BFLA Open Week: What Do Rights Agents Do All Day (At Book Fairs)

Written by Nicole Etherington

If you are an aspiring author or a publishing hopeful, you might have heard those in the industry making reference to book fairs. A book fair is an international trade event where rights agents, scouts, and publishers from across the world come together to talk about books. There are several book fairs each year, held in cities across the world – London, Bologna, Turin and Frankfurt, to name a few – but the purpose is always the same: to showcase the authors and titles we represent to publishing individuals worldwide, and to build and sustain international relationships within the publishing industry.

            Although book fairs are typically held over a few days, they are the culmination of months of preparation. Ahead of the fair, we prepare our rights guide (a catalogue of our book fair titles and key information which we use when pitching to publishers), we hone our pitches, we meet with scouts to discuss upcoming titles and we put together our meeting schedules.

            During the fair, you will find me and fellow translation rights agents at tables in the International Rights Centre (IRC). Each literary agency is designated a series of tables in the IRC where they hold meetings for the duration of the fair. Meetings are often held in thirty-minute slots. During meetings with editors from international publishing houses, we try to get a sense of their taste, what genres and formats are performing well in their markets and why, and if there have been any unexpected successes. Then we tailor our pitches to the editor and what they’re looking for. I like to think of bookfair meetings as publishing speed-dating. After the fair, we follow up with editors and send them the materials they have requested.

            The pandemic made in-person fairs impossible in 2020 and 2021, and meetings migrated online. Although it has meant that Zoom and Teams etc. are now a more ready part of our toolkits, it is hard to recreate the buzz of a fair through a computer screen. Luckily, we were able to return to in-person events in 2022. Our preparation for the London Book Fair in April this year is well under way!

BFLA Open Week: Media Rights - The Inside Scoop

Written by Anna Myrmus

How our work is split between IP and screenwriters

The Media Department really serves two roles at Blake Friedmann: primary agenting for our media clients and facilitating Book to Film/TV options for the wider agency’s book clients.

On the media side, that means finding screenwriting talent, developing that talent, and pitching and submitting scripts to producers, before hopefully negotiating deals based on those scripts.

On the Book to Film side, since we’re not the primary agents, we don’t develop the material with authors (we leave that to the Book Department!) but we actively submit books to producers, based on what we’re hearing from them in meetings. So, in a way, we do assess material, but only for its Book-to-Film potential. We then negotiate the option agreements for Film and TV, to make sure our authors are getting the best deal possible.

Finding screenwriters

Sourcing screenwriters happens in many ways. The first is through the submissions we receive to our media submissions email. We also find writers by regularly attending different events like showcases, fringe theatre nights, and networking drinks. And on top of that, we try and keep on top of certain screenwriting competitions like the BBC Writers room to find emerging talent.

When it comes to submissions, we always ask for a CV and cover letter as well as a script. The CV is a way of finding out the work a writer has done so far, including any credits they might already have. I always like when the CV includes a list of their scripts, even if they’re uncredited, so we know which projects we could work on with them initially (if we were to like their sample script). The cover letter is a chance for us to hear more about a writer’s background and the kind of stories they want to write, and why they think we could be the agents for them.

When we read a script that we love from a writer, we’ll ask them for other samples, so we can get a sense of their style. Then, if we feel passionately about their work overall, we’ll arrange to meet to talk through our feedback, plus to hear about their ambitions for their writing, i.e., the kind of show or films they would like to write for and why. It’s also always useful to find out which producers they may already have spoken to or submitted to, so that if we do take them on, we know who we could build further relationships with, and who not to double submit to!

If that all goes well and we take on a writer, the first step is developing the script that we’ll send out to producers.

Developing writers’ scripts

When we submit a TV pilot to a producer, we usually submit it with a pitch document, which gives the producer the writer’s vision for the series. The pitch document outlines the story, the main characters, the first series’ arc, why it’s relevant now, why the writer should be the one to write it, plus any other pertinent information. So, when we develop a project with a screenwriter, we are developing not only the pilot script but the pitch document. This is because often a pilot script can be amazing, but if the story doesn’t have the legs to span a whole series, it’s hard to get producers interested. In fact, when pitching for TV, the idea is often just as important as the sample.

