By Josephine Bacon

In my 45 years' as a journalist and writer, all the agents I have encountered fall into two categories: 1) Those that look down their noses at you because your name isn't J.K. Rowling or Princess Diana, so they might actually have to do some work to sell your stuff. One of these responded to me, a cookery writer, recently when I tentatively put forward a proposal, "Oh, do people still cook?" 2) Those who gush enthusiastically at every pearl that drops from your lips and promise you the earth and you then never hear from the again. I am a former voiceover artiste's agent and am proud to say that I took risks and discovered talent whose voices I still hear on TV and radio today. It seems that the vast majority of agents – literary, theatrical and every other kind – just want to cream off the profits without doing anything to earn their keep.

10 Aug 07 14:58

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By Rebecca Swift, Director TLC

As Director of The Literary Consultancy I wish to make the point, unfortunately in haste, that when Hannah Griffiths and I founded TLC in 1996, we were approached within months by an agent from a highly reputable agency who offered us what was described as a 'standard linking contract'. In other words, it was the agency, not the consultancy, that sought to gain profit by wanting priority through a linking agreement. It seemed to make sense, as long as we did not recommend the agency when we did not believe that it would serve our clients well. We were surprised and pleased. We signed. Other agencies soon followed. I want to make it clear that when we conceived of TLC, we did not take into account agent link fees as a possible revenue source. However, when this was suggested to us, it seemed to make sense. So I am confused, as is Harry Bingham, as to what is wrong with a linking arrangement? As I understand it, agencies have long been allowed to form agreements with what are known as scouts? If a link fee is for the first book only, surely an agent should still benefit sufficiently for an introduction to a first class author who will usually write many more books? The author is as it were, theirs for life – and if an agent has had none of the stress of sourcing and sifting slush piles to find them – isn’t it, in this writing-frenzied world, well worth it? Clare suggests that consultancies are being paid 'twice over' - but if they are to be at all affordable to clients, the consultancy fees have to be kept at such a level which means that profit margins are negligible. Whilst I never banked on it (as it were), I have come to think that if agent link fees can help good consultancies survive and grow, then shouldn't the situation be as Carmen Callil prophesied when we started, that a good consultancy should be 'of help to writer, agent and publisher.' This said, I agree that there are many people charging too much for work which will inevitably mislead some people in to thinking they are on to a fast track to getting published. Those of us who understand the publishing industry know that it is only in the region of 0.01% of people writing who will ever get published commercially. I often say this to clients. TLC is about giving information and detail – and also helping writers manage their feelings around their work being not ‘good’ enough. So, whilst I agree with Helen that it is difficult to know who would regulate who (I know what I think is responsible but why should I or anyone else assume authority?) I am all for an attempt at regulation in the consultancy industry if that is considered desirable by the wider literary community with which I wish to continue to work in harmony. I might add that whilst I would welcome the input of the AAA, I would only do so if the AAA took in to account the interests of honourable consultancies. This is not least because I think that the interests of consultancies are also in the long term interest of their clients, and to be a bit pompous about it, I think in the interest of our literary culture at a time when publishing is so dominated by the demands of profit led commerce. I might add that whilst I did not think we would see many publishable writers, we have in fact, helped many by now to publication who state clearly on our website that they feel they would have been overlooked had TLC not existed. All best, Rebecca Swift

16 Aug 07 14:49

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By helen Corner

By Helen Corner As a founding company of literary consultancies (LCs), Cornerstones & Kids'Corner, I'm particularly interested in this debate. I would like to stress that we do not charge an agent an introduction fee, for our own well thought through reasons, and we do not charge authors in the £1000s! We also have a filter system so we don't take on any author, and we have free author aftercare as we don’t like to leave an author in the lurch once they’ve used our services. Most important, we thrive mainly on word-of-mouth referrals from agents and publishers and repeat author business. We’ve already looked into the viability of creating some sort of common code of practice or association umbrella for LCs but there are so few of us who have a proven reputation and success rate that until there are more of us, like literary agents which warrants the AAA, I would prefer for it to remain on a tight word-of-mouth referral, self-regulating system. Also, I know that the other LC similar to Cornerstones in size and length of time and reputation has a different outlook to mine. Not better or worse, just different. We believe in having a filter system, and where we don't charge agents when we pass through authors. But who am I to say that other LCs must conform to my working practice? It just happens to work for Cornerstones, hence our good word of mouth reputation among the trade and authors. Fundamentally, it's all about protecting the author's rights and being transparent with our working practice. We’ve already had this debate and we concluded that LCs should post their working practices on their websites. We, at Cornerstones, also lay out our working practices in our introductory letter when authors first approach us so authors know exactly what they are getting from our service. And we’re listed by the SOA who okayed my working practice when I first set up ten years ago. As for agents, I’m sure they can make their own decision as to which LCs they wish to work with and refer authors to. We happen to work with most leading literary agencies and have a good reciprocal referral system. In fact, we’re currently in a submission frenzy having just launched the winners of our Wowfactor Competition! However, as an organic company and market leader of LCs I’m always open to discussion on how to preserve what I’ve spent so long building up. I would therefore welcome any feedback, particularly, from the AAA, an Association I know we could learn from and need to work with.

11 Sep 07 10:59

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By Mo Fanning

New authors can increasingly find help online. The writers' groups of old have gone digital. Of course, there are plenty of places to avoid, but with places such as the English Arts Council YouWriteOn (www.youwriteon.com) and The Book Shed (www.bookshed.eu) working mainly with authors who show initial promise, places to develop are closer than ever.

23 Nov 07 11:26

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