with Adriann Ranta

Kelly L. Mortimer founded Mortimer Literary Agency in the spirit of getting the unpublished published. She believes in treating each of her clients as if he were her only one, diligently line editing each of her manuscripts herself. Mortimer has a degree in contract law and a background in business.

AR: What do you tell new clients to expect when you take on a project for representation?

KM: How difficult it is to sell a debut author! Sorry. We don’t talk numbers. They have the expectation that I’ll work like a fiend to get them published, and I’ll get them the best deal I can. Then it’s their choice if they take the deal.

AR: Do you generally have some idea about what a given project will fetch?

KM: Yes and no. There are several variables. Is the manuscript category or single title? Has the writer been previously published, and if so, how well did their book(s) sell? Some books sell at auction. When more than one publishing house wants the same manuscript, there’s no telling how high the advance can go if a bidding war starts. Some publishing houses are like the Saturn car dealerships. This is the price of the car. Everyone pays this price; no negotiating. Other houses expect you to negotiate. Every house is different, but I have an idea which house pays what.

AR: If so, what's the basis for this? (Topic? Genre? Previous sales of the author's work, if published before? Gut feeling?)

KM: No. No. Possibly. No. It’s a buyer’s market. If you're unpublished, you're a one-legged dog in a Greyhound race. The one leg is your agent, so if you don’t have representation.... Either way, you’re at the mercy of the house. They know there are thousands of desperate writers who’ll take any deal.

Topic: Your topic could be blazing hot now, but might cool down by the time your book comes out. Still, some publishers take the gamble.

Genre: Genre is somewhat manipulated by the houses. The publisher decides the masses don’t want to read historicals; they want to read chick lit. So, the publishers cut back on historicals. If the consumer doesn't have historicals to buy, how can sales go up? The publisher says, “See, I told you so!” Then they flood the market with chick lit, and sales soar until readers get tired of it, so the publisher moves on to vampire paranormals, until consumers get tired of those. Then someone gets the brilliant idea that readers want historicals....

Previous Sales: If you came from another house, you’d better have great sales. If you have low numbers and are shopping for a new publisher, the new publisher will think your previous house dumped you. Why would a new house want to give you a large advance, or even take a chance and give you a contract?

If you have good sales numbers and want to switch publishers, maybe it’s a career decision. Your previous house wasn’t willing to take you out of mid-list and move you up. You have a much better chance of getting a higher advance if this is the case.

Gut Feelings: They can lead you astray. We’ve heard it all before. “This business is subjective.” What I love, 100 editors might hate.

AR: Tell me a little about the role of intuition in your decision-making process about what to take on. (Would you say that your decisions favor intuition or are based on more logical or practical considerations as to a book's earnings potential?)

KM: Intuition doesn't figure into my decision-making process. Like that old “gut feeling,” relying on intuition can burn you.

I use more practical methods, but not a book’s earning potential. As previously mentioned, that’s hard to gauge. I’m not signing a book; I’m signing a writer. I look at the writer’s potential. What other manuscripts do they have in their inventory? The manuscript they’ve submitted might not be their best. What kind of personality do they have? Are they a go-getter, or do they lack the skills needed to promote themselves? Do they want an agent who edits? Can they take constructive suggestions in stride?

What about my existing client base? I have a fiduciary responsibility to them. Will signing this new writer affect my ability to get them published? Does the new writer need so much help with editing, they'll take time slotted for other clients? How many of my clients write in the genre as the new writer? If I have to sell five authors who write the same thing, there’s too much competition within my own agency.

AR: Does the concept of bestseller potential enter into your thinking when taking on a book, or in pitching it to publishers?

KM: No. I sign someone because I believe in them and love their work, we’ll make a good team, and I feel I can get them published. I’m not saying I don’t want my clients to write bestsellers. I’m saying I don’t disregard prospective clients because they write in a genre that doesn't often produce bestsellers.

As to publishers, NEVER tell them you have the next bestseller. Don’t state that in your query letter to an agent either. No one can predict what will become a bestseller. Telling an industry professional your manuscript will be a bestseller ranks right up there with their other favorite line, “My mother loves my manuscript!”

AR: What would you say is the bottom end of a reasonable advance from a 'major' publisher for a first novel from an unknown author? For a work of genre fiction? For more mainstream or literary-leaning work?

