From Nadia
Disclaimer: Interviewee likes to hear herself type. Please do not judge her on the tendency towards over-inflated verbosity. Thank you - Dia :-)
WWR: How long have you been acquiring for the Creative Media Agency?
Nadia: For about six months now; I'm already getting tons of mail. But the response has been really great and I've seen some fabulous projects - so I'm really excited about working with CMA.
WWR: Your bio on the Creative Media Agency website says you're interested in "speculative fiction." Since speculative fiction is a mighty! big subset of fiction, would you elaborate on what types of speculative fiction you're most interested in representing?
Nadia: Sure! I like romances with paranormal elements (I just finished reading Jude Devereux's Forever, Forever and Always, Always series -- and loved it, loved it, loved it -- like I do with all her books), but I also like reading different types of science fiction and fantasy. I'm a huge fan of Orson Scott Card and will read anything of his I can get my hands on. But while I can find examples of a dozen different sub-genres with in spec fic that I enjoy - they all have at least one thing in common: there is a stronger focus on the character development than on the world development. Not that having either be weak is a good thing, but I definitely enjoy character-oriented stories more.
WWR: What elements do you love to see in a book? What elements will turn you off a book you might otherwise be interested in representing?
Nadia: Elements I love: I love funny books -- I love to laugh and love and when a book makes me feel either, I like it, both and I love it.
Elements that turn me off: men who wear Hawaiian shirts (just kidding...although...), overly flowery language. I like things said simply so that the characters and the story stand for themselves. I also catch some of my authors overwriting phrases because they don't think that the writers will "get it." Trust me, trust your readers - you're good, we'll get it.
WWR: Are you looking for books to represent or authors? (By that, I mean, do you focus more on a single project or book, or are you looking for authors who already have several books ready?)
Nadia: CMA makes it a point to represent authors. Which works for me, because I'm such a manic-reader that when I find an author I really enjoy - I want to read everything they write. If my authors (and I really enjoy reading my author's works) didn't write more than one book -- I'd go nuts! I assume, perhaps egotistically, that others will share my love of these authors and I'll have the joy of seeing their work on the shelves.
WWR: Do you take on clients based on the potential you see in their work, or do you stick with authors who are clearly ready for publication?
Nadia: Probably authors who are clearly ready for publication. I think that I can help authors polish their works to make them better - but I can't (i.e. don't have the time nor the inclination) to really show anyone how to write. That's such a long and personal process, that I wouldn't even want to try. So most of the projects I take on are ready with little or no editorial changes to be ready to submit. Of course, this is just me - I know Lisa and Paige have more editorial experience than I have and are better able to see a diamond in the rough. I hope that this comes with more experience and I often ask their opinions on materials to see how they would go about working with an author to strengthen the material. I'm still learning, but I've got seriously talented people to learn from.
WWR: There aren't really classes you can take to teach you to become an agent (or are there?), so how does an agent gain the experience needed to effectively represent clients?
Nadia: OMG! I think there are classes now. I believe William Morris has an interesting program like this for people who want to be agents, also -- I believe NYU and a few other universities have a Masters in publishing (but check with your guidance counselors on that one.).
I worked with CMA for a while before I began acquiring. and really, the only way I've "gained" experience is to try things out. Paige has been an exemplary role model, showing me step by step what is done and what isn't. but she still gives me a wide birth to really go after projects that I adore (even if she doesn't) and grow. She gives me information and suggestions but then steps back and lets me go at it. I'm naturally a dorky kind of person, and she accepts that. And thankfully, so do my clients. So while it may not work for all agents, for me: I think I gain experience by being open to suggestions, information and having the enthusiasm to really just go out and "do." Also CMA is well respected within the industry, so I have a lot of doors open to me that I wouldn't have had if I had one day just said, "Ok, now I'm an agent!" (and the music would surge). Instead I get to use the contacts that Paige and Lisa have already made - and those contacts are extremely important.
WWR: Do you offer career guidance to your clients? How important do you think it is for your clients to have a clear idea of where they want to go with their writing in the future?
Nadia: Before an author signs with us, we speak with him/her over the phone. I like to know about my author's strengths, weaknesses, and aspirations. This way I can tailor our professional relationship. I offer guidance in the form of information (which I highly value and always share), so they can know what's selling right now and who is looking for what but I try and remind them to write what they feel good writing. But, when we are going over ideas for their next project, I can say "I really like idea C, I think this would be a great fit for houses blah blah blah - I really like editor Z there, you two would probably get along really well." [Sometimes agenting feels more like matchmaking. Yenta, I am].
It is fine for an author to want to write full time (C'est bien (my college French at work)!) but it is a lot harder to do that when an author can only produce one project every four years (C'est mal!). So, I think it's good to have a clear idea of where you want to go, so we can discuss the possible ways of getting there and see if it's even plausible within the scope of the authors' strengths and weaknesses.
WWR: Do you ever feel like there's a conflict between what readers want to read and what editors are acquiring, and have you ever found yourself turning down the representation of a book because of that?
Nadia: Not really. I'm a reader, I look for an author that I want to read (note I said author, not project) because if I represent this author - I'll have to read book 2 and book 3, too). If it's something I love, I think I have a pretty good chance of finding another person to love it, too. The problems come when I see a project that I could probably sell, but that I don't love. It's always hard to turn down those projects - and it doesn't mean that they won't do well (which is even worse! Gah!) but I know they'll have a better chance with another agent.
WWR: And finally, what do you like to read when you're not working?
Nadia: AH!... I read A LOT. In addition to any mail I get, or projects that my clients are sending me to look over -- I read probably a dozen (published) books a week. Just about anything I can get my hands on (although I tend to stay away from true crime - but probably only because it's usually close to the romance section and I tend to drift towards that like a magnet. ::zoompf::: ). Things I read this week: Candice Hearn, Gary Wassner, Orson Scott Card's Rachel and Leah, Fantasy and Science Fiction Magazine, Gossip Girls, Meg Cabot. But, my top choice will always be a funny historical romance (regency period).
WWR: Thank you for the enthusiastic interview!