Developing a script and its pitch document usually involves a few rounds of notes, depending on how structural the changes needed are. The more the overall story needs work, the more work will need to be done. For this reason, we usually prefer to work with a writer on a pitch before they write the pilot, so that we can help craft the outline, and because often if we know an idea will be a very hard sell, it’s best we guide them before they write the whole pilot.

Then once a script and pitch document are ready, we’ll submit them, along with our own submission letter, to the producers who we know could be interested.

Assessing IP

Being active on books means submitting them to producers who we know are interested in that kind of IP. When we’ve read a Blake Friedmann book that we want to be active on, we craft a submission letter which we hope will get the producer to want to read the book. The letter usually starts with some information about the writer (for example, if they’ve written other books, we’ll talk about the success they’ve had and perhaps where they’ve been optioned for film and TV). Then we tease the plot and make comparisons to recent TV series or Film so the producers know where the book could fit on their development slate.

Then, based on the relationships we’ve built with producers, and the recent meetings we’ve been having, we submit this letter via email to those whose taste we think aligns with the book.

However, just because we’re not active on a book doesn’t mean it can’t be optioned. There are often wonderful books which we’ve loved but which are less commercial in terms of Film and TV. With these books, we tend to keep them in mind in meetings, and pitch them on an ad hoc basis, especially if a producer mentions the genre or subject matter to us. And indeed, with those books often an option deal happens when a very passionate producer comes forward, independent of our submissions. So not submitting a book doesn’t mean it won’t get optioned.

Meeting producers

On top of submitting new books and scripts, we also keep all that material in mind when meeting with producers. Having both the Book to Film and screenwriting sides to our work means that we get to wear both hats in these meetings and pitch a whole range of material, depending on what the producer tells us.

Meeting producers is really for us to find out what different production companies are looking for, so we know what to submit where, and for us to build relationships in the industry which will help our writers going forward.

We’re constantly setting up meeting with producers, whether that’s because they’ve sent us a new brief, we have new material to catch them up on, or because we’re both attending events like Content London or Series Mania.

BFLA Open Week: Why Audio Rights Matter

Written by Roya Sarrafi-Gohar

The rise in the popularity of audiobooks is one of the biggest changes in the publishing industry in the past decade. While this means that audio rights to books are potentially worth a lot of money, many authors may not know that these rights can be sold separately to an audio publisher, rather than to the book’s print or eBook publisher. It isn’t always possible to hold back audio rights, and it is much more likely with some publishers than others.

If an agent can hold back audio rights when doing a book deal, then sell those rights separately to an audio publisher, this is most often likely to mean extra income for the author, as it usually comes with a separate advance, and a separate stream of royalty income once the advance earns out. Sometimes it is even helpful to have a separate offer for audio rights just to show an author the monetary value of those rights.

As with book design choices, control of the production of the audiobook, including choice of narrator, is ultimately with the publisher, but generally the publisher will at least consult with the author on their narrator choices. Choosing a narrator can be an exciting opportunity for an author to bring their work to life in a new way, and sometimes authors narrate themselves, if they pass an audition. Narrating a whole audiobook can be more taxing than it first appears!

Sometimes an agent will also try to hold back radio rights and try to sell these separately. This is usually a straight reading of an abridgement of the work on programmes such as BBC Radio 4’s Book at Bedtime. A very small proportion of books get picked up for radio, but this is again a potential additional source of income. What’s more, it can often give the book sales a boost, as a lot more people become aware of the book, and if they listen to the whole abridgement, they might want to read the full unabridged version too.

This all goes to show that there can be a lot more to a book than just a print copy or eBook – there’s a variety of ways that a book can find audiences, and bring in more income for authors.

Dani Atkins wins the Jackie Collins Romantic Thriller Award at the 2023 Romantic Novel Awards

Dani Atkins has won the Jackie Collins Romantic Thriller Award at the 2023 Romantic Novel Awards for her compelling novel SIX DAYS. Dani was announced as winner at last night’s Romantic Novel Award ceremony at the Leonardo Royal Hotel London City, with actor Peter Davison presenting.

Launched in 2015, the Romantic Novel Awards celebrate excellence in romantic fiction, and the Jackie Collins Romantic Thriller Award is for stories featuring a substantial thriller, suspense, mystery or crime story, alongside or fully entwined with a romantic story. Dani is already a recipient of three Romantic Novel Awards, with THIS LOVE winning the Goldsboro Romantic Book of the Year Award 2018 and the Epic Novel of the Year Award 2018, and A SKY FULL OF STARS winning the Contemporary Romantic Novel Award in 2022.

