Q: I’m in the process of authoring books in four different genres. Do I need to enlist four agents?—N. Schad

A: You’re writing four books at once? I can’t handle writing two stories at the same time, let alone four, so I’m impressed. But when it’s time to find an agent, you may want to focus all your energy on one. “You don’t need four agents,” says Mollie Glick, literary agent at the Jean V. Naggar Literary Agency. “When you’re ready to query, pick one genre and start researching agents in that specific genre. Pick a few to go after—ones you think will best fit your book.” She also notes that if you send out simultaneous submissions, it’s extremely important that you’re upfront about it in your query letter.

When an agent starts to nibble on your bait, it’s your call whether you show your other work or not. Glick, who’s had some writers ask her to look at all their work and has had others not mention it all, suggests that you always give the agent the option of reading your other work. “I prefer it when writers let me know about all of their books. It can help them make the sale.”

It’s even more important to mention them if you do land the agent. “If you’ve signed a contract, you may be obligated to show any other works to them first,” Glick says. “If you plan to shop your work elsewhere, make sure any written agreement reflects what genres that agent will be handling for you.”

If your agent turns down your other books, start shopping them around. “Having one agent can be used as an asset,” Glick says. “It’s seen as a positive. If you’ve already landed an agent, others are more likely to listen.”

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Yesterday was the annual BEA/Writer's Digest Books Writer's Conference, and I was fortunate to be a panelist on the popular Ask the Editors session. The organizer, GLA editor Chuck Sambuchino, told me it was for my in-depth knowledge of the submission and editing processes and my familiarity with inexpensive ways to self-market work, but I think that was just fancy talk for "Brian, you're so good-looking and we need a little eye candy up there for the ladies."

No, I promise you, I have not been drinking.

Others on the panel included such brilliant minds as WD Books Editorial Director Jane Friedman, WD Books Editor Lauren Mosko and Writer's Market Editor (and Poetic Asides blogger) Robert Lee Brewer. Together, we fielded a number of great questions, but one struck me as very unusual and I thought I'd share.

An audience member said that she had read/been advised that her book proposal should include a mention of any personal finances the author planned to use to promote her book, but only if that dollar figure topped $10,000. Her question was, "Is this true?"

The question caught me off guard—mainly because I've never heard this before. While it's definitely smart to provide any information about your self-promotional plans, it doesn't seem wise to place a dollar figure on what you're willing to spend of your own money to promote your work. And it certainly doesn't make sense (to me) to put it in writing.

There's no doubt that offering to spend your own money would be a selling point to publishers; after all, what employer wouldn't be thrilled by an employee that pays for the privilege of making them money. But it's a slippery slope that could lead to publishers demanding writers to spend their own money, which would put a big chunk of writers who live paycheck-to-paycheck at a permanent disadvantage.

Robert also made a great point: What happens when you commit $10,000 of your own money but only can drum up a $5,000 advance? Now I'm no math whiz, but by my calculation you'd be out $5,000 up front with no guarantee you'd ever see that money again. Both Jane and Lauren agreed that it doesn't seem sensible to make that promise, especially when you don't know what the economic times will be like come publication time.

Now this doesn't mean that you shouldn't invest in your book—and yourself—after you get the book contract. But without putting it in writing you give yourself flexibility.

ps- For more highlights and pictures from the conference, check out Chuck's GLA Blog.

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Q: Why do authors use pseudonyms?—Anonymous

A: Authors write under pseudonyms, or pen names, for a variety of reasons. Established authors will do it to cross genres and keep from aggravating their fan bases. Wouldn’t you be a bit ticked off if you bought Stephen King’s next book expecting blood, guts and hair-raising intensity, only to find out it’s a weepy romance novel? King may choose to publish under a different name so he doesn’t disappoint his die-hard horror fans.

Another reason for using a pen name is to switch publishers. When an author is under contract, her publisher may own the rights to any upcoming work under her name. Often authors will take up a new name so they can shop around their work while avoiding legal problems (be sure to read your contract closely, though, because some prohibit this).

But one of the most common reasons authors write under aliases is because their earlier works bombed. If a writer didn’t make money for the publisher the first time, he’s not likely to get a second chance—publishers would prefer to give someone new a shot. Under a pen name, a writer can be reborn.  

