This has often baffled me, too. And not just when it comes to books, but also TV shows. I suppose it comes down to the fact that most decision makers are not baby boomers and so don't have a clue what we might like. It's the only explanation I can come up with.
That's just something you'll either get used to or it'll make you give up. When I was acting, I didn't look like a leading man type, so I got very few leading man roles and the ones I did get didn't pay worth shit. So, I did a lot of extra work and took the small roles my 'type' suggested to those who make those decisions. When I was a musician, I still had enough hair to be taken seriously as a groupie magnet, so no one complained until they realized I wasn't much of a songwriter. Now I'm a writer. Having cut my teeth on the mazes of the music and film/theatre businesses, I'm a little more willing to put up with the maze (because I know it's not going away just because I wish it would) and even if it's in a state of constant flux. At least I can do it from home and there's no one to see me cry except my wife and she's pretty understanding about the whole thing.
It's one thing to acknowledge that things work a certain way and do the best you can, it's another to argue (as people here seem to genuinely be doing) that this system is good. That this is the right way to run any kind of business. That agents are virtuous for turning people down because they dare would have a prologue. That agents are correct to not bother reading such books. We all live in the world that we live in. And we all do our best. We aren't likely to make changes just by ourselves. But that doesn't make any of this ok. That's why I can't just stop, frankly. Because I'm seeing people very much like myself telling me honestly that they think it's right for agents to capriciously turn their work away; that it's their fault for having a prologue. This is the mindset of the abused. When you come to defend the abusers position as correct you need help. The industry is the way that it is. That does not mean that it's ok for the industry to expect anyone to kowtow to their invisible, unknowable whims and there is absolutely no way that any writer should be an apologist for how they treat us. Judging the content of a book by any factor other than the content of that book is by definition arbitrary. We have an idiom warning children not to 'judge a book by it's cover' exactly because you literally cannot judge the content of something by looking at something unrelated to the content. So why when agents are happy to judge a book almost literally by it's cover, instead of by the pitch or the synopsis or the sample or the actual manuscript; all things that do give you an idea of it's content and are easily on hand, why would anyone defend that? There's nothing we can do to stop them acting like capricious assholes but at least could we all agree that's how they're acting?
Which is fair enough, if you're not into that. If an agent doesn't want prologues, it shouldn't be a surprise when they say 'no' to something with a prologue. I'd argue that agents are a lot like employers. Yes, technically, they work for us, but seeing as we go to them, let's go with it. If I post a vacancy and get 100 applications, I can't reasonably evaluate all of those applicants. Sure, I could technically invite them all in for a week long trial period and give the job to whomsoever does it best, but it just isn't feasible. Employers have to make a choice based on just the CV in front of them, and they don't owe it to those applicants to waste their time going over all of them with a fine comb. It's not malicious, and agents aren't assholes for not reading the entirety of every MS that comes their way. It takes hours to read a novel, and seconds to decide 'I don't represent portal fantasy'. This system is the most time efficient one for them, and it's a fishing net. If you can't write a good query, it isn't strictly unfair to assume you can't write a good novel. Yes, there are authors who can't do the former but can the latter, but little fish slip through every net.
Is that what I'm doing? Or am I making the best of a situation I'm not exactly happy with? Imagine, if you will, what life was like before civilization. All we wanted was to stay alive and be happy from time to time. But wild animals, competing tribes, weather and natural disasters all seemed set against us. Any one of those could end our lives or put us in a position where we might as well be dead. Now compare that to running the metaphorical maze we've been talking about.
@NiallRoach is right. An agent is basically entering into a partnership with you. They have to be able to market your book and get the best deal possible. They have to believe in the work they are taking on or it makes no sense to take it. There is nothing any more wrong with an agent deciding they won't represent a certain type of book than there is with and author deciding they won't write a certain type of book.
But ...and it's the big BUT (as opposed to big butt, which I also know something about) ...the agents I'm complaining about are not rejecting a book because it's not their type. Instead, they're deciding what type of book it is without looking at it. They're saying 'no' on the basis of what they assume the book contains or how poorly they assume it's been written. I have always maintained an agent has every right to reject a book if it doesn't hit them right. But they won't know until they take a look at the writing itself. Again ...it takes no longer to read a couple of lines of a book than it does to read (and respond to) a query letter. The only difference is the agent's chance of making a mistake.
@jannert I think a book with a prologue is a "type"of book. One might argue whether it makes sense to distinguish on that type, but if I'd read a thousand horrible prologues it would likely have an effect on me. Strange thing to me is the idea that we are entitled to someone else's time. Until you sign a contract with an agent, anything they're doing for you is basically for free. If they don't want to read my book with a prologue, they don't owe me anything. They can and should use their time however they see fit, up until they enter into an agreement, at which point they have to start earning their commission.
No, it's not your fault at all. And I'll brave answering your question since I myself am no young buck. I would hazard to say it's because boomers are on the wane. This industry, and most industries, have to look to where their money will be coming from in the future, not just the now.
Here's an approach that might work if you have a prologue: 1) Research editors and agents. Some of them seem quite open about not liking prologues. Don't submit to those. 2) If you're not sure, send in your work without the prologue. If the opening of your book (Chapter 1, proper, et seq.) won't stand alone, you've already got problems that need to be addressed. Then, once you have an agent, float the idea of a prologue. Send your agent a copy of it. It's not like they're going to discontinue the representation over it. Worst that will happen is they'll say "This prologue reminds me of why I hate them."
