Comparing and Synthesizing Literary Agent Feedback
By Mary Kole
Mary Kole is a former literary agent, freelance editor, writing teacher, author of Writing Irresistible Kidlit, and IP developer for major publishers, with over a decade in the publishing industry.
Writers on the submission trail will sometimes receive literary agent feedback … and sometimes the writing notes are confusing, or even contradictory. The publishing business is incredibly subjective, so let’s discuss how you might interpret agent feedback (as well as notes from a critique group, writing workshop, or freelance editor) and make a revision plan.
Getting Literary Agent Feedback
A Good Story Learning member asked the other day:
Should we consider literary agent feedback for our novel when making a long-term decision? Are we taking a risk by basing our decision on short-term ideas? In other words, does the agent's vision for this specific novel influence whether we should sign with them for the long haul?
Synthesizing agent feedback can be tough, and that’s after you get some. A lot of writers face literary rejections without hearing anything specific. As a former literary agent—and now a freelance editor delivering a lot of feedback daily—I know that I’m sometimes rendering notes that will contradict something a writer has already heard, or offering a new perspective that they might struggle with.
Nowhere is this clash of constructive criticism more fraught than with literary agent feedback. Let’s say Agent A wrote a revise and resubmit letter asking for change X. Another agent wanted you to change Y—in the completely opposite direction. What’s a writer to do when trying to compare and synthesize literary agent feedback?
After all, it is crucial that you and the agent are a good fit, since they will be the first to work on your project. Recently, one of my editorial clients was considering signing up with an agent who had some great ideas for her quite unique and dark piece of writing. But then, out of the blue, the agent asked: "Can you make it more like Gossip Girl?" Needless to say, this was a mismatch, and it was probably better to find out sooner rather than later.
Time and again, I'm left flabbergasted by writers who come to me after having revised several times, using notes from other sources. I often see things that don’t entirely make sense in a manuscript, and will ask probing questions, like, "Why does this pet's death have to be in the story?" The reply I invariably hear? "My old literary agent insisted it had to be included to make the character's backstory more sad."
No wonder the choice feels forced—it wasn’t really the writer's idea! When I’m editing, I always like to ask myself, “What is the core of this story?” and “How does everything else connect to it?” If something doesn’t quite fit, there’s often a reason, and that reason is previous agent feedback.
Considering Agent Feedback
When I'm giving feedback to a writer, I try not to be too prescriptive. There are more ways than one to solve most story problems. However, I sometimes can't help but suggest an idea. Or I'll say something along the lines of: "This isn't quite working—what can you do to make it align with what you're trying to achieve?" I would never say, "Do this, this and this or else."
At that point, it wouldn’t be the writer's story anymore. If you're looking for a literary agent to represent you, find someone who won’t try to dictate your creative decisions. (They can certainly make recommendations, but make sure that you know that agent feedback is a suggestion, rather than something binding.)
Reading over agent feedback is a great way to learn about their way of working, especially if they brand themselves as an editorial agent. You don’t have to enact the feedback right away, simply read it over. Make sure you are coming to the notes with an open mind, instead of reacting defensively. But after that point, if you are still alienated by agent feedback, you need to remember that you’re not actually bound to enact it if you don’t want to.
It's rumored that Michael Chabon and his wife, Ayelet Waldman—both acclaimed authors—critique one another's work. In the margins, they merely jot down a few words of encouragement, such as "You can do better," next to any weaknesses or inconsistencies. As for myself, I prefer to provide more detailed and constructive criticism, but always with a "You can do better" attitude. I don't want to trample through someone's writing and leave my footprints behind.
Of course, if there are components of your story, a character arc or a subplot that are not effective to hook the reader, good editor or agent feedback will bring these things to your attention. You may even receive feedback from a literary agent regarding potential alternatives. But the bulk of the creativity needs to come from you in any editorial relationship.
Give great consideration to any editor or agent feedback you receive. Too often, I encounter writers who make revisions against their own wishes just because of the opinion of an editor or agent. Of course, the insights of a professional can be compelling, however, it's your work and you should have the ultimate say.
If your writing is literary, but you are asked to create something akin to Gossip Girl, it's a sure sign that the person telling you to make this change is not the right agent for you. Listen to agent feedback, but also value your own creative instincts.
Click here to purchase Writing Irresistible Kidlit, my book on fiction craft for MG and YA novels, out from Writer's Digest Books. This will show you my writing craft philosophy and give you lots of valuable advice, including tips for the novel revision process and self-editing. There are over 35 example novels cited and discussed throughout. It’s a valuable resource for any writer’s toolkit.
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