Over the past 10 years, I’ve been interviewed extensively but since most of the interviewers ask the exact same questions, I looked for interviews that allowed me to reveal information I thought would interest writers and had not been covered by the mass of standard interviewers. I hope the following not only answer questions you might have but also give you a feeling for who I am and what I’m all about.
From: American Blackguard Public Relations
Date: June 20, 2006 9:32:58 AM PDT
To: 'Jodie Rhodes' <jrhodes1@san.rr.com>
Subject: RE: American Blackguard E-zine Questions--Attachment Included
Jodie,
I’m not sure if I said thank you for doing this for us. If I haven’t already, Thank You! I loved your answers and now I have to know—why did you become an agent. You said it was a long story, but I would love to hear it. Also, I can’t believe that you sold your wedding gifts for food—that makes me sad. But I totally understand. That is why I left the world of Theatre—I have this horrible food addiction that I have to support and it wasn’t being attended to in the theatre.
Best,
Eddie
American Blackguard E-zine Questions - Ask a Literary Agent
IN FICTION I LOOK FIRST AND FOREMOST FOR GREAT WRITING AND CHARACTERS THAT HAVE A FANTASTIC VOICE
MY MAJOR INTERESTS ARE LITERARY FICTION AND I HAVE A KEEN INTEREST IN MULTICULTURAL NOVELS
IN NONFICTION, I SEEK (AND AM FORTUNATE TO REPRESENT) OUTSTANDING SCIENTISTS, PHYSICIANS AND ACADEMICS WHOSE WORK I SELL ON THE BASIS OF PROPOSALS --- I AM INTERESTED IN BOOKS ON ALL THE SCIENCES – I AM ALSO INTERESTED IN MILITARY, HISTORY, BIOGRAPHY, ECONOMICS, POLITICS, CURRENT EVENTS – AUTHORS MUST BE LEADING AUTHORITIES ON THEIR SUBJECT MATTER
Where did you find most of your writers?
MOST COME THROUGH THE MAIL AS COLD QUERIES, ALTHOUGH A NUMBER ARE RECOMMENDED BY BOOK REVIEWERS AND PUBLISHED AUTHORS
How do you wish for writers to contact you?
THROUGH MAIL ONLY – DO NOT CALL OR EMAIL. SEND QUERY, BRIEF 2 PAGE SYNOPSIS AND THE OPENING 30 TO 50 PAGES BUT IF YOU WANT YOUR MATERIAL RETURNED, SEND NOTHING THAT WEIGHS OVER 13 OUNCES – WE DO NOT HAVE TIME TO GO TO THE POST OFFICE AND STAND IN LINE TO GET IT STAMPED
IF YOU WISH A RESPONSE FROM US, YOU NEED TO SEND A SASE
WE SUGGEST YOU INCLUDE YOUR EMAIL ADDRESS WITH YOUR QUERY
Do your writers ever get writer’s block? If so, how do you help them overcome it?
TO THE BEST OF MY KNOWLEDGE, NO NONFICTION WRITER HAS EVER DEVELOPED WRITER’S BLOCK SINCE THEY ARE WRITING WHAT THEY KNOW
AS FOR FICTION, SINCE AGENTS DO NOT GENERALLY ACCEPT ANY NOVELS THAT HAVE NOT BEEN COMPLETED, THIS NEVER ARISES --- IF THEY HAD WRITER’S BLOCK, THEY OBVIOUSLY GOT OVER IT SINCE THEY FINISHED THE MS
IN THE CASE OF AUTHORS WITH ENOUGH CLOUT TO SELL A NOVEL ON THE BASIS OF A PROPOSAL, THEY WORK DIRECTLY WITH THE EDITOR AT THE PUBLISHING HOUSE AND LORD HELP THEM IF THEY GET WRITER’S BLOCK AT THAT STAGE
MY PERSONAL TAKE ON WRITER’S BLOCK IS THAT IT’S THE WRITER’S SUBCONSCIOUS TELLING THEM THEY’RE GOING IN THE WRONG DIRECTION, THEY’RE WRITING THE WRONG THINGS, THEIR CHARACTERS AREN’T TRUE TO THEIR NATURE ----- MY ADVICE TO WRITERS WHO EXPERIENCE THESE BLOCKS IS TO REREAD WHAT THEY’VE WRITTEN TO THAT POINT AND SEE HOW THEY FEEL ABOUT IT
FOR MANY YEARS I CONDUCTED WRITER WORKSHOPS AND EVERY TIME A MEMBER HAD WHAT HE OR SHE THOUGHT WAS WRITER’S BLOCK, IT WAS BECAUSE THEY WERE ON THE WRONG TRACK --- WE ALWAYS FIGURED OUT WHAT WAS WRONG, GOT BACK ON TRACK AND THE BOOK WAS GREATLY IMPROVED
Which do you think a writer should develop first: plot or character(s)?
A NOVEL IS A STORY ABOUT PEOPLE --- I CAN’T IMAGINE WRITING A NOVEL UNLESS YOU HAVE A STORY IN MIND ---- THE STORY ALL BY ITSELF TELLS YOU WHO THE CHARACTERS MUST BE
Do you recommend a writing process, a formula of how you suggest your writers compose their stories?
ABSOLUTELY NOT --- EVERYONE IS DIFFERENT AND WORKS BEST IN THEIR OWN WAY --- THERE IS JUST ONE IMPERATIVE – NO MATTER WHAT, MAKE YOURSELF WRITE EVERY SINGLE DAY
What should be a writer's daily, weekly, monthly, and/or yearly writing schedule?
SEE ABOVE
Describe your average day.
CHECK EMAILS, READ AND RESPOND – I RECEIVE ALMOST 100 A DAY AND SPEND A MINIMUM OF 9 HOURS AT THE COMPUTER – 90% OF MY BUSINESS IS CONDUCTED ONLINE – ONLY 10% BY PHONE
I SPEND DINNER OPENING AND READING QUERY LETTERS AND SUBMISSIONS, SEPARATING INTO THREE PILES: HOPELESS, POTENTIAL, EXCITING
I CONTACT THE EXCITING ONES IMMEDIATELY (THAT’S WHY I SUGGEST WRITERS INCLUDE THEIR EMAIL ADDRESS) AND WRITE REJECTION LETTERS WITHIN A FEW DAYS --- IT MAY TAKE ME TWO WEEKS OR MORE TO LOOK OVER THE POTENTIAL ONES
I SHOULD ADD THAT 99.5% OF EVERYTHING I RECEIVE IS REJECTED
AFTER DINNER I READ MANUSCRIPTS UNTIL 1AM
Who is/was your mentor? Why?
