A Snarkling looks ahead:
"You write a lot with how writers find agents and how agents then find publishing deals for their writers, but what does the agent do once that bridge has been crossed?
Let's say you have secured a three-book deal for a writer. Do you take an active role in each of those three books as a sounding board for the author? Are you the one hawking the film rights? Foreign publishing rights? Or do you simply wait for the writer to finish his three books and hope he comes back to you when he's looking for a new contract?"
Once the deal is signed the real fun begins. There's all the fun of covers, blurbs, promotional campaigns, and wailing about stock. Those conversations are hardly ever fun...or short.
If there's a second book coming, you bet I read it. Sometimes I'm the reader before the editor, sometimes not.
I don't do film rights, or foreign publishing rights. Those are handled very capably by my subsidiary rights agents. Film is it's own specialized world and Miss Snark is smart enough to let people who know what they are doing, do it. Foreign rights the same.
That's not to say I'm out of the loop on that, but I'm not doing the day to day work.
Acquisition is a very small part of my job. Selling the work is a bigger one but keeping the author's career in forward motion is the biggest.
As for hoping the client's come back ...well, they never seem to leave. Unlike fish and guests, I'm glad to have them stay as long as they want.