SHALLA CHATS with Literary Agent Scott Eagan

“Greyhaus Literary Agency, Open for Business”

by Shalla DeGuzman

 

 

First off, who’s Scott?

Shalla: Hi Scott, thanks so much for joining us.

Scott: Thanks Shalla, anything I can do to help!

Shalla: So, please tell us about your agency.

Scott: I opened the agency because I saw a real lacking in agencies that focus only on romance. I believe that many agencies have become just too big and I wanted to be a real hands-on agent.

I also keep the agency focused strictly on RWA recognized publishers. This way, the writers that I work with have direct contact with the publishing world through contests and the RWR but they also know exactly who the target audience is that we will pitch to.

Shalla: What attracted you to becoming an agent?

Scott: I have always loved my work both with writing and the study of literature. This was a great time in my life to make the shift to agency work since I was at home with the kids already. I also really saw that hole in the agency field.

Shalla: Have you sold yet?

Scott: As of the RWA conference in Reno this year, Greyhaus has sold a 3-Book Deal to Avalon Books, a 2-Book Deal (with an option on a third and potential novellas) to Kensington's new erotica line, and a 1-Book deal to 5-Star Expressions.

Shalla: When signing with an author, do you consider the writer’s marketable value? And his/her personality? Will you sign with someone talented, great writer, sure to sell, etc. but is difficult to work with?

Scott: This is a big thing. We often hear that if the story is great, that’s all it takes but I always have to disagree with that one (not that I want bad stories).

When someone submits to me, obviously I look at the story. If I see that the story is really limited to only one publishing house, I am going to have to look at what else the author has to write. Remember, if I can only pitch to one house and they say no, where else can I go?

I also look at the professionalism of the writer. Obviously I have specific guidelines when it comes to submissions. Look, if someone can’t follow the rules, what does this say? I don’t eliminate someone on that, but it does factor into the equation. Personality plays a big role in the marketability. Think of the big guns in the marketing world. Jennie Cruise is someone that people like! Her personality carries her a long way.

It doesn’t matter how good you are, if people don’t like you, you’re not likely to succeed.

I am also interested in what else the writer has to offer. Are they a writer that nothing stops them? Are eager to do their share of the work? Are they entering contests and looking for critiques? All of this shows a commitment to their craft.

It is important to remember that agents NEVER make money off the first sale of a writer. The money making comes from the later sales and what that writer does with their career. When I look for a writer, they should be in it for the long haul.

Now, on to the question of someone who is difficult to work with. If I sense from the initial contacts with the person, that this is someone that is not willing to change their manuscript, not willing to work and will constantly be a pain, then I will not sign them, and I would bet money that others would do the same thing. Remember, the author-agent relationship is like a marriage. You have to give and take.

I really consider the relationship I have with my writers as a team effort. My writers hear things all the time from their critique partners and loops they are on. Often, they hear of news before the agents even find out. I want writers who know where they want me to send their work and are willing to put in their time as well.

Shalla: How do you sell manuscripts? Do you personally meet with editors and publishers? E-query? Do you have contacts?

Scott: I spend a lot of time contacting editors and publishers via phone and e-mail. Remember, these people are busy with existing writers and finding just a few minutes to answer e-mails and respond to phone calls can be difficult so personally meeting with them can be even harder. Besides, much of that can be done via phone or e-mail.

At conferences, I do spend a lot of time marketing for my authors. Sure, I go to listen to pitches, but much of my time is spent doing the work for my writers. I attend the spotlights, talk to the editors and pitch to them.

In Dallas, I made sure I spoke to the editors that my writers would be pitching to later in the conference. That added touch helps a great deal. In each case, the writers had very favorable responses.

Again, in Reno we did the same thing and now have editors interested in my writers on proposal as well as their existing manuscripts.

As for contacts, I sure do. I market to all of the houses RWA recognizes, but there are a few of the editors that I have a closer connection to so I am always on a look-out for what they are begging for at the time.

Shalla: How do you define chick lit?

Scott: That’s really a tough one considering chick lit is still in a formative stage and trying to define itself. I guess when I read chick lit, I picture sitting around a table and listening to a friend tell a story. Whether it is in 1st or 3rd person, the voice of the character really comes through. I see this genre as being truly character driven but this does not mean that a plot is inconsequential. We are listening to a character tell us how she (or he) got through a particular situation.

One of the elements of chick lit that is so strong is the sense of “great friends”. The secondary characters are more than plot devices. They are integral to the story. We understand more about the character by the friends that they hang out with.
The thing about Chick-lit is that it isn't just about funny comments and a witty personality. We need to have a connection with the character. We need to feel what they feel, cry when they cry and laugh when they do.

Shalla: What kind of chick lits are editors buying?