I HAVE NEVER HAD A MENTOR --- IN THE ADVERTISING BUSINESS, AS A PUBLISHED AUTHOR AND AS AN AGENT, I WAS MY OWN MENTOR
THAT WAS NOT NECESSARILY A GOOD THING BUT I NEVER MET ANYONE WHO COULD BE A MENTOR
What are the most important skills or talents needed to be a good agent?
THE ABILITY TO RECOGNIZE GENUINE TALENT AND EXCEPTIONAL MARKETING SKILLS
Rate how you value the following regarding your own work from highly important (1) to least important (6):
critics reviews of clients' work, 3
self-satisfaction, 4
units sold, 2
awards given to clients, 1
opinions of family and/or friends,…6
clients' placement on bestseller lists. 5
When did you realize you wanted to be an agent?
AFTER I BECAME ONE --- WHY I BECAME ONE IS A LONG STORY
Why did you choose the literary field?
I FELL IN LOVE WITH BOOKS WHEN I WAS FOUR AND CAN NEVER REMEMBER LEARNING TO READ ANYMORE THAN I CAN REMEMBER LEARNING TO BREATHE --- BOOKS HAVE BEEN MY BEST FRIENDS MY ENTIRE LIFE --- THERE HAS NEVER BEEN A DAY THAT THERE WEREN’T A STACK OF THEM BY MY CHAIR
What was the first professional job you had as an agent?
NEVER HAD ONE
What was your first “paid” position in the industry?
NEVER HAD ONE
What advise can you give to anyone who wants to pursue agenting as a career?
DON’T DO IT MY WAY ---- I BECAME AN AGENT AT AN AGE MOST PEOPLE ARE THINKING ABOUT RETIRING --- I HAD A FULL CAREER AS AN AD EXEC AND PUBLISHED AUTHOR BEHIND ME AND STARTED AN AGENCY WITHOUT HAVING A SINGLE WRITER OR KNOWING A SINGLE EDITOR, LOCATED 3000 MILES FROM THE CENTER OF THE PUBLISHING BUSINESS - VEGAS WOULD HAVE PUT MY CHANCES OF BECOMING A SUCCESS EQUAL TO MY CHANCES OF STARRING IN HBO’S SEX AND THE CITY
DO WHAT ALL NORMAL PEOPLE DO --- START AS AN INTERN AT A PUBLISHING HOUSE, LEARN HOW THINGS WORK AND GO FROM THERE
THE FACT THAT I HAVE ACHIEVED SUCH SUCCESS STAGGERS THE MIND
What advise can you give to anyone who wants to pursue writing as a career?
TOM WOLFE SUMMED IT UP BEAUTIFULLY --- WRITERS ARE TOLD TO WRITE WHAT THEY KNOW AND THAT IS EXCELLENT ADVICE - HOWEVER, AS WOLFE SAID, “BUT WHAT DO YOU KNOW?’ HE THINKS THE BEST PREPARATION IN THE WORLD FOR A WRITER IS TO BE A REPORTER FIRST
WHATEVER YOU DO, LEAD AN INTERESTING LIFE AND GORGE YOURSELF WITH KNOWLEDGE – IF YOU DON’T REALLY KNOW MUCH ,TO BE BRUTALLY HONEST, YOUR WRITING WILL UNDOUBTEDLY SUCK
What makes a good agent?
THE ABILITY TO SPOT A WINNER, STRONG PERSONAL CONTACTS WITH A LARGE NUMBER OF EDITORS COVERING THE MAJOR HOUSES, INDIE PRESSES AND SMALL PRESSES, GREAT MARKETING SKILLS, A GENUINE CARING FOR WRITERS, INTEGRITY, THE WILLINGNESS TO WORK YOURSELF TO THE BONE
What is the most rewarding part of being an agent?
MAKING WRITERS DREAMS COME TRUE
What is the most disappointing part of being an agent?
REJECTIONS FROM EDITORS
What is the one thing you wish someone had told you about being an agent before you started in this business?
BECOME ONE WHEN YOU’RE IN YOUR TWENTIES
Given a choice, if you weren't an agent, what profession would you be in?
I’’VE DONE IT ALL – THIS IS IT FOR ME NOW - ALTHOUGH I AM TOYING WITH THE IDEA OF WRITING A BOOK TITLED MAKING IT WHICH WILL BE AN INTERESTING INSIDER LOOK AT THE PUBLISHING BUSINESS FROM ONE WHO STARTED AS AN OUTSIDER
If you could sum up your agenting style in three words what would they be?
A SUCCESSFUL MAVERICK
When you have passed away, what do you want people to remember most about you, your clients, and your work?
HOW MUCH I CARED --- I PLAN TO FUND A FOUNDATION THAT GIVES GRANTS TO NEW WRITERS WHICH WILL LIVE ON AFTER ME
Which of your clients have you been the most proud of?
YOU CAN’T BELIEVE I’D ANSWER THAT, CAN YOU? I’M PROUD OF ALL OF THEM
What is one thing that would surprise most people about you?
WHY I BECAME AN AGENT
Do writers really need a literary agent? If so, when do I need one?
YES – AS SOON AS YOU HAVE A MARKETABLE WORK
What should a writer look for in an agent?
ONE WHO’S SOLD AT LEAST 20 BOOKS AND MANY OF THEM TO THE MAJOR NEW YORK HOUSES, WHO BELONGS TO AAR, WHO OFFERS TO SEND YOU DETAILED INFORMATION ABOUT THEMSELVES IN THE FORM OF AN AGENCY BROCHURE, A SAMPLE OF THEIR MARKETING PROCEDURES AND MEDIA STORIES ON THEIR SALES
Of all the books you have been a part of creating or selling, which one has been your favorite? Why?