KM: There are many variables. Smaller houses might not give the biggest advances, but make concessions in other areas.

There are “library” houses, like Avalon. They produce in hardcover only, and sell to the many library systems around the country. You can also buy their books at online bookstores like Amazon.com. Avalon pays an advance of $1,000.00, but they give the writer a 10% royalty, which is high by industry standards.

Dorchester is an independent, but viable publishing house. They pay $1,950.00, but they have no one to answer to, so they may be willing to take a risk on a project a large house won’t touch.

Major publishing houses pay an advance based on how many copies of your book they think they'll sell. For a debut author, advances can range from $2,250 for a shorter, category manuscript, to $15,000 for a book they think will sell well. Then there are auctions. You know how it is. “If someone else wants it, I want it too.” Some debut books sell at auction for huge amounts of money if there’s a bidding war. There’s no easy way to answer this question. It depends on the book, and the publishing house.

AR: What about smaller publishers—how does house size affect the author's payout?

KM: I mentioned this above. You can't get blood out of a turnip. Small houses don’t have the thousands of dollars it takes to get a book published, publicize it, and give large advances. But every writer has to start somewhere. Small houses can get a writer’s foot in the door. If their book sells well, that might be the extra push they need to move up to a bigger house.

AR: Back to fiction and how it's valued…In general terms, do you perceive any correlation between quality and what a publisher is willing to pay? Does quality (in connection to writing and prose style) sell?

KM: Yes, quality sells in any genre. When you ask an editor what they’re looking for, they usually say a great story with exceptional characters, or something similar. With all the manuscripts editors have to choose from, why publish an inferior book? Still, writing the best manuscript in the universe doesn’t guarantee you a higher advance. Publishers want to make as much money as they can. They’ll pay as low of an advance as they can get away with.

AR: What do you perceive to be the most valued qualities to a first novel when it comes to the book itself?

KM: An intriguing plot written with flair and imagination. Strong characters. Protagonists I can root for, or antagonists I can detest. A story that touches my emotions in some way.

AR: What about when it comes to the author?

KM: Imagination. A true storyteller who weaves a tale so vivid, i don’t want to stop reading.

AR: How important is a 'platform' in fiction?

KM: You would have to ask me that. Actually, I’m glad you did. A strong platform is vital to a debut author. I’m in a situation right now that really chaps my hide. I have a couple of exceptional manuscripts editors loved that have gone to committee numerous times and get shot down because, “The writer doesn't have a strong enough platform.” My advice to aspiring authors: GET A STRONG PLATFORM. NOW!

AR: Do you have anything else to add that might be informative to someone trying to make a living off their writing?

KM: It’s tough. You need to have the drive and self-discipline to sit and write every day. If you do, great.

I think the worst mistake writers make is submitting their work before it’s ready. Present a polished manuscript. If you submit inferior work and blanket every agent and editor on the planet, when you do get your manuscript in great form, you’ll have no one to send it to.

How do you know when your manuscript is ready to submit? Find a critique partner or join a critique group. Enter a few contests. Some give you feedback; others put your work in front of editors or agents who might not otherwise see it. Study books on editing, grammar, and proper formatting. Read your manuscript aloud. You’d be surprised how many writers don't use this valuable tool. Your ear can hear mistakes your eyes can't see. Make contacts! I can't stress this enough. You never know who might be able to help you strengthen your platform down the line. Go to writing conferences. Take business cards of writers and anyone else you meet in the industry. Save them for future reference. Join writers’ organizations like the Romance Writers of America. Network. Make contacts. Search out and join a local group of writers.

Keep up on industry news. Sign up for e-newsletters. There are some great ones and they’re free. One to try: www.publishersmarketplace.com. Do a Google search. Read editor and agent blogs and get on the e-mailing lists of authors who interview editors and agents regularly, like noveljourney.blogspot.com. Make contacts.

Look into promotion. Local newspapers and radio stations love to feature hometown authors. Make contacts. Every author dreams of having a big book signing. Unless you’re famous or have some angle, these often end up as if you threw a party, and no one showed. Instead, try public speaking with a signing afterward. A serious writer HAS to have a Web site, and give their readers a reason to go back to it. Have contests, writing tips, interviews, etc. Make more contacts (are you getting the idea?).

Oh, and one last thing. Make contacts!