Behind the Scenes

Jill Bauer

Name: Jill Bauer

Occupation: Journalist/Editor/Literary Consultant

City of Birth: Miami Beach

City of Residence: Miami Beach

Career Highlights: I began my career at Esquire magazine where I edited and researched articles by Norman Mailer, Gay Talese, Tom Wolfe, John Updike, William Styron and Nora Ephron.  I've written for and edited several newspapers and magazines in New York, Miami, Dallas and London including Travel & Leisure Golf, AARP's My Generation, SmartKid, the Dallas Morning News, the Miami Herald and Miami magazine.  I am the author of the humor book, From "I Do" to "I'll Sue": An Irreverent Compendium for Survivors of Divorce (Penguin) and was awarded a first place prize for magazine feature writing by the Society of Professional Journalists. 

What does a literary agent do?
Today's agents serve as book editors, dealmakers and hand holders.  It all depends on the book project but agents often help writers develop their original proposals and in some cases, they edit and help write the final proposal. When the proposal is complete the agent cherry picks editors and publishing houses that they think the project is appropriate for.  Most agents have long-standing relationships with book editors and they're well aware of their specific tastes.  For example, an editor who works in the humor division of a publishing house probably wouldn't be interested in War and Peace and visa versa.

You've worked with a literary agent and now you're a literary consultant.  What are the differences between what those two professionals do?
A literary agent does not charge a fee for reading an author's work.  Agents make their money once they've sold the project to a publishing house, usually 15 percent of all earnings.  I would caution any writer to stay away from an agent who asks to be paid to read their work.  But oftentimes writers aren't clear about the focus of their book or they need help editing or they have no idea how to research and write a compelling book proposal.  And that's where I come in.  A literary consultant charges their clients a set fee—anywhere between $50-$200 per hour depending on how much work needs to be done—to get the proposal ready for an agent.  Literary consultants also guide writers on how to find the best literary agent for them. Finding an agent is a lot like finding the perfect mate.  It's a very intimate, nuanced relationship and it has to be just right for it to work.  And when it works, it's magical.  When I met my agent, I felt the connection immediately and I knew we'd be working together for a long time.  Fourteen years and still counting.

How does one become a literary agent?
Many agents began their careers as editors in publishing houses and then decided they wanted to work on the business side.  There's often more money to be made as an agent.  Former editors are great agents.  They know on the deepest level what an editor is looking for. 

How has the job of a literary agent changed over the years?
Unfortunately, many of today's book editors no longer have the luxury of carefully editing books.  In the old days editors used to get in there and really improve a writer's work in artful, non-intrusive ways.  But nowadays most book editors are dealmakers.  And by default, literary agents have inherited the task of editing.  So that's why it's beneficial to have an agent who used to be an editor.

How does a writer go about getting an agent?
Like anything else worthwhile, it's a process.  Before even setting out to find an agent, writers must make sure that they have an exceptional proposal.  And if they're pitching a novel, they need to have a few flawless sample chapters and a short synopsis.  Then they're ready to find an agent.  As old-fashioned as it seems, the best place to begin your search is at the local library and at a large bookstore.  Writers need to check out the competition to make sure they're not endeavoring to create something that's been done— especially when it comes to nonfiction.  Most nonfiction book proposals contain a section where the author explains to the editor that there is nothing out there in print like what they're proposing.  Every editor needs to be persuaded, to be wowed.  Books-in-Print is a great resource as is Literary Marketplace (LMP).  And that's just the beginning.  There are dozens of helpful trade secrets.

When you work as a literary consultant, what is your workday like?
My first call or e-mail of the day is usually to the writer.  As a writer, I am keenly aware that we need lots of reassurance.  Writing is a lonely, terrifying process and it's often made easier when you're working with someone who understands this.  Someone who literally—and literarily—understands the agonies and the ecstasies of it.