NO, I AM NOT GOING TO ANSWER THAT – I LOVED SELLING THEM ALL AND EACH FOR DIFFERENT REASONS – WHY IN THE WORLD WOULD YOU ASK AN AGENT TO DIMINISH THE MAJORITY OF WRITERS THEY REPRESENT BY NAMING ONLY A FEW AS THEIR FAVORITES AND THEN LET THE WHOLE WORLD KNOW ABOUT IT
What do you do when you are not agenting?
TRY TO GET A LITTLE SLEEP
What character or work of literature do you think has influenced you the most?
THERE IS NO SINGLE ONE
What author has influenced you the most?
SEE ABOVE
What book are you reading right now?
AGENTS HAVE NO TIME TO READ PUBLISHED BOOKS – RIGHT NOW I AM READING A BRILLIANT NOVEL BY AN EXPERIENCED DIPLOMAT WITH THE STATE DEPT AND IMPORTANT FOREIGN POLICY SCHOLAR
What piece of literature do you wish you or one of your clients had written?
WRITING IS THE MOST PERSONAL ACT IN THE WORLD – PEOPLE DIG DEEPER INTO THEMSELVES AND REVEAL MORE OF WHO THEY ARE IN THE BOOKS THEY WRITE THAN IN ANY INTERCHANGE THEY HAVE WITH EVEN THE CLOSEST PEOPLE IN THEIR LIVES, SO OBVIOUSLY I WANT THEM TO WRITE THEIR STORIES == NOT WHAT SOMEONE ELSE WROTE. THIS QUESTION MAKES NO SENSE
NOW IF YOU’D ASKED WHAT PIECE OF LITERATURE DO I WISH I’D REPRESENTED, THAT WOULD MAKE MORE SENSE. BUT THE LIST IS SO LONG, I WOULDN’T EVEN START TO ANSWER THAT
Dear Jodie,
Hi! My name is Laura Owen and I am the editor of Publishing Trends. For our June 2008 BEA-themed issue, I’m writing an article about West Coast literary agents. I’d love to talk to you and also feature your agency’s information in a chart in the issue.
Do you have time in the next few days to answer a few general questions, either by phone or e-mail? Let me know.
Thank you, and I hope to hear from you soon!
Best,
Laura
Laura Hazard Owen
Editorial Manager, Publishing Trends
Market Partners International, Inc.
232 Madison Avenue, #1400
New York, NY 10016
Hi, Laura, See my answers under your questions.
Best, jodie
ARTICLE QUESTIONS:
-What's your history as a literary agent? Did you used to work on the East Coast, then moved to the West Coast, or have you always been on the West Coast?
I have a significantly different background from the average agent who started working in the publishing business in New York from the ground up either as an assistant for one of the publishing houses or for an established agency.
My background is in writing and marketing and I've worked in Detroit, San Francisco, Los Angeles and now La Jolla. I have never worked or even lived in New York.
As a published novelist (Bantam and Putnam), whose second book made the LA Times bestseller list its first week in print, I can offer writers something most agents can't -- I know what it's like to write a book, I know what's involved in the process, I know how much work it is, I know what it feels like to try and find an agent and a publisher.
For many years I was an advertising executive, serving as VP Media Director of N.Y. Ayer Advertising Agency. I've also taught creative writing on the university level, written columns for regional and national writers’ magazines and been frequently featured in Writer’s Digest Magazine. Writers Digest has named me as one of the top 25 literary agents in the country who accepts new writers.
-Where do your authors live/where do you get queries from? Are most of your clients on the West Coast or are they spread out all over the country?
My authors live all over the world and I receive 1500 queries a month. I actually have more writers contacting me from New York than the West Coast.
-How has technology changed your experience as a literary agent? How do you use technology to handle different time zones, etc.?
Technology made it possible for me to become a successful agent. I owe it all to the internet and email which made geographical location irrelevant
-Do you have to keep in touch with people and publishing houses on the East Coast? How do you do that? (Video conferencing? AIM? Lots of early-for-you phone calls? etc.)
You must be kidding. Keeping in touch with editors and publishing houses on the East Coast is my life's blood. Not a day goes by that I'm not in direct contact with at least 15 editors and when I'm marketing a writer's book, I'm in contact with as many as 30 editors just for that writer. Although editors and I do talk on the phone, 90% of our communication is thru email. I market every writer's book thru email and send their mss to editors thru email.
-What are the advantages of being a literary agent on the West Coast? (Some interviewees have mentioned proximity to Silicon Valley, etc. and feel as though they have an edge, for instance.)
I find absolutely no advantage to being on the West Coast nor would I find any advantage being on the East Coast. The internet has completely changed communication. I routinely communicate with UK editors and rights agents all over the world.
-How is working in publishing on the West Coast different from working in publishing on the East Coast? (Here's your opportunity to either bust or support those relaxed-California-vibe stereotypes...)
I see no difference. During my early 5 years as an agent, I worked 15 to 17 hours a day every day, 7 days a week to build my agency, so there's your answer to relaxed California stereotypes. The advantage I have is not where I live but the fact I have my own agency and don't have to work for someone else.
-What types of publishing houses do you work with? Is working with West Coast publishing houses different from working with East Coast publishing houses?
New York publishing houses dominate the industry so of course most of my time is spent working with them. I sell books regularly to HarperCollins, Simon and Schuster, Little Brown, Grand Central (which used to be Time Warner Books), St. Martins, Random House and Penguin. Of course I work with many more publishers than those, most of whom are in New York. John Wiley, Hyperion, Harcourt and Houghton Mifflin are first rate houses and Houghton Mifflin is now taking over Harcourt, bringing most of Harcourt's major editors with them. Perseus is a giant house and a fantastic publisher. I've sold many books to them. Sourcebooks is an excellent house. McGraw-Hill is a giant publisher with a strong trade list. There are also many fine mid size houses like Arcade, Beacon Press and Algonquin (which has offices in both New York and North Carolina) and some outstanding small literary presses.
In addition I work with university presses and since I represent a large number of scientists, I have a major relationship with Facts On File to whom I've sold over a hundred books.
There are very few West Coast houses I work with, on the other hand, and none I know of that pay anywhere near the advance of New York houses or offer as fair royalty percentages with the exception of the outstanding MacAdam/Cage.
And some general questions about your agency:
-What's the official title of your agency? Contact information: Address, e-mail, Web site, phone, fax?