Scott: I think that they are really looking for that something that is special and unique. I believe in the earlier days of chick lit, having a character just talk about what they do in their job or life was fine, but now that there are so many chick lit writers out there, the editors are looking for something different. Now, an author needs to find that special something that makes them stand out. Goddess for Hire is a great example of that!
In fact, I think that there are a lot of editors out there really making big strides to find new authors and trends. We're especially seeing this in the YA market and many of the houses begging for the equivalent of YA-Chick lit.

Shalla: What’s the market like on mixed genre chick lit?

Scott: The simple fact that they are looking for something new and unique certainly opens the door to a lot of things. I still do believe that having something that is too bizarre and weird won’t sell, but that really works in a lot of genres. I do think it is great to continually try little things every now and then. Like any other genre, you have to try it. If an editor is in the mood for something like that, then it will open the door for others.
As an agent, I also have to say that if we believe in the manuscript, even if it is a bit strange, we will really market it well with the editors.

Shalla: Do you edit manuscripts before you show them to editors?

Scott: I do edit manuscripts. I have also started up a working relationship with one of the local universities to establish a regular internship program. I do think, however, that a writer should not rely on the editor to do all of the editing. When my writers are submitting new manuscripts to me, I know that I am reading something that is at least 85% edited. I clean up more and then we move on from there.

Shalla: Why should a writer query your new agency as opposed to a more established one?

Scott: Since the relationship you have with your agent is a team effort, it is important that you find someone that is equal to you. A new writer can really do well with a newer agent. Remember, both the writer and the agent have the enthusiasm to really work to get that manuscript sold. If someone is interested in working with an agent that is committed to your writing, then I am the place to go. It is important to remember that working with any new agent means that you are in the formative stages of their career as well. This does not mean that they are any less of an agent. What makes an agent strong is their commitment to the business and the writer and their willingness to get you as the writer, out there to the public.

As far as Greyhaus Literary Agency goes, you know who we will market to and how we will market. There is nothing hidden here. Every agent has a select group of editors that they work with. Some are more focused on category romance, others just the big houses. With me, it’s simple. Look at the list of RWA publishers and you know who I target.

Shalla: Finally, what are your submission guidelines?

Scott: Pretty simple. I accept both e-queries and snail-mail queries. I want a query letter, roughly a 5 page synopsis that shows me your story line, and the first 3-5 pages of your story. Yes, I said only 3-5 pages. I just want to see a sample of your style.

If you send it via the e-query, the specifics are on the website under the Contact Information Tab. You will send the same information, but instead, you will send your query letter to scott@greyhausagency.com and then in separate files as attachments, you will send the material to e-query@greyhausagency.com. If you do have questions, make sure to ask first. Better to be safe than sorry.

I also meet a lot of writers at conferences. This type of pitching is probably the best since I can really get to know you and the writer. In fact, I will often ask for half or full manuscripts if I really like what I am hearing. Along the same lines, I will often ask for multiple manuscripts from a writer, if I meet them at a conference. I don't often do that with the other submissions.
Shalla: Thanks so much! For more on Scott Eagan and the Greyhaus Literary Agency, please visit www.greyhausagency.com

Best wishes Scott. We at Shalla Chats send you and Greyhaus Agency the best. We look forward to more of your successes. Please come back and talk with us again.

 

Who's on SHALLA CHATS? Know who Shalla has interviewed? Maybe you'll be next? Turn up the volume...   Hear our musician, Moose (Mooska), with his reggae/ska, other, acoustic blues, roots, leftfield music. Featuring: Dorchester author, Tess Mallory; Artscape author, Frederick Ramsay; Hallie Ephron; Shara Lanel; Margaret L. Carter; Gena Showalter; Judie Aitken; NY Times Best Selling author, Barry Eisler; Chick-Lit author, Sonia Singh; Brett Battles; Michele Scott; multiple Emmy Award winning TV news producer & author Mari Mancusi; Terry Spear; Andrea Wilder; Alice Andrews; Tina Gerow; Seamus Cashman; NY Times Bestselling author, Bob Mayer; Patricia M. Terrell and more! Produced and Directed by Shalla DeGuzman www.shalladeguzman.com   Shalla DeGuzman's short stories have appeared in Poetic Diversity, the Mad Hatters Review, etc.; her articles in The Scriptorium and L.A. Freepress; her skits at the Stella Adler Theatre. Her flash fiction The Fish In My Bed recently won the FISH AND PLANE Competition and is featured in Issue 6 of Mad Hatters Review. Shalla, a former writer and producer of a health and fitness cable show, is currently writing a novel. She is President of The ShallaDeGuzman Writers Group where she interviews literary agents, publishers, editors, etc. News! SHALLA Magazine, goes to Print! That's right! Amazon, world, here we come! For more on Shalla: www.shalladeguzman.com

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