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Q: I was recently approached by one of my relatives (my father's cousin), who asked if I would be her literary executor. I don't really know what this means and thought you might be able to shed some light on the subject. Do you know what this might entail?—Anonymous

A: Often people choose executors of their will to carry out their wishes and oversee the handling/distribution of their estate. A "literary executor," as defined by Merriam-Webster.com, is a person entrusted with the management of the papers and unpublished works of a deceased author. In other words, a literary executor specifically handles all your literary property, including overseeing your copyrights, contracts with publishers, outstanding royalties, etc.

While you can designate anyone to be your literary executor—your child, your neighbor, your old English sheepdog whom you affectionately call "Tots"—it's best to assign it to someone who knows a thing or two about publishing and copyrights. After all, this person will be in charge of all your published and unpublished writings. You want to be certain that your work is handled with care, so the money generated goes to your heirs and favorite charities instead of being "donated" to the bottom line of the publishing houses (unless, of course, you want the publishers to have all your money).

So where do you find someone with the wherewithal to handle your posthumous publishing affairs? If you have an agent, start with him. If he's 20 years your senior, a heavy smoker and likely to pass on long before you, his agency should be able to handle it. Just ask them how to go about setting it up. If you don't have an agent, turn to a friend who has publishing experience. The more knowledgeable the person is with rights, the better off your literary estate will be. And if both of those options are dead ends, select the family member you trust the most to contact/contract the proper professionals (e.g. lawyers, agents, editors, etc.) as needed.

For a more in-depth breakdown on the subject, you can read Copylaw.com's "Final Drafts: Selecting a Literary Executor" by Lloyd Jassin and Ronald Finkelstein. It's filled with great tips and advice to make sure that the value of your writings stay intact after you type that last word and head to the big writer's lounge in the sky.

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Q: The book critic at my local newspaper mentioned in an article that she doesn’t review self-published books. Is this common procedure? Are there any major dailies that do?—Joyann Dwire

A: Some newspapers won’t review self-published books simply because they’re concerned about legal issues. Self-published books aren’t subjected to the rigorous editing process employed by publishing companies, particularly the legal and plagiarism issues that most concern newspapers. Publishing companies do all the legwork and guarantee the book is original, fact-checked and libel-free—after all, their reputation is at stake. And while you may have quadruple-checked your facts, newspapers can’t rest their reputation on your shoulders.

Of course, there may be some snobbery at play at some publications, as the odds of a newspaper being sued over a libelous book review are slimmer than Paris Hilton. But some newspapers insist it’s a legal issue and, like it or not, they have that right.

Not all major papers completely turn their backs on self-published books, though. John Marshall, book critic for The Seattle Post-Intelligencer, says that while his paper is hesitant about it, the editors will review them from time to time. “It’s true that self-published books don’t have the editorial screening that commercial presses have,” he says. “But we’re willing to make exceptions. Often the ones we do mention have either sold well or won awards.”

The Cincinnati Enquirer’s book page content editor, Jim Knippenberg, takes a similar view. “We don’t have a blanket policy,” he says. “It’s on a case-by-case basis. If it’s a recognizable name, like a notable local person, we might review them. In that case, often we’ll do a piece focusing more on the author than the book.”

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Q: A publication I write for regularly just changed editors. The new editors are just ripping my work apart, even rewriting the leads and some sections, or sending stories back to me asking for rewrites. Is this OK? Are there limits to how much editors can change my work and still call it mine? Do I have any recourse if I hate their changes? —Shannon

A: As a writer, I know how difficult it can be to accept major changes to your work. But as an editor, I know the importance of reworking a piece so that it fits the style and tone of the magazine. That’s what editors get paid to do.

In working with so many freelancers who have different strengths and writing styles, editors must tighten each piece to fit the overall message of the publication. If your piece doesn’t quite fit, it’s subject to little or massive changes. An editor can edit, rewrite and ask you to rewrite sections—or even the entire piece—if it’s not up to the publication’s editorial standards, or if your work doesn’t meet the requirements set forth in the original assignment.

After all the changes are completed, the editor should give you a copy of his edited version, also known as a galley. You should be given the chance to look it over and point out any problems you have with the revisions. Most editors try to work through your requests, but ultimately the editor has the final say as to which version runs in her magazine.

If you still feel your article is in shambles and you’re uncomfortable running your byline with it, you do have one option: Politely withdraw it from consideration and return any money the publication paid you for your work. This should be a last-case resort, as pulling a piece last-minute will not only hurt the magazine’s production schedule, but also will burn all bridges with that editor.