Jodie Rhodes Literary Agency. Writers who are interested in contacting me should go to the library or bookstores and look up my listing in the guide books such as WRITERS MARKET, GUIDE TO LITERARY AGENTS and LMP.
I am terribly derelict in producing a website and hope to have one up fairly soon. It will simply be jodierhodes.com
I do not give out my phone, fax or email address for obvious reasons
-What's its size? How many other literary agents are there? How many clients do you have?
I am basically a one woman agent with two lifelong friends who serve as agents at large but do not work in my office and do not represent writers --- they will read mss and give their opinion which I much appreciate. I currently represent 70 authors.
-What kinds of books do you handle?
You have reached me at a time when I'm making a significant change in the kinds of books I will represent. Because I'm unique among agents in the time and effort I spend on each writer's book (I recently sold a novel that I spent 3 years marketing, enduring 217 rejections, and I routinely work for months, contacting 40, 60, 80 editors while most agents contact 10 to 12 or maybe 15 editors and then drop the writer if they don't get a sale by that time) I've come to realize that I must concentrate on those kinds of books I have been the most successful in selling and stop representing the books that just don't sell, no matter how I slave away trying.
So from now on, in the trade market I will only be representing popular science books, nonfiction books on major issues affecting our lives by authors with outstanding credentials, unique health books, YA books which I'm selling like mad and are eager to receive as long as the writer understands i only have interest in edgy, trendy, literary YA books, and finally my greatest passion literary fiction.
Do not send me historicals, mysteries, thrillers, memoirs (unless you have a truly extraordinary story) or basically anything but the above.
-Who are your best-known clients?
Ann Pearlman, whose memoir INFIDELITY made international news, received rave reviews, published in hardcover by MacAdam/Cage with paperback rights auctioned off for $250,000 won by Random House/Broadway, rights sold to Hodder in the UK with the London Observer serializing the book on their Sunday magazine over several weeks with her photo on the cover and film rights bought. She followed that up with the extraordinary INSIDE THE CRIPS.
Kavita Daswani whose FOR MATRIMONIAL PURPOSES was simultaneously auctioned in the U.S and UK for $500,000, rights sold in 14 countries and film rights just recently sold. At this time Kavita has just finished her 5th novel to be published by HarperCollins. Her second and third novel were published by Penguin with film rights sold to VILLAGE BRIDE, her 4th just came out by Simon and Schuster.
Domnica Radulescu, a brilliant new author whose TRAIN TO TRIESTE has excited the world, preempted by Knopf, won at auction in the UK by Doubleday for six figures and sold for significant advances to 10 foreign publishers to date with outstanding reviews including international bestseller Sandra Cisneros and Arthur Golden, the author of Memoirs of a Geisha.
James Stein, a brilliant mathematician with an outstanding wit whose book HOW MATH EXPLAINS THE WORLD is being launched this month with 50,000 copies by HarperCollins and rights sold already to five overseas countries -- and has just sold a new book RIGHT DECISIONS to be published by McGraw-Hill and HOW MATH CAN SAVE YOUR LIFE won at auction by Wiley, with Penguin the runner-up..
John Moffat, a genius who's written REINVENTING GRAVITY that overturns both Newton and Einstein's theories due out this summer by HarperCollins with rights already sold to overseas publishers
-What books are you working on now that you're especially excited about?
An extraordinary memoir about a 14 year old girl kicked out of her house by a vicious mother who ends up living on the streets and trying to survive while at the same time continuing going to school, since she knows if she doesn't, she will never have a life
-What is the most unique thing about your agency?
That it even exists, much less be so successful. I have often said my chances of ever making it as an agent were equal to my chances of starring in Sex and the City
I was an outsider, living 3000 miles from the heart of the publishing business, and as I said before not having a single writer or knowing a single editor
At the time I was conducting 3 writer workshops a week and I thought when local writers learned I'd become an agent that they would flood my workshops. Actually, local writers weren't the least bit impressed that I was now an agent and the number attending my workshops, instead of surging, dropped in number --- of course I am a very blunt critic and I told writers the truth so the turnover was great.
I used to say, at the end of the workshop, please don't step in the blood on your way out. I later discovered that a few whose egos were severely bruised wrote the most extraordinary lies about me which they sent off to every writers' blog they could find and years later they still fill the internet. If they'd been half as creative with their mss as they were with their lies, they might have gotten somewhere.
Since I was now listed in GUIDE TO LITERARY AGENTS, hellish years followed with some of the most horrid writing I'd ever seen filling my mailbox and stacking up upside my door.
Finally, I took a giant step. With mss that showed some promise, I personally edited and rewrote them myself for free, from page one to the end and there are a number of books out there with my writing sprinkled through them.
Then Ann Pearlman sent me her memoir which I told her was astonishingly brilliant in the first half and just one screaming voice in the last half --- I edited it with her, the book became famous, I became known, good writers started sending me material and here I am.
Anything else you would like to mention about your agency or your experience as an agent that I have not covered?
I think I've told you more than you ever expected or, for that matter, even have room to use.
Best, Jodie
JEFF HERMAN’S GUIDE TO BOOK PUBLISHERS, EDITORS AND LITERARY AGENTS
JODIE RHODES
Jodie Rhodes Literary Agency
8840 Villa La Jolla Drive, Suite 315
La Jolla, CA 92037
Agent : Jodie Rhodes, President; Clark McCutcheon, fiction editor at large; Bob McCarter, nonfiction editor at large; Jill Hughes foreign rights; Contact for all queries, Jodie Rhodes.
Born : Montreal, Canada-
Education : B.A. Ohio Wesleyan University. Pursued M.A. at Ohio State concurrently with my husband pursuing his Ph.D. at Ohio State but ended up doing his research and writing his papers instead of my own.
Career History : A year out of college, I worked as an editor at McGraw-Hill for their school division based in Columbus, Ohio. Left that for a job as a copywriter at a small agency, also in Columbus, Ohio.
Then moved to W.B. Doner in Detroit where I was told no woman could be a copywriter because either directly or indirectly every account was connected to the auto industry and “everyone knew women didn’t understand anything about cars,” so I became a media buyer.
I grew up in Detroit and was eager to leave and see the world, so I took off for San Francisco (what a magical city!) and started my own business there, an upscale employment agency titled simply RHODES PERSONNEL AGENCY.
