Last semester in the Creative Writing Master’s program at AUM, I had an assignment to interview an agent. I chose Elizabeth Kracht because I saw her name on the Antioch Writers’ Workshop roster, and I like to meet people in person. Before I reached out to Liz, I did some research and found some fun facts. She began her writing/ editing career in Puerto Rico, her favorite color is sea-foam green, and she has dating stories that you could write books about. When ordering a drink, sometimes she has the bartender surprise her.
I wanted to take a shot at creating Liz a customized drink, but first I wanted to know what it was like to be an agent, and what she could tell me about creating a platform. (Work before play, right?). It turns out she’s the kind of person I’d like to sit down and have a cocktail with, (or an iced tea and maybe some cheese). Below she discusses freelance editing, writing conferences, and how to make the best of unsuccessful dates.
Whitney Bell: What’s a typical work day like for you? Is there such a thing?
Elizabeth Kracht: No workday is typical, really. Having just come back from vacation, most of yesterday was spent weeding through my inbox, checking in with clients. We also had lunch with an editor from New American Library. And part of my day was spent printing a few conference submissions for the Kauai Writers Conference, which is coming up in early May (critiques). This morning I spent time on the phone with my author Lily Gardner about edits for the second book in her Lennox Cooper series, BETTING BLIND. Since I also manage the office at Kimberley Cameron & Associates, I spent some of this morning processing royalty statements. I’ve also been posting on Facebook and Twitter since my author Tj Turner’s debut novel Lincoln’s Bodyguard was just released yesterday. I did send some rejections I received from editors to my authors as well. No day is typical for an agent, really, though there is some repetition in the kinds of things we deal with.
WB: What’s your favorite thing about being an agent?
EK: My favorite thing about being an agent is working with authors and being a part of the creative process. I also like being a part of fulfilling dreams. My authors are like an extension of my family, so I get a real sense of satisfaction working with them. I find them all really interesting people. I also like working on contracts and helping to guide and build writing careers.
WB: What’s your least favorite thing about being an agent?
EK: My least favorite thing is dealing with difficult clients, though I won’t usually sign people who I think may be difficult. Life is too short to work with difficult people. Agenting can also be overwhelming since most of our reading work is done on weekends, which means little down time. This is also a commission-based job, so the job is a little like (no, it is) gambling for a living.
WB: How many manuscripts do you read per year?
EK: I read manuscripts in different capacities. This last year I believe I read at least 16 full manuscripts of my clients, some of these more than once. In my work as a freelance editor, I’d say I’ve read about 24-30 full manuscripts (I often read one manuscript four times during a coaching period). I also request quite a number of full manuscripts from authors, but I don’t always get all the way to the end of these requests. Since I am only paid for manuscripts I sell, I will stop reading full manuscripts at the point at which I know for certain I won’t be taking on a project. Sometimes I’ll continue to skim a manuscript if I’m compelled by something in the story even though I know it needs more editorial time than I can devote to it. In total, I think I read 100+ manuscripts per year. I read many more partials than this, though.
I read that you might hesitate to represent a nonfiction author who doesn’t yet have an online platform. Would you encourage writers who aspire to publish in different genres to create pseudonyms and distinct social media platforms before publication? Why or why not?
EK: It’s very important for nonfiction authors to have a presence online and to be able to show some outreach in the community. This is something nonfiction authors should work on before they even submit to agents, though if I run across a great nonfiction project and the author isn’t out there (but has potential), I will coach them on branding themselves and getting their name out there in the quickest way possible. In terms of pseudonyms, this is a discussion I would have with an author. I don’t think I could say in any definite way here how authors writing in more than one genre should brand or market themselves. Something like this would need to be decided on a case-by-case basis.
WB: What’s the biggest lesson you’ve had to learn with respect to your work?
To trust my instincts and stick close to what I’m passionate about.
I saw you are a team member of She Writes Press. Is that still true? Can you talk a little bit about your role there, and how it differs or is similar to what you do with Kimberley Cameron?
I’m a freelance editor for She Writes Press. I tend to work with quite a number of memoirists through She Writes, which I love. She Writes has an editorial package where you can sign on to work with an editor like me and pay for a package of four phone calls and are also billed editorial hours. So, I may work with someone over the period of a year or less where I will read their full manuscript as many as four times, making notes on the manuscript itself as well as talking with the author on the phone about edits, problem-solving or the creative process. The goal is for the project to be ready for publication by the end of the 4-call package (though this doesn’t always happen). Rita Gardner’s Coconut Latitudes is one book I’ve worked on through She Writes that I’m proud of (currently up for an award). I’m looking forward to seeing Margaret Bendet’s LEARNING TO EAT ALONG THE WAY in print as well as Barbara Donsky’s VERONICA’S GRAVE.