What got you into literary consulting?  And how often do you take on new clients?
It all started because I had a book idea.  I was twentysomething and I'd searched everywhere for a humor book on divorce and couldn't find one.  I had just moved back to Miami from New York and thought that it was as good a time as any to write a book.  I think that the experience of writing a book proposal and finding an agent—with virtually no book experience and no connections to the book world—taught me how to create something from nothing and how to go from a journalist to a  published book author in mere months.  After getting published, I was approached by colleagues, friends and friends of friends who also wanted to get published.  At first, I gave out a lot of free advice but after helping several people get published, I grew more confident that this was something I could do for a living.  Or at lease partially.  One of the first people that I helped to get published was my friend Ellie Brecher.  Several years ago, I read one of her stories in the Herald and I told her I thought it was a book.  I called my agent and my editor at Penguin on her behalf and within a day or two, she had a book contract for Schindler's Legacy: True Stories of the List Survivors, which was enormously successful.  Ellie's an amazing writer and it felt really good to help make that happen.  As for your second question, I take on clients whenever I have time, usually in between writing projects. 

What are the most important things writers can do to get the attention of an agent?
Present an agent with a persuasive book proposal.  Always remember that most good agents are busy.  They receive hundreds of solicited and unsolicited proposals and manuscripts a month and you basically need to sell them on your idea or your story. You need to get their attention without annoying them.  And that's done most effectively with a strong book proposal.

Does every writer trying to get a book published need an agent?
I strongly recommend it.  Again, agents have relationships with book editors.  It's very much a "who you know" business and it's virtually impossible to circumvent the system.  Most writers who think they know some hotshot at a publishing house end up doing themselves a disservice because in the end, every author needs to be represented and looked after.  Remember, an agent is looking out for your best interest.  They get 15 percent of everything you get.  The bigger your advance, the more they get paid.  Plus, it's good to keep business and creativity separate.  I remember years ago my publisher stalled on a payment and my agent went in with her black hat mentality and yelled at my editor about not paying me.  I received my check via FedEx the next day.

What are the most important things writers should keep in mind about trying to get published?
As difficult as it seems, try to forget all about getting published.  Focus on the work.  If you're writing a novel, focus on writing the best novel.  If you're writing a pop culture book, then focus on compiling excellent material.  Only after you've completed the best manuscript or sample copy, are you ready to begin thinking about getting published.

What is the publishing process?
Your book proposal makes its way to several editor's desks and there's often an auction where editors bid on the project or they decline.  If the book gets grabbed up there are several meetings that involve marketing experts, publicists, editors and illustrators or photographers to decide how to illustrate and position the book.  The process is usually lengthy.  Your book contract is a road map of things to come.  Everything is spelled out in terms of your book's distribution, advance, marketing and so on.

How has technology influenced the publishing business?
Like in most other industries, the Internet has been revolutionary.  Information is available 24/7, authors have their own websites that editors and agents can peruse.  You can Google your editor, your agent, your agent's three illegitimate children.  In the old days, you'd have to spend weeks in the library to develop a book proposal.  Now almost everything is at your fingertips.  As for the argument that technology will cause a decline in people going into bookstores and buying books, I don't agree.  I think most people still want to hold a book in their hands and continue to be surprised, saddened, humored and moved by what they read on the page.

Are agents who are not based in or around New York City at a disadvantage, or is agenting something one could do anywhere?
There are many successful agents who live outside New York City.  Sandy Dijkstra, for example, is based in California and is one of the most well-respected agents around. She represents several important authors, including Amy Tan.  Esquire, Publishers Weekly and the New York Observer lists Dijkstra as one of the nation's top five literary agents.  Living on the West Coast hasn't stopped her from striking record-breaking deals.  Of course, there are many advantages to living and working in or near New York City.  Most publishing houses are still in the Big Apple and agents who live in the area can schedule casual lunches with editors and establish relationships that way.

What do you like best about being a literary consultant?
There are many things I like about it.  I love meeting new people who have something important to say.  Most writers who hire me have something to say, something they're trying to get out there and in front of readers.  I also really like the editing process.  It's a lot of fun to play around with words, to make thoughts clearer and to transform sentences, to get them to sing instead of sink.  And the day that my clients receive their published book in the mail is one of the best experiences ever.  When they open that package and spot their name on the cover for the first time and realize this is their creation.  That is hands down, the best feeling—enabling a writer to give birth to an idea that they get to share with the world.

For more information on Jill Bauer’s literary consultant services, contact Jill Bauer,
305-582-2904, or e-mail jillbauer@worldnet.att.net