At that time, the city was flooded with young women emigrating from Britain. I shall always remember the one who wrote, in the space listing work experience, “general dogsbody.”
When Hoeffer, Dietrich and Brown in San Francisco called my agency, looking for a media buyer, I placed myself with them and sold the business.
A large regional agency in LA, that handled Mattel Toys among other big accounts, recruited me for twice the money and I moved down there. Had a brief stint as Marketing Director for WHAMO TOYS. They invented the Hula Hoop. Then joined N.W. Ayer and was promoted to VP Media Director a few years later.
Quit to pursue a writing career and sold two novels: one to Bantam and one to Putnam -- the latter made the LA Times bestseller list its first week in print. Could not sell a third novel and grudgingly went back to advertising but only as a consultant.
Here’s a story to pop your eyes. The agency I consulted for was supposed to be the new Mary Wells. It had Suzuki when Suzuki was hot. It also had a technology company. I only met the president of it once but was blown away by him.
Then I heard the agency dropped the account because they felt this president was too dense to understand their creative strategy. “Are you nuts?” I cried. “This is one of the most brilliant, creative human beings I’ve ever met.” They just sneered at me – after all I was just a media person.
Well, the president’s name was Bill Gates and the tech company Microsoft.
Hobbies/Interests : A hobby that grew into a vice was option trading. I was an active trader in the market for many years, concurrent with my positions in advertising.
The day I realized I was in trouble was when I had so much money rolling in from option trades that I began regarding my salary as chump change.
I now only hold stocks that pay strong dividends. Love bridge and am a Life Master. Am a passionate but rather inept tennis player. Have always loved horses and riding. Bike regularly.
If you’d asked about passions, I would include my deep personal concern with the “throwaway children” in both this country and worldwide.
Before I became an agent, I served as a guardian ad litem for the San Diego Juvenile Court Systems and worked (freely, as a volunteer) for VOICES FOR CHILDREN.
A recent sale, CHLOE DOE by Suzanne Phillips, is the story of a l7 year old girl who fled from a brutalizing home at age l2 and has been supporting herself by selling her body on the streets of LA since she was l2. I was determined to get this book published and contacted 29 editors simultaneously in the U.S. and UK. Targeted to the YA market, it scared many publishers but I am happy to say we made a big sale and it’s created a worldwide buzz.
SUBJECTS & CATEGORIES YOU ARE INTERESTED IN AGENTING, INCLUDING FICTION AND NON-FICTION
What’s really hot today are edgy, literary YA/Teen novels and if you’re a truly gifted writer who has a strong story idea for one, I’d love to see it. These books are outselling adult fiction 3 to 1. Editors who used to handle only adult trade novels are now acquiring these books.
To give you an idea of just how hot they are, editors tend to disappear before major holidays and it’s normally impossible to reach them.
But the Friday before Thanksgiving I fell madly in love with a YA/Teen novel I read nonstop from the moment I opened it to the last page, immediately offered the author representation and was so excited I spent the weekend writing the pitch letter, mailed it to 14 editors on Monday, on Tuesday 12 of them asked to see the complete manuscript (many emailing from their home or their family’s home), on Wednesday, Editorial Director Phoebe Yeh at HarperCollins called me with a pre-emptive offer of $200,000.
Multicultural literature, both fiction and nonfiction, makes my eyes light up. Books that have something important to say and characters with substance. Voice is everything to me in a novel. I’m fascinated by science and have sold many books by a variety of scientists and academics. Mainstream fiction, memoirs, biography, history, literary novels, those rare thrillers and mysteries that are truly original and gripping, world literature, politics, military, international affairs, women’s issues, parenting, health, medicine.
I am rightly known as an agent who welcomes new writers and the vast majority of books I’ve sold have been authored by new writers.
SUBJECTS & CATEGORIES WRITERS SHOULDN’T EVEN BOTHER PITCHING TO YOU
No romances, religious, spiritual or inspirational books, no children’s books, no erotic works, no science fiction, fantasy or horror
WHAT WOULD YOU DO IF YOU WEREN’T AGENTING
Writing. As most writers know, once the writing bug bites you, it’s hard to get over. I was fortunate to have sold two novels to major New York houses but a writer always wants to do more. I am seriously considering writing a nonfiction book titled MAKING IT which should be an interesting insider look at the publishing business from someone who started out as an outsider and had to battle their way inside, just like most of you reading this are doing.
WHAT’S THE BEST WAY FOR FICTION WRITERS TO GET MY INTEREST
Be a gifted writer and a fantastic storyteller. Most literary fiction is focused on language and style. There’s no compelling story. That’s the main reason they get rejected. Sadly, most of the writers who come up with truly interesting plots don’t write well enough for their books to sell.
WHAT’S THE BEST WAY FOR NON-FICTION WRITERS TO GRAB MY ATTENTION
First, have a truly exciting story to tell that either hasn’t been written about before or offers exciting new information on the subject. I expect every writer
to have thoroughly researched the subject matter and to have a “platform.” Publishers want writers with outstanding credentials which will attract reviewers and get media attention. The author should also have a well planned marketing and promotion strategy of their own which they’ll use to generate sales.
READING OR UPFRONT FEES :
I DO NOT CHARGE ANY FEES, UPFRONT OR LATER (NOT EVEN SUBMISSION FEES)
MOST COMMON PITCHING MISTAKES BY WRITERS
You’re always off on the wrong foot when you get our name wrong. Form letters addressed to “agent” are sure losers. Query letters with misspelled words and bad grammar are instant rejects. But the most common mistake writers make is telling us how wonderful their book is.
Never, ever try to sell us. Experience has taught us that the more modest the writer, the greater the talent, and vice versa.
One of the funniest such letters I recently received informed me, “My book is a brilliant, compelling modern day version of Holden Caulfield’s CATCHER IN THE WHEAT.
Writers are told to keep their query letters short but one can overdo this as per the following:
Dear Agent,
A woman takes her 12 year old daughter out of school and isolates her from the world. The novel is called Elizabeth.
Sincerely,
We do need more information than this. I invite writers to send along the opening 30 to 50 pages of their book with their query letter. This allows me to get a sense of the writing and the voice and greatly increases the author’s chance of interesting me.
