As promised, here's the story of how I managed to get one of the most respected literary agents in the business without sending a query. I didn't realise how long this would be when I started writing it an hour ago, but I've wanted to post about the experience for so long, you're getting a great big burp of it in one go.Exactly a year ago I was writing the third act of THE GHOSTS OF BELFAST's first draft, then titled FOLLOWERS. If you use the menu on the left, you can even read my journal of the process, along with some other nonsense. At around the same time, I sold my first short story, and my beloved Northern Ireland formed a proper government. In the blog, I wondered if it would stick - it did.
I finished that draft the following June, and did a couple of quick revisions before sending it off to my kind beta readers (waves at
Bets and
McK).
While they were hacking it to pieces, the novel's protagonist Gerry Fegan kept nagging me, wanting to come out and play again. Just for a little while. As with the novel, I woke from a dream one night with the story in my head. I grabbed the PDA by my bed, started tapping away with my stylus, and knocked out a short story over the next couple of days. I called it
THE LAST DANCE, and posted it over at
Elektra's Crapometer (which seems sadly neglected these days). It got a mixed reception, from the negative, to "meh", to glowing praise.
I got the notes back from the critiques. A couple more revisions took until the end of August, then the dreaded synopsis needed doing. I never queried very widely on this novel - I'd say half a dozen at most. I'm not sure why. Largely, I think it was because I knew this book needed not just an agent, but
exactly the right agent. You see, it's a dark, dark novel with about as troubled a protagonist as you're likely to come across. It's violent, visceral and foul-mouthed. Clearly, this wasn't going to be every agent's cup of tea, and I needed someone who knew how to sell a dark thriller.
We're often told to look up the agents who rep our influences, so because James Ellroy is one of my favourite writers, and one I know I've been shaped by, I found my way to the Sobel Weber Associates website. But I looked at that
client list, and thought, woah, way out of my league.
So, still wondering who to turn to, I started other projects (I've got a hard drive full of first chapters here), including submitting a couple of the short stories I had knocking around my computer. One of those was THE LAST DANCE, which I submitted to
Thuglit. Lo and behold, on my birthday (was that a portent?) I got an email from Lady Detroit telling me I'd be in the
next issue. Cool. So, the story appeared at the end of February. I updated my website, got a few shout outs from other writers, felt pleased with myself, and got back to a particularly busy time at work.
On March 10th, as was normal at the time, I was working late at my office. I casually checked my personal email, and there was a message from a Nat Sobel. The name was familiar, but it didn't click just yet. I read the message, and I remember certain words popping out: "I read your story … literary agent … Followers … interested in reading the work … James Ellroy … Joseph Wambaugh."
*Nat, if you're reading this, I'd ask you to skip the next few paragraphs as I fear it might diminish the cool and professional demeanour I've presented you with so far*I've quipped to various friends that I fell off my chair, but it's not far from the truth. I had to read the email several times to get it to sink in. I spent about an hour pacing, re-reading it, hyper-ventilating, and Googling Nat Sobel. Turns out his favourite way of finding new writers is through short story publications. He found Richard Russo and FX Toole that way. Hmm, thinks I. So much for query letters and slush piles.
So, I sent off a partial, fully expecting Nat to reject it. To my shock and delight, he expressed some reservations, but requested the full (and in record time). I duly sent it off, again fully expecting Nat to realise it was all a terrible mistake, and reply with a thanks, but no thanks. Instead, and again to my amazement, he came back in less than 48 hours and said, given some substantial revision, he would like to represent me.
At this point, I felt a mixture of excitement and terror I've never experienced before. On the one hand, here was a once-in-a-lifetime opportunity to snag one of the industry's best agents, and on the other, a chance to blow that opportunity. I don't mind admitting, I was scared. Thankfully, I had some great friends to turn to for support and encouragement (including talking me down from a fit of madness that almost saw me stripping out the novel's central premise), and I can't thank them enough.
So, this is the reason I dropped off the radar around mid March. The revision took the guts of two months, and throughout the process Nat was available for advice, and the occasional stern warning that the results better be good. Working under Nat's guidance has been one of the greatest learning experiences of my life, and as the local saying goes, he is a gentleman and a scholar. What's more, even as I worked on it, I could see how much better, bigger, and deeper Nat's input was making the book.
Three critiques from my blogging friends and another bit of polishing later, the manuscript was turned over to Nat. Cue exactly one sleepless night. Less than 48 hours later, I have one of the most respected publishing professionals in the world representing my book. How does that feel? Strange, and scary, but terrific.
Now things are moving fast. I already have a holding page up at
www.theghostsofbelfast.com, and more revisions and general business to do, so it'll be a hectic few weeks. Once again, I want to thank all my blogging friends for your encouragement and support, not just in recent weeks, but throughout my brief writing career. I would never have gotten this far without you. And thanks to everyone who has stopped by to congratulate me, I'll be visiting you all in the coming days.
There'll be a few more blog posts in the near future, if I have time, where I will pontificate on the importance of short stories, my view on finding an agent that "fits", and how absolutely essential getting good critique is. Thanks for reading. :)
Labels: agents, critique, life, Nat Sobel, novels, publishing, short stories
