Confessions of an Agented Agent

Danielle Burby 

When Josh asked me to take over his blog for today (because he is still recovering from shoulder surgery), I couldn't, for the life of me, decide what I wanted to write about. Foreign rights? The vote for Scottish independence and the power of the historical narrative to impact life today? Why I love stories that tackle social issues? Nah. But there is something people have been asking me about a lot recently and that I'm never sure quite how to handle. It's something I love discussing, but feel a little bit strange talking about with people who know me in my publishing life. My experience as a junior agent/playwright. 

 

For those who don't know, I am a produced, and agented, playwright. It's a big, crazy, adventure that I never explicitly planned to take, but that brings me some of the greatest pride and joy I've ever felt. 

 

Ultimately, I see my two careers as very different, but complementary, parts of my life. I strongly believe that being a writer myself makes me much more sensitive to the needs of authors, especially when it comes to communication on the editorial side. I, too, have had people tell me, "I love your work, but please tear up the entire thing and rewrite it." I have been given editorial advice I didn't agree with and stood my ground, defended my choices. On the flip side, I have also learned to hear criticism, no matter how painful it may be, and to accept when I need to make changes. I honestly don't want to tell you how many times I rewrote my first play. I actually changed the ending midway through the play's run, if you can believe it! Now, although the play has already been produced and reviewed, I know I'll have to go in and make more changes if I want it to move up in the production ranks, as I hope it does. 

 

What this means for the writers I work with is that I understand exactly what I 'm asking of them when I write a big fat editorial letter and say, "So look...we need to completely rework the structure here," or, "That character that we both love actually doesn't belong in this particular book," or even, "You might want to consider changing genres." I give my notes with all the empathy in the word and I have the battle scars to prove it. 

 

Working on the agenting side also gives me a very clear perspective as to what it's like out there for writers. It shows me how important it is to be polite and professional at all times, whether you're a writer, an editor, or an agent. I've learned the importance of email tone and how to develop relationships. I think every writer should make a real effort to understand the business side of the industry because sometimes, when wrapped up in the creative side, it can be hard to remember that that's just what this is: a business. 

 

However, it is a business that revolves around creativity. One of my favorite parts of my job is looking into the heart of a narrative and figuring out, with the author, how to bring it to the surface. I love talking to authors about their visions and working as a team to strengthen their ideas and take the book another step forward. As a writer, I know that there's only so far you can bring a story on your own. As a publishing professional, I like to be the person, or one of the people, who helps someone take their novel one step farther. 

 

Ultimately, I'm a fiction junkie and I love being part of the conversation, whether as a reader, a writer, or a junior agent/assistant. So yes, I am both a person who writes and a person who works with writers. I love those dual roles because they give me a broader perspective, and by understanding both sides of the same coin, my love for each is cemented and my ability in each is strengthened. I wouldn't have it any other way.

Comments

[Tania Roxborogh]

excellent post. Thanks. It's the same with me being an English teacher (and currently a uni student); I understand BOTH sides although I can get a bit frustrated if someone isn't doing things the way I think they should be done. As you say, ALWAYS being polite, kind, nice is the only way to navigate this writery world where the creators (which include the publishers/editors too cos it's their project as well) wear their hearts on their finger tips - the place with the most sensitive nerve endings. I also think being a play write helps understand structure a lot better too.

[Nadine]

Your two careers come together perfectly. You give fantastic notes and it's great to have an agent who has been on both sides.

[Nikki Trionfo]

You're definitely on some good rides there! Not many people get tickets for either of those. Thanks for your understanding as you type me those big, fat editorial notes. :) I try to remind myself that if I lived alone in a closet, I'd rather write quality stuff than bad, so that means feedback. I love it. I'm happy to have it. Now that I'm trying to hit a market in ADDITION to producing quality, well, that means a LOT of feedback, some luck, and maybe a few more tries than just one!

[toni lotempio]

Love your post! I hear ya with rewrites...after all, i did rewrite an entire book to shut up a talking cat....

[Liza Burby]

As a writer/editor I have always found the same value in understanding both roles. And you are absolutely correct that writers succeed best when they understand that publishing is first and foremost a business.