When most people think about the hardcover publishing boom, they often credit J.R.R. Tolkien and his epic fantasy series, The Lord of the Rings. But Tolkien wasn’t the only author reshaping the landscape at the time.
Welcome back to Brandon Sanderson’s lecture series on writing science fiction and fantasy! This is our last installment in the series (or, at least the last full length article, as the last week is a Q&A session). As we all got settled in, Sanderson highlighted other influential figures during the hardcover publishing boom such as Agatha Christie, Ian Fleming, and Joe O’Hare, noting, “These traditionally kind of a little more lowbrow genres were coming of age.”
This growth not only expanded the audience but also signaled a significant shift towards the modern blockbuster novel, changing the publishing industry.
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From Short Stories to Novels
In the early days of science fiction and fantasy, the route to publication was largely through short stories published in pulp magazines like Analog or F&SF. Brandon noted: “This is where the golden age of science fiction really kind of came about.” Authors you may know, like Isaac Asimov, Arthur C. Clarke, and Ray Bradbury, built initial reputations this way. The strategy was straightforward. All they needed to do was sell enough short stories, establish credibility, and then pitch their novel to publishers with solid credentials.
This dynamic dramatically changed in the 1980s. Reader preferences changed, and they wanted longer, novel-length stories.
The Rise of Literary Agents
With the shift towards novels, publishers soon found themselves swamped by manuscript submissions. So, literary agents became more crucial to the process. Why? They became the slush pile readers for publishers.
Their role quickly evolved from just gatekeepers to major industry players. Their expertise became indispensable for both authors and publishers. As a result, agents increased their standard commission from 10% to 15% which was a change that reflected their larger responsibilities.
The Multifaceted Role of Agents
Today’s literary agents play many roles that are important to an author's success. Brandon outlined these for us, breaking down their responsibilities into the following areas:
- Salesperson: Agents expertly match manuscripts with the right publishers and editors based on nuanced understanding of their tastes and needs.
- Business Manager: They provide strategic career guidance, helping authors plan and manage their writing careers over the long term.
- Developmental Editor: Many agents work closely with authors to refine manuscripts, enhancing their marketability before submission.
- Negotiator: Agents skillfully negotiate contract terms, advocating strongly for the best possible deals and conditions for their authors.
- Advocate: Crucially, they represent the author’s interests exclusively, stepping in whenever conflicts arise with publishers.
That last point is really important. Your agent is going to be the person in your corner. Brandon told the story of Joshua fiercely advocating for increased bookstore stocking of Elantris, and another significant instance where Joshua insisted on redesigning the paperback cover of Mistborn, moves that Brandon credited with not only protecting but boosting his career.
All this to say, take your time, do your research, and make sure you’re selecting an agent that’s a good fit for you. It'll pay off in the long run.
Navigating Contracts and Rights
When it comes to contractual agreements, the most important thing is that you retain control over your intellectual property. There are a few key contractual clauses you’ll want to be very careful of:
- World and Character Rights: These rights should always remain with the author, ensuring control over future adaptations and expansions.
- Film Rights: Brandon is absolute: “Publishers generally have no expertise in film rights; these should remain with the author.”
- Foreign Rights: Authors ideally should maintain their foreign publication rights to capitalize on global market opportunities.
- Non-Compete Clauses: Brandon strongly advises against these restrictive clauses, labeling them as “morally reprehensible” because they severely limit an author’s publishing freedom.
Conventions and Conferences
Attending writing conferences and conventions offered vital networking opportunities for Brandon early in his career. Reflecting on his own experiences at events like World Fantasy and the Nebula Awards, Brandon shared strategic advice for engaging editors effectively. You’re going to want to screenshot this for when you need it!
He suggested avoiding generic questions like, “What are you looking for?” Instead, he recommended asking editors, “What have you bought recently by a new author and why?” This targeted question not only sets up meaningful dialogue (and overcomes any of that initial networking awkwardness) but also gives good insights for personalizing your submissions.
Crafting Effective Queries and Pitches
Brandon talked through the importance of crafting strong, concise pitches. Using his own book, Mistborn: The Final Empire, as an example, he demonstrated a practical approach: “What if Frodo got to the end of Lord of the Rings and then Sauron killed him and took over the world? In this world, that's what happened. The Dark Lord won. Now, years later, a gang of thieves plot to rob the Dark Lord.”
This pitch works best if Brandon is talking to someone who is already familiar with the epic fantasy genre and wants something fresh. They know who Frodo is. They know what Lord of the Rings is. And, they know the archetype of a Dark Lord.
But, if someone is new to epic fantasy, he focuses on the characters. “This is the story of a young girl named Vin who finds out that her lifelong stroke of luck is actually a connection to a magic that comes from metal.”
He recommended you:
- Keep pitches succinct yet intriguing
- Include relevant and carefully selected comparison titles
- Share concise personal information that adds credibility without overshadowing the manuscript
On Going Pro
Publishing is not the same as it was when Brandon broke in, and though some strategies may be outdated, many of the same best practices apply today. During the first lecture in this series, Brandon mentioned that the old adage of only one in a million writers going pro is not accurate. Is it easy? Of course not. But in reality, it’s about a 1 in 20 chance according to Sanderson.
If you’re serious about this craft, there’s no reason not to put your all into the publishing process. After all, the chances of going pro are zero if you don’t, and, all things considered, more optimistic than people say if you do.
