Interview with Nadia Cornier

Jackie Kessler © 2006

Wild Child Publishing.com © 2006

Roughly a year ago, I'd been scanning various threads on Absolute Write when one post in particular caught my attention. In it, the author (whose name I swear I don't recall) was simply crowing about her fabulous agent, she loved her, loved her, loved her, and highly recommended her. The agent's name? Nadia Cornier.

At the time, I'd been looking for an agent. So I donned my sleuth cap, did the ol' Google thing, and boom, instant connection to Creative Media Agency (CMA), and to Nadia's blog, Agent Obscura. After being duly impressed both with CMA in general and Nadia in particular (based on her profile, her guidelines and her sales), I clicked over to her blog and started reading about this young agent who had such a dedicated (and loud) following.

And then I fell in deep like.

Besides her business savvy and her deep industry knowledge, Nadia was charming, funny, and altogether real--deftly piercing the fabled Agent Mystique that claimed all literary agents were aloof, intimidating and rather frightening. In 2005 alone, Nadia sold more than a dozen books, launched her own literary agency, and graduated college. (Did I mention that she's only 24? And has a husband and three kids?)

How does Nadia do so much, so well, and still have the time to sleep? Why did she become an agent, and who's her dream client? In January, Nadia answered these questions, and many more.

WILD CHILD: What led you to become an agent?

NADIA CORNIER: I actually fell into agenting quite randomly. I was working with authors marketing their books and was writing my own books (or rather, book... or rather, the first three chapters of the book). I sent out the [partial] of an unfinished project to a bunch of agents -- which even then I knew was a major faux pas -- and got several requests for fulls [that is, the complete book]. So I put together the rest of the manuscript in two weeks. Needless to say, it was awful... but I got some great feedback from Lisa VanAuken at CMA. I emailed her to thank her, and [I] asked her how she became an agent and if [CMA] needed an intern. I went in to talk with Paige [Wheeler], fell in love with her and her agency, and (in my supreme arrogance) thought, Hey, I can do that. And Paige (with her extreme patience) said, "Let's see" and let me try. With her support I had an absolutely amazing first year.

WC: Are you still into writing, or is it now all about the agenting?

NC: I have a non-fiction book, How to Write & Sell the YA Novel, coming out from Writer's Digest books in December 2006. I found that it's much easier to write nonfiction than writing fiction -- plus, I only have to do half the work, because my amazingly talented client and friend, Lauren Barnholdt, promised to take care of the other half (the "writing" half).

WC: You were part of CMA before you launched Firebrand in 2005. What prompted you to open your own agency?

NC: A part of it was definitely wanting to have more of a hand in every inch of the business and being able to do it in a way that I wanted -- but, in all honesty, it was [a] very hard decision. I adored (and still adore) Paige Wheeler [founder of CMA, which she recently folded into Folio Literary Management] and had thought I'd be working with her a lot longer. But when the moment is right . . . sometimes you have to take a deep breath and make a leap of faith.

WC: When you launched Firebrand, you were already running Cornier and Associates, a public relations company. What made you decide to focus solely on Firebrand?

NC: When I was still working at my old agency, I was going to school, heading into [New York City] a few times a week, raising three kids and trying to juggle two companies. But even I know when enough is enough. So because I was somewhat partial to the kids, I had to get rid of something else.

I finished school, so that was off my plate. Then I took a strong look at my client list and decided I didn't want the cuts to be there. So it came down to [the] companies. I had just started Firebrand and so it just made sense that I would start to phase out my other company. I was doing what I loved (agenting) with people I loved (my clients) -- what else did I want?

WC: Sounds like it was a tough call to make.

NC: It's hard to make decisions like that, between what you want and what you feel is "safe." But again, go for the gusto if you believe [you must] try it out. I knew that if I fell flat on my face and never sold another book (gah, I shouldn't even WRITE that), I'd be able to find a job elsewhere. But it turns out I didn't need to, and I'm SO pleased about that. The last thing I wanted was to be the most overqualified secretary in the Pennsylvania department of corrections.

WC: Okay, spill. What's your secret to successfully launching your own business?