SIX DAYS was published by Head of Zeus in the UK in hardback in April 2022 and in paperback in January 2023. It follows one love story between two people across six days.

In SIX DAYS, Gemma knows that she and Finn are destined to be together. They are soulmates. But then, on their wedding day, he never arrives at the church. Gemma is convinced Finn wouldn't abandon her like this, even though he has disappeared once before. But back then he had a reason. She feels sure something terrible has happened, but no one else is convinced. Even the police aren't concerned, telling Gemma most people who disappear usually turn up in a week... assuming they want to be found, that is.

For the next six days Gemma frantically searches for Finn, even though every shocking revelation is telling her to give up on him. Before long, even she begins to doubt her own memories of their love. How long can she hold on to her faith in Finn if everyone is telling her to let him go?

Dani is currently writing her next novel for Head of Zeus.

Praise for SIX DAYS

An Apple Books Favourite Read

‘A well-paced, good-natured and emotional novel.’ – Wendy Holden, The Daily Mail

‘A page-turner that packs a real emotional punch.’ – Zoe West, Women’s Weekly

‘Emotional and compelling.’ – Claire Frost, Fabulous Magazine

‘A tender and emotional tale, SIX DAYS will have readers frantically turning the pages to see if Gemma's faith in Finn is justified.’ – Sinead Crowley

‘Guaranteed to keep late night page-turners agog, Dani Atkins gives us a heroine who takes nothing lying down, not even being abandoned at the altar. I loved Gemma’s tenacity. Trusting the power of love is tougher than it looks, as this delicious romantic mystery proves.’ – Fiona Walker

‘This engaging and expressive relationship story examines love, trust, and resolve when a groom goes missing, leaving his bride at the altar. A gorgeous and thoughtful relationship tale with bite and intrigue as well as love and friendship. This novel takes you by the hand and expands through your thoughts as you live alongside Gemma when her fiancé fails to turn up at their wedding… Dani Atkins has the most thought-provoking pen, her words don’t just reach inside and touch my heart, they also shake emotions, hit thoughts, and leave the characters and story a part of me. I always look forward to her novels, she is such a consistent writer, though she certainly knows how to keep your feelings hovering on the edge of free-fall... This is most definitely a story about a love, it also successfully balances tension, particularly as it weaves its way towards the end. SIX DAYS is a page-turning, stimulating absolute beauty of a novel, that I can recommend heart and soul.’ – Liz Robinson, LoveReading

‘I couldn’t put it down… [a] truly captivating romantic read…It’s an emotional character-driven weepie that I absolutely adored.’ – Janet Gordon, Annabel & Grace

‘A heart-tugging romance with lovely characters.’ – The People’s Friend

About Dani Atkins
Dani Atkins was born in London, and grew up in Cockfosters, Hertfordshire. She now lives in a 350-year-old cottage with her husband, one Siamese cat and a very soppy Border Collie.

Dani has been writing for fun all her life but, following the 2013 publication of her novel FRACTURED (Head of Zeus), she has made writing her full-time career. FRACTURED has since been published in sixteen languages and has sold more than half a million copies since first publication in the UK.

Follow Dani on Facebook, Twitter and Instagram.

BFLA Open Week: What happens once you’ve signed with an agent?

Written by Sian Ellis-Martin

When you’re writing your first book, it can be difficult to see past the goal of finding representation with an agent. But what comes next?! Below is a non-exhaustive list of what you can expect from working with an agent, how your book is sold to a publisher, and what happens once you have a deal. Sometimes these things happen in a slightly different order – particularly once you have a publication deal and lots of things start happening simultaneously.

Edits from your agent

Although your agent already loves your book and writing (they’ve offered you representation after all!), it will usually take a few rounds of edits to get your manuscript ready for submission to publishers. Your agent will discuss those edits with you, and you’ll likely focus on the larger, structural edits first such as plot and narrative threads, character, pacing and general structure of the book. Once you’re both happy with the work you’ve done on a larger scale, your agent will usually do a line edit of the manuscript to check for any smaller issues to do with spelling and grammar.

Your book goes on submission

While you’re editing your manuscript, your agent will be doing all sorts of things in the background in preparation for submitting your work to publishers. Agents and the rights team will be pitching your book to editors when they can – at day-to-day meetings and at book fairs. Closer to submission time, your agent will draw up a list of editors that they plan to submit your work to and, once the manuscript is ready, they’ll send it out via email along with a submission letter.