Description of the client from hell :
A client who emails or calls you every week after the first round of submissions has been mailed out—who falls apart emotionally when the first rejections come in—who acts as though they’re the only client you have—who repeatedly asks what you’re going to do after every rejection—who tries to make you feel you and only you are responsible for selling the book—the actual book they wrote has nothing to do with it.
Description of a Great client :
Intelligent, appreciative, patient, a genuine grown-up who realizes a good agent works as hard as a writer and has enormous demands on their time from many areas
HOW WRITERS CAN INCREASE THE ODDS I’LL OFFER REPRESENTATION
NEVER CALL ME ON THE PHONE WHEN I’VE NEVER HEARD OF YOU NOR SEEN ANY OF YOUR WRITING. Be honest, be professional, do your homework before you contact me, research your book, hone your writing craft, don’t write for the market (meaning if you’re written a book motivated simply by the desire to sell a book, go to some other agent). Write because you had to—because your story, fiction or nonfiction, was that important to you. If you’ve written a novel and not once during the time you wrote it did you feel excitement, fear, desire, hope desperation, curiosity, determination—if you never laughed or cried, then you never got inside your book. If you felt nothing, the reader will feel nothing.
Give me a bio that will get editors’ attention. I cannot begin to tell you how many mss I’ve requested based solely on the bio info in the query letter. Here’s an example: “The first chapter was a finalist in the Harcourt Brace Best New Voices in American Fiction 2007 contest and won the Katie O’Brien Scholarship for Fiction. I was subsequently awarded the Writer-in Residence at the Footpaths to Creativity Center in the Azores Island. I’ve worked for ten years as a wildlife biologist.”
However, nothing beats an opening description of the book that hooks me.
WHY I BECAME AN AGENT AND HOW I DID IT
One of these days, I may really level and tell you why. Suffice it to say, I knew going in that I had absolutely no chance whatsoever of ever being successful. The odds were just so totally against me. In fact, I never expected a writer to actually contact me since none of the guide books responded to the listing I sent in. I had an ulterior motive.
Then one day, to my shock, I found a ms in my mailbox. Guide To Literary Agents had listed me without telling me. I’ve always been cursed with an over developed sense of responsibility and that lone ms forced me to actually try and become a real agent.
How I did it was through more work than I ever thought I was capable of. Most everything in my life has come easy to me. When I started my agency in late 1998, I was (and still am) living in La Jolla, California, 3000 miles from the heart of the publishing business. I didn’t have a single writer or know a single editor.
I’d never worked as an editor in a New York trade house. I knew nobody and nobody knew me.
For the first six months I received nothing but the most ghastly imaginable mss, all of which I rejected. So the first step I took was to write advice columns for writers and convince some regional and national writers’ magazines to publish them, in hopes of getting the attention of decent writers.
Then I wrote the head of every major New York house (at this time I didn’t even have a computer) and said I’d like to interview their editors. I will be grateful all my life to Sally Richardson at St. Martins and Emily Bestler at Simon and Schuster who out of the kindness of their hearts personally called me on the phone and offered me 5 or 6 of their editors. After that, everybody was willing to give me interviews.
The other thing I did was make what I hoped would be a short term sacrifice for a long term benefit. There are about 3000 people who call themselves agents in this country and I started out 3001. Major talented polished writers were not querying me. So I took the best of the raw talent and revised, edited and rewrote their MSS into salable books. There are a multitude of books out there with my writing sprinkled throughout them.
Above all, I owe my success to New York editors, and I’m talking major editors for their unbelievable kindness.
I had several writers who told me their previous agents never received a single response from editors when they sent submissions. That was the fate I feared.
So I introduced myself. I wrote them about myself. They were so gracious! I’ll never forget Jane Von Mehren, past VP Editor-in-Chief of Viking Penguin, now at Random House, calling me one day simply to ask how I was doing.
Carolyn Marino is a saint. She has cheered me on for years, never letting the fact she has yet to take one of my books deter her from encouraging me to keep sending. The brilliant editor of Ecco Press, Dan Halpren, has taken the time to write notes like, “I’m sorry this one won’t work for Ecco but I remain hopeful.”
Michael Pietsch, Brian Tart and Wendy Lamb wrote wonderful recommendation letters to LMP so I could get listed with them (LMP only lists agents who are recommended by major editors)- and I’d never even come close to selling them a book. I probably shouldn’t start naming editors because there are so many others who reached out a helping hand.
I founded my business on unpublished writers, the majority of whom had been rejected by everyone else for years. Now of course I’m also selling published writers but almost all are writers whose first books I sold and we’re now placing their second and third books.
How would you describe to someone (or thing) from another planet what you do as an agent.
I make people’s dreams come true.
CLIENT REPRESENTATION BY CATEGORY:
60% nonfiction, 25% YA/teen, 15% fiction. I might add this is not my choice. I would prefer 70% fiction and 30% the rest. The magic of fiction is that the author creates life. I love my brilliant scientists, doctors, and academics but a truly great novel is my passion.
Commission structure: 15% in all cases except 20% for foreign sales or film/TV if it’s placed through a sub agent.
Number of titles sold last year: 45
Rejection rate: 99.5%
Most common mistakes authors make:
They don’t think before they write. They just let it pour out. The result is illogical plots, inconsistent characters, clichéd, superficial writing and a bored agent. A writer should spend at least two hours of research for every hour of writing. They should know their characters as well as they know their secret thoughts. They should know everything about the situations they put their characters in, including what the streets they walk on look like.
What do you think about editors and publishers :
There’s a common belief that editors don’t really edit these days – they just acquire books. Nothing could be more wrong. Good editors (and most are) do enormous editing.
When Robin Desser at Knopf bought TRAIN TO TRIESTE, it had gone through 5 edits --- 3 by me, one by the world famous author Sandra Cisneros and one by her personal editor. So what did Robin Desser do? She had the author rewrite the entire book from page one six times! I’d done so much editing on it that I knew the book by heart, but when I read it after Robin’s editing, I was blown away. She made it extraordinary.
When Phoebe Yeh at HarperCollins bought THE GHOSTS OF WAR, she sent me a copy of her first edit. There wasn’t a single page and hardly a single line without her comments and changes. And this was a full ms! Since she does this with every book she buys, I can’t imagine how she finds time to eat, sleep or have any personal life (and she’s married with children).