NC: Well, Firebrand [is] the fourth business that I've owned (there are more if you count my babysitter's club or the candy I used to sell on the fifth grade black market). I think there are certain people who think that you have a job to afford to do what you love on the weekends. And then there are others who believe that you do what you love all week long and do the dishes and the laundry on the weekends. But it takes so much chutzpah (love that word) to believe that you can make it when one in three businesses close within the first five years.

But most of all, I think that it takes a person who can say, "I don't know everything" and who then goes and finds people who DO know to ask questions of or to work with. I'm always terrified of looking like I don't know what I'm doing, but I never let that stop me from getting the information I need to succeed.

WC: Could you talk a bit about the differences between smaller, boutique agencies and larger agencies?

NC: In a small agency, the ideals of the agents ARE the ideals of the agency -- so if you love the agency, you'll probably love each agent. Large agencies have usually been around longer and have more established clients, contacts, and subrights/film agents. Everything else is up in the air. Both small and large agencies can have overworked agents (high client-to-agent ratio), there are experienced and inexperienced agents in both places, and you can find "bad" agents in both. So I always recommend going with an agent that you respect, that you have researched and that you get along with (in a business sense). For Firebrand, [I] planned that we would remain a "small" agency that acted like a big agency.

WC: I've heard people say that these days, agents have to act more like editors, because editors have to act more like sales people just to get the book sold to the publisher. Is there any truth to this?

NC: There are more books being printed, so editors are under more pressure to find books that will not only earn out but that will be a good return on investment (ROI) -- which means coming up with a strong profit and loss statement in addition to LOVING the book. That's rough, and the way an agent helps the author is making sure the book is as polished as possible so that the editor can show it to the sales and marketing departments along with the P&L statement. As one editor told me, "Sales and Marketing are good for a lot of things, but seeing a messy manuscript and looking at it with 'editorial vision' at how wonderful it COULD be... not so much."

WC: Would you ever consider jumping to the other side of the fence and becoming an editor?

NC: I hate editing. I always ask editors why they are editors, when they can be agents (same job, without the "work") and they always laugh at me and say that they love their jobs and couldn't imagine not editing.

WC: Could you describe a typical day at the office?

NC: I get into the office around 8:30 am. I go through emails to see if there are any that need to be taken care of right away. I answer emails and make phone calls until lunchtime (around 1 pm). After lunch, I make more calls, read, go to the post office, go home, read, and hop back onto emails. Somewhere in [there] I feed the kids, make sure they did homework, get them washed and into bed. Then [it's] back to query letters . . . and then I read manuscripts in the evening and have crazy chats with my clients.

WC: Your desk: clean or cluttered?

NC: Both. I keep very nice piles of clutter. [smiles]

WC: What's your schedule like in terms of meeting clients and editors, and going to conferences?

NC: I try to meet up with clients at least once a year. I go into [New York City] once or twice a week for lunch [with editors]. Conferences: once a month. A lot of this business is having a great project on your desk, but the other part is knowing who would think that the project is as great as you [do]. So that means doing research and making phone calls, having lunches and getting to know people you work with.

WC: What is the hardest part of your job? Are there any parts that you would describe as a necessary evil?

NC: Rejecting people that I generally like or generally feel are talented writers. A lot of authors don't understand why I wouldn't take on a project that I think I could sell (but don't love) or really enjoy (but don't love). It's like getting married: if you aren't in LOVE, you won't make it through the hard times (unless there is a huge amount of money involved... kidding... maybe). It's hard to receive rejections and to form relationships with your clients. If you generally don't LOVE the manuscript, it [becomes apparent] very quickly, and everyone becomes dissatisfied.

WC: What about the most satisfying part? What makes you say, "Damn, I love my job"?

NC: When I saw the first book I sold become an actual, bound with cover art, book -- and I flipped to the acknowledgement page and saw my name right there, on top. I couldn't stop smiling for the rest of the day (not to mention that I carried it around and showed it to everyone). I couldn't have been prouder if I had written the book myself. I love finding great projects and then getting them made into great books.

WC: How would you describe your dream client?

NC: Mute, independently wealthy, world's fastest typist and an extremely hot phone voice (which comes in handy because he lives on the other side of the world). My second favorite kind of client is the one that works hard to constantly push themselves to become a better writer, who listens to advice and suggestions but doesn't bend on the things he/she feels are important, and the one who has a vision for where they see their career in five years -- and it's not all about money and quitting their day job.

WC: What about a client that makes you run, screaming in terror?

