Interview with Ethan Ellenberg

Jackie Kessler © 2006

Wild Child Publishing.com © 2006

What do bestselling authors MaryJanice Davidson, Rebecca York, and Amanda Ashley have in common? Top agent Ethan Ellenberg, of the Ethan Ellenberg Literary Agency.

With more than twenty years in the industry, Ethan is an accomplished, knowledgeable businessman with an eye-opening view of publishing. Why "eye-opening"? When asked how prolific a successful author needs to be, Ethan replied: "At least one very good book per year." Wow. Then he added: "More is better."

Daunting? Perhaps. But it can be done--just take a look at Ethan's client list. In 2005 alone, for example, MaryJanice Davidson had more than ten credits to her name, including original novels and novellas, not to mention audio rights to her wildly popular Undead series. "A writer," says Ethan, "has to be an Olympic athlete, performing at the highest level, year after year."

In February, Ethan answered questions about publishing, his job, and what authors can do to increase their likelihood of success.

Wild Child: What led you to become an agent and open your own agency?

Ethan Ellenberg: I felt the combination of skills was a good match for me, and I craved the independence [of establishing my own agency]....That was my primary motivation.

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

EE: Publishing is a very difficult, complex business. It is very, very rare for any author to even know the basics, let alone the complexities. It's also very hard to represent yourself. Most writers need the expertise and support. Some writers make due with an attorney negotiating contracts, but they are usually one-book, nonfiction writers, or novelists so successful that they aren't really worried about maximizing their career or running into trouble.

WC: What are the differences between smaller/boutique agencies and larger agencies?

EE: I think it comes down to your agent, period. If a small agency doesn't have some basic elements in place, like the ability to sell translation or dramatic [rights], that can be a problem. Large agencies all have that, but you may just be a page in a catalogue. Nothing takes the place of a knowledgeable, talented agent representing you. I don't think it matters where they are situated.

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

EE: No day is that typical, but every day we do handle a lot of regular mail and email. We consider new projects. There [are] a lot of transactions to handle--contract negotiations, co-agents to send information to, checks to be sent, lots of follow-up calls to editors and clients. It's quite busy just attending to normal business. A lot of reading happens nights and weekends.

WC: Your desk: clean or cluttered?

EE: Often clean, but clutter is inevitable. The work comes in waves, as does the clean up. I like to keep things neat, but it's really not possible.

WC: How often do you meet with clients and editors?

EE: A lot of client work is phone and email. I do meet them here or at conventions, but that's catch as catch can. Editors I see at conventions and lunches.

WC: What about other publishing events?

EE: I go to [the] occasional lecture, usually sponsored by AAR.

WC: What is the hardest part of your job?

EE: The hardest single thing to handle is criticizing a pet project from a solid client. Neither agents [nor] authors are always right. Giving a client a real opinion is a necessity, but it's not easy, and you can be wrong too. It's also hard to deliver truly bad news--a final turn down, a longtime publisher abandoning an author. I take the clients' side and do feel a bit of their anger, sadness and despair. It has to be that way, and that's only right. I've coached my kids in sports, so it's not that different.

WC: What is the most satisfying part of your job?

EE: It's selling a new project that I picked out of the slush. There's just nothing better. When you are the first publishing professional to tell an author you have the right stuff and then you make the sale, that's the best.

When Eric Rohmann won the Caldecott [Medal], that was also a peak experience. I sold Eric's first book, and every book since then. The Caldecott is the gold medal in children's illustration, so to work with work of that caliber is an honor.

WC: How would you describe your dream client?

EE: Hardworking, talented, sensible.

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

EE: I don't think I have anyone like that; it just wouldn't last. There has to be a limit on a client's demands, commensurate with what's really going on.

WC: What are your favorite submissions to consider?

EE: I love all kinds of commercial fiction and children's books. I just love a good story, anything that reflects the positive side of the human experience.

WC: When you're not poring through submissions, what are your favorite books to read?

EE: I read a lot of history and politics.

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

EE: It's all talent-driven. If I love your work, that's the first step. After that, there should be a "get acquainted" period by phone where both sides simply make the judgment that we can work together.

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

EE: Information constantly flows through the office from clients, editors, etc. If anything, there's too much.

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

EE: There isn't much an author can do. Run a strong, basic website. Promote, if you have real ideas that will work.

WC: How has the publishing industry changed over the last ten years?

EE: I could write a book, so much has happened. That's for another day.

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?

EE: I think agents are an important sounding board for some authors on their work. It depends on the editor/author/agent. But in general yes, your agent will be with you longer and may have a sounder eye for your work. If you do have a strong editor, this is less true.

WC: How prolific does a writer have to be today to be a successful author?

EE: You need to write at least one very good book per year. More is better.

WC: On a related note, what does a writer need to do to be able to quit the day job and be a full-time author?

EE: This is a tricky question. I really don't advise any writer to quit their day job until they are fully engaged as a writer across the board--more than enough work, contracts to fulfill, income solidly in place. Until you are really taking off, it is really not an option.

WC: What should an author avoid at all costs?

EE: Getting caught up in anything that ruins their productivity. A writer has to be an Olympic athlete, performing at the highest level, year after year. Whatever ruins that, ruins your career.

WC: What advice would you give to aspiring writers?

EE: Work hard, experiment, focus on the work and listen. It's a long road. Writers really improve only with hard work.

WC: What about advice to aspiring agents?

EE: This is a trickier question; I don't have a ready answer.

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

EE: Neither, I'm afraid.

For more information about The Ethan Ellenberg Literary Agency, as well as numerous articles about publishing, please visit the agency website: http://www.ethanellenberg.com