Remember that scene in The NeverEnding Story when Atreyu needs to pass between those two Sphinx statues? (If you don’t, then we can’t be friends, just FYI). The statues are guardians, allowing only those pure of heart to pass. (They also need to be kind, brave, and a child. But those elements don’t work for my analogy, so we’ll just ignore them). Right before Atreyu attempts to walk through, he witnesses a knight do the same, only to have the statues open their eyes and fry the poor S.O.B. with golden laser blasts. In the movie, The Sphinx Gate is the first of three that our hero must overcome to reach his ultimate goal, and there isn’t an author alive who doesn’t feel like Atreyu the minute they hit “send” on their first query letter.
After the Beta Readers give their stamp of approval, after any Freelance Editors have made their suggestions, it’s time to pass through the first gate on the path to publication. What makes it so terrifying is that while every author dreams of being Atreyu, the vast majority wind up like that poor knight: Defeated, broken, their hopes and dreams blasted into oblivion by those mysterious Sphinx known as Literary Agents.
Of course, you can bypass that gate by going the self-publishing route, but I knew that wasn’t for me. All the big, traditional publishing houses only dealt with authors repped by an agent, so through the gate I went in search of one.
I didn’t keep an exact count, but I know I got blasted about 50 times before I finally found my agent. (Not one of those times was personal, either. Keeping that in mind is key to getting up, dusting yourself off, and trying to walk through the gate again). He was actually the second agent to offer me representation, but after our initial phone call, I knew I’d found The One. He got my voice, my sense of humor, and what I was trying to do with my book. He identified every flaw I knew was in it, and more importantly had brilliant ideas on how to fix them and make a story I already loved even better. He works for the still-growing publishing arm of United Talent Agency, one of the largest talent firms in Hollywood, and every single author I spoke with as a reference said he was a star on the rise.
His name is Daniel Milaschewski, and I am so grateful he took some time out of his perpetually busy schedule to answer my questions. So let’s dispense with the labored 80’s movie references and get to them!
Beyond the quality of writing and the story, what factors determine
whether or not you decide to represent an author?
I’m always looking for a clear hook. A great hook makes it easier for a novel to stand out in a crowded marketplace. Great, realistic comparison titles and a tighter word count are also key. The novel doesn’t need to be perfect, but I need to see potential for this book and future ones to come.
I credit you with identifying every weakness in the manuscript I
queried and working with me to shape it into the book we eventually sold. I was proud of the original version, but man, the one that emerged after your suggestions just shines. How much editing work do you typically do for your clients?
Well hey, I’m glad! Oy, usually it takes 6 months on the quicker side, and maybe even years. For the most part, editors want to see the book in pretty good shape. They’re editors for a reason, but they’re not usually going to do wholesale developmental edits. They generally want the story to be locked in place and to be able to edit the execution. You also don’t want to give them an easy reason to pass. So, as an author, it’s important when evaluating who to sign with that you’re on the same page editorially.
The work an agent does in the trenches on their client’s behalf is
remarkably similar to what authors go through during the query
process, which is to say grueling and thankless most of the time. Can you give everyone a behind-the-scenes look at how you went about shopping my novel around to editors?
While you’re completely right in that most of the job of being an agent is grueling, the fun parts are when you’re getting lunch and drinks with editors and talking about your projects. Part of the agent’s job is to have a pulse on what editors are looking for and trying to generate buzz for their authors. When the book is ready to go out, it’s figuring out the strategy of the submission, writing the pitch, creating the list of people, and making sure we’re timing the submission right.
Every author dreams of seeing their book adapted to some type of
screen. How much do literary agents play a role in that, and does
movie/TV adaptability factor at all into your decision on whether or
not to represent someone?
It depends on where the agent works. Generally, those are two different jobs of literary agent v. an adaptation or “media rights” agent, and then part of the literary agent’s job is matchmaking a novel to the perfect media rights agent. For me, I always think about adaptability because in a world where many great novels publish but aren’t discovered, an adaptation gives a novel a built in platform for people to find it.
What is a common myth about literary agents that you would like to debunk?
There’s a stereotype about agents that they’re soulless a**holes who are always looking at the next shiny object. I can’t speak for every agent, but most agents I’ve met are kind, smart people—but also incredibly busy. At the end of the day, most literary agents didn’t get into publishing for the money. We work for you, and we want what’s best for you.
OK, time’s yours! Take this opportunity to plug an upcoming release
from one of the many other talented authors on your roster, drop some of that next-level knowledge you learned at Harvard, or just explain to everyone how UTA is taking over the publishing world. Whatever you want!
Pre-order Gregg’s book (when it’s available)! THE RECRUITER is such a fun, fast-paced thriller and every single one of your friends, family members, and co-workers needs a copy.
What I learned at Harvard was twofold: there’s always going to be someone “better” than you; and most times that doesn’t matter. The most talented writer in the world might not get discovered, but with the right book and the right packaging, you can sell millions of copies. That should be freeing.
UTA is a great home for authors. We’ve recently gained new muscle from joining forces with Fletcher & Co, and we’ve got the best, savviest agents in the business. Come over to UTA! There’s room for everyone!
If you think Dan might be the kind of guy you want to work with (spoiler alert: he is), then check out his Manuscript Wish List page to see if your novel matches what he’s looking for: https://www.manuscriptwishlist.com/mswl-post/dan-milaschewski
You won’t regret it!