I hope every writer who reads this begins to see why they keep getting rejected. You can’t just write a book and send it out. If it’s worth anything at all, you need to rework and hone it time after time until it comes to life and glows. And when it’s reached that stage, it will still be only halfway there but now professionals will take over and bring it to fruition.
With rare exceptions, I love editors. They are so bright. Have gained so much knowledge (from their writers, actually), most really deeply care about books and they’re all under such pressure all the time—they work enormously long hours and have demands on them writers can’t even begin to imagine—yet they will always give new writers a chance.
Regarding publishers: It saddens me that making money is so important to them that they’ll publish really bad books because there’s a celebrity attached or the writer has a National Observer type story . I guess to stay in the business, they have to. But it didn’t used to be that way before all the mergers and acquisitions with their companies going public and becoming beholden to Wall Street.
I wish they’d reward writers who make money for them by considerably more generous royalties—they know what their break even point is—after that why not let the author share more fairly in the profits?
HOW DO YOU FEEL ABOUT WRITERS
My writers are all very special people to me. I consider them my friends. They share their personal life with me and I care about what happens to them. With the enormously gifted fiction writers in particular, I feel a sense of awe at their talent and great thankfulness that they chose me as their agent. As for the brilliant scientists I represent, I am in total awe of their knowledge and expertise. One of the greatest gifts being an agent has brought me is the chance to know such brilliant gifted people.
WHAT DOES THE FUTURE HOLD FOR WRITERS, PUBLISHRS AND AGENTS:
Most of us are very concerned about what’s happening to the printed word. Newspapers have lost more than half their circulation. The internet is the new media and it becomes more powerful all the time. Kids don’t read anymore.
We may all end up representing bloggers.
WHAT ARE YOUR FAVORITE BOOKS/TV, SHOWS/ MOVIES.
I work 15 hours a day, 7 days a week and before I became an agent, I read a minimum of 10 books a week and saw a movie at least once a week. Now I never see movies and never get to read real books. It’s horrible, because I need to know what’s out there. Thank God for Publisher’s Weekly and editors who send me their writer’s books so I can at least scan them.
However, like most people, I am utterly fascinated by the presidential race and tape MSNBC and CNN during the day (do not care for FOX News), then sit up until 1AM watching. As for dramatic TV, I will watch anything Helen Mirren is in.
IN YOUR OPINION, WHAT DO EDITORS THINK OF YOU
I’D RATHER LET EDITORS TELL YOU (SEE BELOW)
From: Judith Gurewich
Date: May 2, 2008 3:05:40 PM PDT
To: Jodie Rhodes
Dear Jodie,
Please send us more manuscripts. I can see you understand my love for good writing and heartfelt stories-
Best regards
Judith
From: Amy Gash
Date: April 15, 2008 2:43:56 PM PDT
To: Jodie Rhodes <jrhodes1@san.rr.com>
Subject: Re: FAMOUS BESTSELLING BIOLOGIST’S NEW BOOK
Jodie. Your books are always so fascinating. I'm interested in this topic and would love to see the proposal. I'm so glad you keep sending projects my way! Amy
From: "Aherne, John
Date: March 5, 2008 3:23:20 PM PST
To: "Jodie Rhodes" <jrhodes1@san.rr.com>
Subject: RE: DECISION THEORY
Hi Jodie,
Boy, am I glad I asked to see this. My colleagues and I really liked and responded to this proposal. We all thought it was great!
Thanks again for sending this wonderful proposal my way.
Best,
John
From: "Pigeon, Bob"
Date: February 25, 2008 6:28:00 AM PST
To: "Jodie Rhodes" <jrhodes1@san.rr.com>
Subject: RE: DECISION THEORY
Dear Jodie,
Your query letter has certainly aroused my curiosity and kindled my interest. Please do send this proposal and sample chapter as soon as convenient. Please send it to me via email attachment. Have you sent the proposal to any other imprint in the Perseus Books Group?
Looking forward to receiving the material.
Bob
Robert L. Pigeon, Executive Editor
Da Capo Press
From: arinzler
Date: February 23, 2008 7:42:14 AM PST
To: Jodie Rhodes <jrhodes1@san.rr.com>
Subject: Re: offer on CURING AUTISM
Dear Jodie
I really appreciate your transparency in showing me the succession of emails that led to this offer. Very interesting. Definitely a first.
I do hope you and I can get together on another project soon. When are you coming to San Francisco next?
Alan
From: "Mary Cash"
Date: February 7, 2008 6:58:36 AM PST
To: "'Jodie Rhodes'" <jrhodes1@san.rr.com>
Subject: RE: NEW YORKER WRITER'S YA NOVEL
Dear Jodie,
I cannot resist dropping you an email to tell you that your pitch letter for the novel MESSED UP by Janet Nichols Lynch was probably the most effective one I’ve ever read. Please send the rest of the manuscript.
Best wishes,
Mary
Mary Cash
Vice President and Editor-in-Chief
Holiday House
425 Madison Avenue
New York, NY 10017
From: Raphael Kadushin
Date: December 26, 2007 8:04:48 AM PST
To: Jodie Rhodes <jrhodes1@san.rr.com>
Subject: Re: PUSHCART PRIZE WINNER'S MEMOIR
Dear Jodie--Another book I would be glad to take a look at; could you send me the entire MS?
Thanks much, Raphael
ps congratulations. You have some very strong contenders here; very impressive
From: Charles Spicer
Date: October 19, 2007 9:20:39 AM PDT
To: Jodie Rhodes <jrhodes1@san.rr.com>
Subject: RE: INSIDER EXPOSE ON PRIVATE CONTRACTORS
Dear Jodie:
I thank you for pitching this one to me - and, by the way, you write some of the most effective cover letters in the business. I'm always impressed!
Charlie
From: Frank Darmstadt
Date: May 31, 2007 2:14:08 PM PDT
To: Jodie Rhodes <jrhodes1@san.rr.com
Subject: RE: Ideas for THE NEW BIOLOGY
Thank you for being a sterling agent and a golden human being.
I am honored as always to know you.
fkd
From: "Alexander, Caitlin"
Date: July 13, 2006 3:21:10 PM PDT
To: Jodie Rhodes <jrhodes1@san.rr.com>
Subject: RE: QUIRKY NOVEL WITH EXCEPTIONAL PEDIGREE
I’m looking forward to reading it—and, actually, I can quite honestly say that I always look forward to reading your submissions!
