The career novelist

THE CAREER NOVELIST

Finally, when the book is done who will do the final pass to

establish consistency of tone? In a well-written collaboration it

should be impossible for the reader to tell who wrote what.

Put your agreement in the form of a letter that both of you sign

or, if you like, get a lawyer to draft something formal. The most

important thing is to work it out in advance.

You both will thank each other later if you do.

AGENTS
Together you have written a dynamite book. Both your agents are
happy, right? Not necessarily. If your partner is represented by a
different agency you may find that you have bought yourselves
ringside seats for the clash of the titans.
Now, most agents will handle this situation coolly and profes-
sionally. Regarding commissions, the usual arrangement is that
each agent takes her 10 or 15 percent from her client's share of the
revenues.
So far so good.
When disagreements arise, it is often over which agent will con-
trol the work; that is, who will sell it, market sub-rights, receive pay-
ments—and, incidentally, receive credit for the sale. No doubt
about it, what is at stake here is a lot of ego. If your agents cannot
reach agreement, suggest that they equally divide responsibility.
That is, if one cuts the book deal, the other handles all sub-rights
including TV and movie.
If all else fails, the Association of Authors Representatives—
of which both your agents are members, I hope—has an Ethics
Committee, one purpose of which is to settle disputes between
member agents behind the scenes. Get your agents into arbitra-
tion.
Now, suppose your agent is dead set against the collaboration.
What should you do? First, listen to him. His reasons may make
sense. Your proposed collaboration may not fit into your career
plan, or might endanger a solo series that you already have under-
way. Why compromise a successful line of business just for the thrill
of trying something new?