My job as an agent is different from freelance editorial work in that as an I agree to represent an author’s work under contract to try and sell to a publisher (freelance editing is just an agreement to edit the work alongside the author). Implicit in my representation is the hope that this will be a long career of working together to build the author’s brand and sell future works. As an agent I cannot be compensated for any editorial work I do with authors I have chosen to represent; there is a code of ethics in the industry that does not allow for this. The reason I do freelance work is that being an agent is a commission-based job. So, unless an agent has another source of income, or gets lucky very quickly, it isn’t easy to make it as an agent. Usually advances and any first royalty payments are spread out over the course of a year or more.
I love my work as an agent first and foremost. The hope is that I can move away from freelance editing at some point and self-sustain through agenting alone, though I really do like developmental work with authors. I get a lot of personal satisfaction from knowing I’ve helped someone get published, even if it’s not through my representation of their work. I started my career by wanting to get published myself, so I have a natural inclination to want to help others who have the same dream. I know how hard it is to get feedback in the industry. Because of the volume of submissions we receive, time doesn’t always allow for me to give feedback, but I try my best, and we also train our assistants to give feedback when they can. Sometimes a little feedback goes a long way, such as when an author sends in a project way over word count; a little feedback on appropriate word counts for genre is eye-opening for an author and can make all the difference on whether an agent requests to see a project or not.
If anyone is interested in working with me as a freelance editor, they can contact me at firstname.lastname@example.org and put “freelance editor” in the subject line, or work with me through She Writes Press.
WB: What’s the best writers’ conference you’ve ever been to and why?
EK: I like so many of the conferences I’ve been to for different reasons. I hate to exclude any conference. Some conferences are great for professional connections for me, while others are more intimate and I make more of a connection with the writers. PNWA (Pacific Northwest Writers Association) is the heavy hitter of conferences. This is probably my favorite in terms of professional associations (agents and editors) and great workshops. I have signed three or more clients from this conference. They work me hard, but this is a great conference. The most fun I’ve had at a conference was at the Texas Writers Retreat organized by Chuck Sambuchino and Paul Cuclis. This was a small, intimate gathering on a ranch outside of Houston. Another intimate, personal favorite is the Kauai Writers Conference. I helped co-found this conference with two of my good friends who live on Kauai (May 1-3). The Aloha Spirit of this conference is strong, and you can’t beat the setting. I’m also regularly on faculty at the Book Passage Mystery Writers Conference (July 23-26) and the Chuckanut Writers Conference (June 26-27). The Boise conference is also a great one (May 14-16).
Authors should decide what conferences to attend based on their needs. If you are ready to find an agent, PNWA can’t be beat. If you want to work on craft and don’t like crowds, something more intimate might suit you better. There are also genre specific conferences, like the Book Passage Mystery Writers Conference and ThrillerFest.
WB: Can you tell us something personal related to work?
EK: Most people who are friends with me on Facebook know I’m single and demand dating stories from me because my stories tend to border on the absurd, from the online scammers and twenty-somethings looking for cougars to the guys who can’t spell, turn out to be addicts or text naked body shots the minute you give out your number (I feel sorry for the lady who has my old cellphone number; I’ve actually had three people tell me they’ve talked to her by phone, and she’s not happy).
Dating has been entertaining, to say the least, especially for my Facebook friends; my boss is hoping I’ll meet a nice guy at a conference. I recently had to read two client manuscripts (BETTING BLIND by Lily Gardner and SENTENCING SAPPHIRE by Mia Thompson), both of which featured murderous online dating activity. After a recent romantic misadventure (fiasco), Mia offered to kill off the guy in her next book if I provided the name, which I did.
WB: Wow. That’s crazy. Naked body shots, really? That could drive you to drink. Have you decided on a signature Kracht cocktail yet?
EK: Lol. Now that I think about it, I can’t remember whatever happened with that. I don’t think we ever did have a Kracht cocktail winner. I’m still open to suggestions.
So here’s my submission for the Liz Kracht cocktail contest, custom made:
A Blue Grasshopper: equal parts crème de menthe, liquor 43, and coconut milk; one splash of blue curacao. Shake over ice, and strain into a martini glass. Garnish with a slice of dark chocolate and enjoy with a good book.