I don't know the answer to this question, but it does seem intuitive that this would be the case, yes. Books tend to speak about the times in which they are written. As that time slides into the past, the book's relevance goes with it. Of course there are books that stand the test of time, but for each of those that does, how many do not?
Why can't agents streamline the process? Create one giant database that users submit to (for free), and then all licensed agents can browse that database for whatever they want. It's not a hard thing to fill out. "First time author. Chick lit, A twenty year girl must pick from twenty rich and handsome bachelors or be turned into a frog. This entry has had 0 agent views. Click here to read more." That way writers only have to submit once, and Agents can go through thousands of queries in a day. It also maximizes the possibility of agents fighting for specific novels, giving the author more of the authority they deserve. querytank.org
I couldn't agree more. Clearly this rustles the jimmies of all les artistes précieux, but a bit of pragmatism would go a long way and stave off more than a few ulcers. You know what I do for a living, @Steerpike, and I most certainly do filter the commissions I take. What my filter does or doesn't take into account may seem utterly arbitrary to the person requesting my work, but it most certainly is not. Come look down my end of the spy-glass and suddenly it comes into focus. That does not make me a "capricious asshole".
Don't think agents would like that, personally, but it's not a bad system. I don't think you could make people take part, and highly sought-after agents who are already getting a lot of submissions would probably say no thanks, but I could see that working for others if implemented well.
Well if we're forced to have only one internet provider per region, and we're forced to have only a limited number of airlines, I think agents should be FORCED to adhere to this system.
Yeah, I've declined representation from time to time, and the reasons can vary. Most of the time it relates to substantive matters, even if the client may not recognize it as such. On rare occasion, the potential client just seems like a pain in the ass.
I don't. They're running a business and trying to make a living. Let them take whatever approach they like and see what they can make of it.
I suspect with most agents in this category, they aren't in the "throw it in the trash immediately" category. Some may have bought books with prologues before, but at the same time, when they open a manuscript with a prologue, a little groan escapes them, and you've set yourself back. These agents aren't going to say "no prologues" in their guidelines, even though from a practical matter a prologue might really disadvantage you. That's how my book buying goes. I don't like prologues. I've bought books with prologues. If I open your book in the bookstore and it has a prologue, the chances I'll buy it have just dropped dramatically. But if there are enough other things to recommend it, I'll open it to chapter one and start reading (I don't bother reading the prologue in the store; if I buy the book and the prologue turns out to be good I'll read it, if not I'll skip over it after a paragraph or so and just go to chapter one). I wouldn't ever say to someone I'm never going to read a book with a prologue, because I do read them. But when I pick up a book in the store and it has one, I groan a little
For me it usually comes down to time vs payoff. But beneath the umbrella of that paradigm the variables can be numerous. And my filter has larger "pores" than most. For example I take translation work wherein the words to be translated are part of images that also need to be rendered with precision in the product. Most translators will turn that away citing that they are translators not DTPs. *shrug* They have enough work that they can do this. The fact is that I have more than enough work knocking on my inbox to be able to take the same attitude if I so wish. I chose to say yes to this work in order to align myself with a particular client, the USDOJ. But the work can and does come from everywhere. Most translators deplore legal work because of the demanding nature of the client, and so focus elsewhere. You've said it already in this and in other threads: Simply look for the agent that fits and stop demanding that every agent fit. They don't need to. ----------------------------------------------------------------------- ETA: And let's not forget about the arbitrariness of the person seeking my services! The following happens all the time: Me - "Received in good order is one (1) pdf document consisting of ten (10) pages of an apparent deed. My estimate is $250.00." Client - "But there are only a few words here and there that need to be translated." Me - "You did say that you needed the product to consist of the entire deed, yes?" Client - "Yes." Me - "You did say that you need the product to be formatted identically to the original deed, yes?" Client - "Yes." Me - "You need for the portions that are originally rendered in English to be exact and faithful in the product, yes?" Client - "Yes, of course. Obviously." Me - "$250.00 is my estimate. You are paying for my time as well as my translation services." Client - "How is that fair?" Me - "In the same way that a landlord expects you to pay for the time you are outside of the house as well the time that you actually spend inside of it." *a week later* Client - "I couldn't find another translator for this. Can you still take the commission? Me - "Absolutely. Assuming the document is the same as the one we spoke about earlier, $250.00 is my estimate."
Well here's me. I've decided to be an agent. Unless your name is Tolkien, I will never take on a book with the word 'orc' in it. Ditto 'warg.' Wizard. Zombie. Elf. Dwarf. Oh what the hell. Vampire. Special Powers. Chosen One. Paranormal. Dystopia. And etc, depending on my mood. Monster. Evil. Hero. Detective. Superintendent. Monkey. Pants. Submachine. Submarine. War. Warrior. Combat. Sword. Prince. Princess. Ruler. Emperor. I'll run each submission through my word checker and the instant any of the words I don't like (that day) appear ...OOTSKI! Hop on my pretties, and keep sending me your stuff. I love to get emails with attachments. I love my job. I do, really. ....decrepit old baby boomer goes away cackling into her coffee....
Not a great business model. If you know you don't want that stuff, no exceptions, then it is in your interest to let people know. Every hour you spend reviewing work you aren't going to take is an hour you don't get paid for.
Paid. Paid? You mean I'd get paid for this? It just keeps getting better! ...yee hee he hah aaaahk....