NC: The ones that come on really strong without knowing anything about me or my agency. This is your career, and I respect those who respect themselves (time, talent and resources).

WC: What are your favorite submissions to consider?

NC: Finished ones. Because then I don't have to wait until the author finishes it... I'm human; sometimes my interest fades over time.

WC: What are your favorite books to read?

NC: If I can read anything, I seem to always pick a historical romance. Of course, all my clients are my favorite authors -- but some of my other favorites are Jude Devereux, Julia Quinn, Orson Scott Card, Christina Dodd, Judith McNaught, Jenny Crusie (basically any author [whose name] starts with the letter "J")... I also love a good YA novel. I loved Twilight and Looking for Alaska. And I adore reading business non-fiction.

WC: What prompts you to offer representation to an author?

NC: Three things: Great project, great attitude, great dialogue (between the two of us) -- in that order. And I always do research on [a prospective client]. I look at their blogs, their websites, [and Google] their names. Lately, more and more of my clients are coming by personal recommendation, so I "know" that they are talented, driven, and fun people, because they know and are friends with my clients (good taste).

WC: How do you stay on top of what's selling and what's not?

NC: Lots of reading, checking out what's going on in Publisher's Marketplace, talking to editors and agents about recent sales/acquisitions -- it's actually a lot of fun, but a lot of work.

WC: Why does an author need an agent? Are there any writers who don't?

NC: I need an accountant and a lawyer. I can do my own taxes and go over my contracts -- but they are damn annoying and I'd rather spend my time selling books. Authors need agents because you can sell your own books and negotiate your own contracts -- but it is damn annoying and you probably want to spend your time writing books.

Now, if you aren't planning on making a career out of writing or if you are writing for a series (and hence don't need to negotiate the boilerplate), you probably don't need or want an agent. And that's all right too. Basically, an agent should help move you to the next level and isn't a "must" have. It's a "nice to have."

WC: Once a book is on the shelves, what should an author do to help boost sales?

NC: This sounds horrible, but once a book is on the shelves -- most of your opportunities are gone. You should start working on publicity and marketing nine months before the book hits the shelves, and this starts with having a great website, gathering "fan email" for a non-spam newsletter, introducing yourself to local booksellers and librarians.

WC: What does the author need to do to be successful in today's marketplace?

NC: Depends on your definition of success. I think getting published at all is such a huge feat that you only have to be prolific enough to write one good book. But if you want a career as an author, that's a different story. Not many authors write enough or for long enough (because of changing markets) to be successes in this manner. For instance, a popular style today won't be popular in ten years. Think about music: there are very few artists that transcend styles and have learned to reinvent themselves. It's difficult, and you need to be a very strong and very selfless artist to do that... but if you do, you have a better chance of breaking out and becoming a success.

WC: So realistically, what does a writer need to quit the day job and be a full-time author?

NC: A wealthy spouse, a trust fund, or being able to live off their royalties [from] past books. That's the only way you should quit your day job. Advances are great, but they go away. Royalties (at least, the kinds that you can live off of) show that you are making regular money because of people buying your books, not because the publisher expects them to.

WC: What should an author avoid at all costs?

NC: Becoming complacent. Never, EVER, say "My last book sold, so..." because publishing is definitely a "what have you done lately" kind of industry. What worked yesterday doesn't necessarily mean it will work tomorrow. So, keep pushing yourself to be better, to write better, to market more. Writing is either a hobby or a job, and if it's a job, it's meant to be hard work -- if it's a hobby, you wouldn't be reading this interview!

WC: What advice would you give to aspiring writers?

NC: Read more than anyone else you know -- it'll help you develop an internal cadence; it will help you innately find what works and does not within a manuscript; it will make you more familiar with different trends in the marketplace (albeit two years behind). Read, Read, Read.

WC: What about advice to aspiring agents?

NC: Read more than anyone else you know -- it'll help you develop a good eye for what works; it will make you familiar with the different trends in the marketplace; and it will keep you [from] sounding like an idiot when an editor name-drops her famous author and you have NO idea who she's talking about.

WC: Finally...are you a dog person or a cat person?

NC: Dog. Definitely.

For more information about Nadia Cornier and Firebrand Literary Agency:

Website: www.firebrandliterary.com

Blog: agentobscura.livejournal.com