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Q: When is the best time to query agents? I've heard different things, like winter is bad, summer is slow, but it's OK in the spring. Is this true?—Kristen Howe

A: Spring, summer, winter or fall—agents are continually looking for good manuscripts. You'll occasionally find one who says that she doesn't buy around the holidays or that she takes time off in June to cart the kids to Disneyworld, but that doesn't mean you can't send your query (or that you shouldn't). And it certainly doesn't mean it won't get a look.

"Agents are always working," says Nancy Love, agent at Nancy Love Literary Agency (member of the Association of Artists' Representatives).  "There are times when it's more difficult to sell books to publishers (summer because of vacations, around the Christmas and New Year's Holidays because everyone is shopping or away). But agents are always working."

In other words, don't let time restrict you. Picking the right moment to query isn't a seasonal issue, it's a personal issue. The best time to seek an agent is after you've polished off your novel (or your nonfiction outline and sample chapters) and done your homework on which agents best suit your work.

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Q. How long is the typical short story supposed to be? How about novellas and novels? Are there guidelines with regard to word count for a first-time novelist? —Molly Heyl

A. There are general guidelines for each literary category: Short stories range anywhere from 1,500 to 30,000 words; Novellas run from 30,000 to 50,000; Novels range from 55,000 to 300,000 words, but I wouldn’t recommend aiming for the high end, as books the length of War & Peace aren’t exactly the easiest to sell. 

Agent Lori Perkins of the L. Perkins Agency in New York says it’s much easier to market a first-time novelist’s book if the word count falls between 80,000 and 100,000 words, or roughly 300 double-spaced, typed pages—the average novel length.

“One-third of the novels that come into the agency are rejected because they’re too long or short,” Perkins says. “The cost greatly increases on books larger than 100,000 words, so agents and publishers are less likely to gamble on a manuscript the size of a dictionary.”

When you’re writing, though, don’t impose word limits on yourself. Let the story flow without interruption. Wait until you finish the first draft to go back and tighten it to a reasonable length. Save every scene you cut, though. It may lead you to another story.

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Q: I live in a small town where there are no agents. Do I have to have an agent in my town or can I get an agent from another town or even another state? Do I really have to meet them in person or can it be strictly a phone and e-mail relationship?—Claira Ketter

A: There’s no rule that says you need to live in the same town, city or even country as your agent. In fact, many authors live several states away from their agents. With technology so advanced (computers and e-mail, fax machines, cell phones that can do everything except wash your car), it’s easy to communicate with an agent from anywhere.

Now, while it’s not necessary, I do think it’s important that before signing with an agent, you should meet her in person if possible. After all, this is the person who’s going to be advising you, representing your work and (hopefully) selling it to a publisher. You need someone who feels as strongly about the success of your book as you do—someone who’s willing to fight for it.

The writer/agent relationship is kind of like a marriage. I’d sure want to meet the person I’m marrying. 

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.

Q: What steps can writers take to ensure timely payment? —Anonymous

A: This kind of thing happens all the time: writer does job, submits invoice, waits for check, check never shows up, writer buys carton of eggs, Googles editor's home address and, well, you can guess what happens next.

There are several things that can slow down or even stop your payment from ever being processed. Sometimes it can be a slip-up on the editor's side. Other times the writer misses a step in the process or has misinformed expectations of when the payment will be delivered. So to make sure you receive your payment in a timely fashion, it's important that you understand the contract and keep things clean on your end.

First, be sure that you submit a correct and thoroughly filled out invoice—including name, date, mailing information, social security number/business tax ID, title of project/article and the amount charged. When sending the invoice (typically via e-mail), copy yourself (put your e-mail address in the CC spot). This way you have a record of when it was sent and whom it was sent to.

Also, it's important for you to remember that editors don't fully control the purse strings for publishing companies, and accounting cuts all the checks. All accounting departments work a little differently—some pay 30 days from the day the invoice is submitted, some pay 60 days from the publication date of your piece. Before contacting anyone, examine your contract so you are clear on when you should get paid. Once you've established that date, add two weeks before contacting the editor to look for the payment. (The two-week buffer is in case the editor took a couple days to pass it along to accounting and for mailing-time.)

If you follow all these steps, you'll save yourself time, energy and headaches down the road. Plus you'll save that poor carton of eggs.

Brian A. Klems is the online managing editor of Writer’s Digest magazine.

Have a question for me? Feel free to post it in the comments section below or e-mail me at WritersDig@fwpubs.com with “Q&Q” in the subject line. Come back each Tuesday as I try to give you more insight into the writing life.