Thanks, Jodie—
Caitlin
From: "Masterman, Becky"
Date: March 19, 2007 2:20:58 PM PST
To: Jodie Rhodes <jrhodes1@san.rr.com>
Subject: One Tough Broad
Jodie, I’m about to start shopping my first trade book with real sales potential and because I know you and respect your publishing opinion so much, I’m asking you to take a look at the attached.
I’d appreciate your consideration, Jodie. If not, I’d appreciate your letting me know how I might improve my query.
Thanks. Becky
Becky McEldowney Masterman
Senior Acquisitions Editor
Taylor & Francis Group
From: "Masterman, Becky"
Date: March 21, 2007 9:48:56 AM PST
To: Jodie Rhodes <jrhodes1@san.rr.com>
Subject: RE: One Tough Broad
You’re such a dear for counseling me on all this, Jodie. I adore my character despite her flaws, because she’s so vulnerable and loves greatly. I’ll make sure that the story conveys her tenderness as well as her temper. Now I’ve taken enough of your time—go make a living.
Becky McEldowney Masterman
Senior Acquisitions Editor
Taylor & Francis Group
From: Juliet Grames
Date: March 19, 2007 11:26:15 AM PST
To: Jodie Rhodes <jrhodes1@san.rr.com>
Subject: Re: FROM SANDRA CISNEROS
Dear Jodie,
I’m glad you thought of me for this project, and since I’m familiar with some of the exciting nonfiction components of your list I hope you’ll keep me in mind when you go out with some of those projects, too. Peter brought me on here in hopes that I can build the women’s fiction and nonfiction list, and I know I’ve seen some great women’s nonfiction from you.
Thanks for this!
Juliet
From: "Sternlight, Judy"
Date: March 20, 2007 10:14:23 AM PST
To: Jodie Rhodes <jrhodes1@san.rr.com>
Subject: Train to Trieste_Domnica Radulescu
Dear Jodie,
We haven't worked together yet so I was especially looking forward to this submission. It has some interesting parallels with a novel on my list: Absent by Betool Khedairi (an Iraqi born writer) which we are publishing in trade paperback this summer.
I’m very happy that we’ve now made contact.
Best wishes, Judy
Judy Sternlight, Editor
Random House Publishing Group
From: mcuyler
Sent: Wednesday, February 28, 2007 3:00 PM
To: jrhodes1@san.rr.com
Subject: An Apple Pie for Dinner contract
Wow -- you're a decent person! We'll go ahead, then, and make the change and send the contracts directly to Susan.
Best,
Margery
From: "Alexander, Caitlin"
Date: September 16, 2005 2:24:17 PM PDT
To: Jodie Rhodes <jrhodes1@san.rr.com>
Subject: RE: diag of love
Jodie, I'm more delighted than I could possibly convey in an e-mail-what a treat it will be to have this project with you! (And how privileged I feel to have any project with an agent so committed to her authors.)
Let's hammer out the terms and territories next week when you have a sense of the UK response. And thanks for being such a dear-I think the worst part of an editor's job is negotiations!
Hope you have a lovely weekend-
Caitlin
From: "Potash, Chris"
Date: May 10, 2006 2:48:55 PM PDT
To: Jodie Rhodes <jrhodes1@san.rr.com>
Subject: RE: OF GODS, GENES, APES AND MAN
Oh, Jodie, bless you. You always are sending projects that sound fascinating to me, partly because I think you and I have similar tastes and partly because your cover emails are so well written and effective. I like your mind. You're a class act, Jodie. Keep doing quality books. The world needs you!
All best,
Chris
From: "Mclaughlin, Ciara"
Date: May 11, 2007 7:00:15 AM PDT
To: Jodie Rhodes <jrhodes1@san.rr.com>
Subject: LEAVING
Dear Jodie,
I'd like to use this opportunity to tell you that I'm leaving Spiegel & Grau and today is my last day. It's been wonderful working with you and I hope we'll connect again in the future. You have such a talented roster of writers and I admire your unflagging dedication and loyalty to them--you are a dream agent.
Best, Ciara
Hi there Jodie,
Thanks again for giving me the opportunity to consider HERE, THERE AND EVERYWHERE.
As always, I look forward to your submissions, Jodie. You always find something interesting!
My best,
Caitlyn
Caitlyn M. Dlouhy
Editorial Director Atheneum Books, Simon & Schuster
From: Gayatri Patnaik
Date: July 13, 2006 2:43:14 PM PDT
To: Jodie Rhodes <jrhodes1@san.rr.com>
Subject: RE: GRINGO LAND
Jodie, this really sounds terrific. Let me ask at Tuesday’s editorial meeting about it. I like the flavor of your description very much and I’ll be in touch about it in a few days.
I like the clients you represent!
Best,
Gayatri
From: "Van Aalst, Marisk
Date: April 19, 2006 7:19:50 PM PDT
To: jrhodes1@san.rr.com
Subject: BEA?
Dear Jodie,
I've attached an updated list of my books, for your reference. I admire your list very much and I'd love to do a project together soon.
Hope you're well,
Mariska
WHAT PEOPLE LIKE AND DISLIKE ABOUT ME:
They are enormously grateful that I take chances on them as new and previously rejected writers, that I edit their material, that I continue to market it to multiple publishers after numerous rejections, knowing that I will probably never earn a penny from my work.
They like knowing they can trust me and that selling their books is always more important to me than making money.
This past year I sold books after 60, 72, 87 rejections and that’s just for starters. I sold a book 3 MINUTES ON LOVE after representing it and fighting for it 3 years and recently sold it after 217 rejections.
A debut novel by a Romanian author I took on almost 3 years ago, which received 137 rejections, was just pre-empted by Robin Desser at Knopf, won at auction by Doubleday in the UK with translation rights already sold to Italy, Germany, France, Holland, Greece, Serbia and Israel. It’s currently at auction in Romania.
I’ve had a few books that sell instantly but the majority of books I sell have gone through a minimum of 50 rejections. No wonder I have tendonitis.
On the negative side, writers often find it hard to take my blunt criticisms. I don’t have time to be polite and beat around the bush. If their writing sucks, I tell them.
I also demand they be instantly available when I’m marketing their work and ready to provide editors with any and all material they request.