I needed to educate myself regarding the industry. So I became the writer at conferences who could talk to authors about contracts and negotiations; about what makes a good proposal; about who is buying what. Soon I had authors asking me to look over contracts, then to help them shape proposals, then with talking to the right people. Eventually I figured out I was working as an agent without actually getting paid for it. I spent three years as the Senior Editor for becoming an agent. It took me a nanosecond to say "yes!" I joined them, and spent six years working as a at Alive (which at the time was the 800-pound gorilla of Christian agents). Got into the business early, when there were only about a dozen of us who were qualified literary agents focusing on Christian books. That gave me my start working with a big agency., then Alive Communications came calling and asked if I was interested in
What makes your agency different than any others?
There are several things that make me a bit unique, Jeff. First, I made my living as a free-lance writer for several years, so earning money as a writer isn't just a vague notion with me -- it's a real-world experience. Second, I'm a multi-published author. The idea of putting together a good proposal and buttressing that with strong writing is something I've done for myself as well as others. Third, I have a strong track record -- I've done deals with every major publisher, and books I've represented have been on all the major bestseller lists (even hitting #1 on the ). Fourth, while every agent seems to parrot an answer about doing "career development," my business sense tells me that most of them can't even define what that is. While I was working on my doctorate at the University of Oregon, I had a position as an Assistant Director of the Career Planning and Placement Office, specializing in working with students graduating in the Arts. So I have actual training in helping artists put together a workable career plan.
What are you looking for specifically that you wish you would see more of?
It may seem funny, but that's actually a hard question to answer, since I"m not the type who is usually looking for a particular type of project. I mean, right now I'm not shopping for the next Amish novelist, or for someone to do a Christian exploration of Obama. Instead, I'm usually looking for great writing with a strong voice. So my answer is probably "better voice." I see too many things that aren't bad -- they're just not outstanding. They don't have a particular voice that stands out and demands to be read. There's a lot of flatness in writing (conferences have a tendency to foster that, by telling prospective authors there is a "right" way to do things), and I'm always interested in the clear, quirky, outstanding voice coming out on the page.
Chip what are you tired of receiving?
You'll hate my answer. I'm tired of seeing overly positive pitch letters for novels that aren't very unique, or forby people with no expertise or platform. The vast majority of novels I see are similar, with little to make them stand out. And most NF proposals I see are done by people who have nothing behind them -- it's not that the idea is bad, but that there's no vehicle for moving copies, which means the publishers are going to turn it down. And when these come across my desk, they always seem to be introduced by a letter that promises more than it actually delivers.
How can a new writer get your attention in a good way?
A big idea, expressed through great writing, supported by a strong platform. And no, that ain't exactly easy. I'd encourage authors to spend the time working on their craft in order to make sure they are great writers. Because here's a secret: Most people reading this aren't great writers yet. I know this because most of the projects crossing my desk aren't great. There are few great writers, and all the great writers I know are published. Therefore, if YOU become a great writer, I'm fairly certain you'll get published as well. So I'd encourage writers to focus on finding their voice, and making sure it's strong, and having a great message to share through that voice. The fact is, voice in writing will always get my attention in a good way.
How can a signed writer stay in your radar without driving you insane?
This isn't usually a big issue for me. I represent a relatively small number of authors, I pick carefully who I'm going to represent, and they become friends. (And no, I'm not sugaring this up for you. It's true -- feel free to ask the authors I represent.) Nobody really hates hearing from friends. So I don't get too worried about authors I represent driving me insane.
What do you wish more writers understood about you as an agent Chip that they don't seem to?
(A very sensitive answer to this one... so steel yourself. You may not understand my answer.) Just because I work in publishing, and represent authors, and am a Christian, I don't "owe" you anything. If you send me an email and I've never heard of you, there's nothing written that says I owe you consideration, or a rejection, or even a response. I receive a couple hundred emails a day, and while my goal is to represent Christ to people as much as I can, I don't believe there's anything in Scripture that says I somehow owe everyone ten minutes to talk about their book idea. This is a tough business, so while I always aim to be polite (and sometimes I fail), some writers don't seem to understand my role.
Let's say you're a baker. You're in an industrial kitchen, mixing and testing and baking bread. Do you mind having a tour group come through sometime, to ask you questions about baking? Nope -- happy to help others. But if you had a steady stream of people wandering through your kitchen each day, some of whom are rude, some wanting to make suggestions for improving the quality of the bread, and some acting as though you OWED them an answer to all their questions... well, you get to the point where you decide your first job is to make the bread, not to answer every question that comes from a visitor. (If you were a tour guide, you might feel differently. I'm not a tour guide to publishing. I'm an agent. In fact, the only way I make money is by selling my author's manuscript. I don't charge the author a fee, so if I can't sell projects, I can't make a living. So guided tours are a courtesy extended to people because I believe in the process of helping others. But it's not my main job.) Does that help you understand?
I know, having said this, someone is bound to complain. "Chip doesn't care about authors!" That's rot, of course. But I'd love it if writers, especially newer writers, took the time to educate themselves about the role of an agent, and saw this as my business, rather than as my ministry.
What's the best way for a writer to reach you?
First, a writer should read my blog for a while. That way you'll get to know me a bit. Second, spend some time on my web site, so that you understand who I am, what I'm looking for, and what sorts of things I represent. (I'm always surprised when I get somebody handing me a children's book, or a book of poetry, or a sci-fi novel... I have no idea what to do with those projects. I don't represent them. I know little about the markets for them. Why are you handing this to me?) Third, if you're serious about your writing career, I supposed I'd encourage you to invest in a good writing conference and try to arrange a face-to-face meeting. That way we'll have been face to face, and we'll both have a better sense of whether or not we might be a fit. (I'm not completely comfortable suggesting a conference, because I realize they are expensive, and I hate spending other people's money for them, but it's a good way to get into the same space with me.) Fourth, you'd query me. Or query Sandra Bishop, the agent who works with me. She's great -- a longtime freelance writer, has 15 years' experience working in the industry, and a lot of moxie.