As well as trying to secure a print deal, your agent will also be actively trying to sell other rights in your work, such as audio, radio, film and television (if these rights are covered by your agency agreement). If you write short stories, they may also be able to help you with submitting those stories to prizes and short story publications too. For more information on rights, see Roya’s piece from Open Week 2022.

Waiting

We often see news of overnight book deals, publishers pre-empting books for seven figures and hotly contested auctions with multiple publishers and massive advances. Sometimes books sell that way, and it’s really exciting when they do! But it’s not always the reality of the book selling and buying process, and sometimes you’ll wait a while before you hear that an editor is interested in acquiring your book. That’s completely normal – editors often have bigger reading piles than they have time to get to, and more hoops to jump through than your agent would have had when they signed you – but it can understandably be a frustrating and worrying time. Rest assured that your agent is on top of things, continuing to pitch your book, and will update you when they have news.

Agreeing a deal to sell the book

There are also multiple ways for an offer to come about. You might receive offers from multiple publishers, which means your book will be sold at auction. You might receive a pre-empt offer, which is where a publisher makes an offer but sets a deadline by which that offer will expire (this is usually an attempt to take the manuscript off the table and avoid an auction situation), or you might receive one offer.

There are also lots of variables within an offer itself, including how many books the publisher is offering for, advance level, royalties, bonuses and subsidiary rights splits. These main terms will be outlined at offer stage.

Your agent will be ready to handle any outcome of the selling process and will explain the ins and outs of each offer to you to ensure that you are equipped with all the knowledge you need to make the decision that feels best for you.

There’s always a chance that your book unfortunately does not sell, and your agent will be able to discuss a plan for next steps with you. You can read Isobel’s Open Week 2022 article here if you’d like to know more about how publishing is sometimes a long road to success.

Publisher contract

Once you’ve agreed a deal with your new publisher, your agent will negotiate the full contract with them. Contracts are usually based on a boilerplate – a template of agreed wording – between the agency and the publisher but if this is the first deal the agent has done with that publisher, they will need to negotiate the boilerplate first, which may take a little longer.

To find out more about the money side of your publishing deal, take a look at Juliet’s Demystifying Money piece from Open Week 2022.

Edits from your editor

While your agent is negotiating the contract, your editor will start to write up their editorial thoughts – yes, more edits! This will follow a similar pattern to the edits you undertook with your agent; first, the larger, structural edits, and then, once those edits are complete, your book will be passed on to the copyeditor and/or proof-reader who will check for any inconsistences, factual inaccuracies or spelling and grammar errors. You’ll be asked to check and approve the edited manuscript.

Proofs

Sometimes (but not always) a publisher will produce proofs of your book. Proofs are an early hard copy of your book – it may not have the final cover or be the very final text – which are sent out to early readers for review. This includes other authors, book bloggers and reviewers for newspapers, magazines and websites. It’s a good idea to have a think about whose hands you’d like to get the book into and to share that with your publisher when proof discussions are happening.

Choosing a cover

Alongside your edits, you’ll also engage in conversations about the book cover. Although a publisher usually makes the final decision on your book cover, they’re always happy to hear your thoughts and ideas too, and will usually seek your approval before they go ahead. This can be a really fun and exciting part of the publication process! Don’t forget to discuss the cover options with your agent who will have valuable insight too.

Marketing, publicity and promotion

Your editor will usually set up a meeting between you, your agent and the publishing team working on your book, including the marketing and publicity professionals tasked with looking after your book. In this meeting, they’ll outline their plans for promoting the book before, during and after publication. It’s also an opportunity for the publisher to outline what might be expected of you in the lead up to and around publication – this could include events, signings, social media posts or any other promotional activity.

Around this time and in the lead up to publication, your agent will ask the publisher about numbers: how many books have been ordered by the main retailers? What level are pre-orders at?

Publication

The big day has arrived! Your book will be in the bookstores (and possibly supermarkets) and available to buy online too.

After publication

In the weeks after publication, your publisher will update you and your agent on the sales of your book and any post-publication reviews that you might receive.

If you agreed a multi-book deal, you’ll probably already be writing your next book but if not, you and your agent will have a plan for selling the next one!