David, would you like to sum up or do you have any last words (I feel like I should be prepping you a prison meal with that question, but if I did, it certainly would be your last!)?  Do you want to let folks know where they can find out more about you and your excellent work?

Hmmm.  Well, certainly I'd love for people to check out my website -- www.DavidBCoe.com so that they can learn a bit more about me and my work.  The site includes sample chapters from all my novels, as well as biographical information, background information about the worlds I've created for my work, and a couple of short stories I published a few years back.  Speaking of short stories, I have a new one coming out this week at Orson Scott Card's InterGalactic Medicine Show (www.intergalacticmedicineshow.com).  And I blog regularly at a number of sites:  http://davidbcoe.livejournal.com, http://davidbcoe.wordpress.com, http://magicalwords.net (A site I share with Faith Hunter, another of Lucienne's writers, as well as Misty Massey and C. E. Murphy), and www.sfnovelists.com (a site run by a large group of professional sf and fantasy writers that is dedicated to issues about writing and our field).

As for last thoughts:  First, please remember that any agent who responds to your inquiries by asking for money up front, or directing you to a "book doctor" or other professional editor who will "fix" your manuscript for a fee, is probably running a scam.  Agents make money by selling your books to a publisher.  They get paid when you get paid.  And also remember that ultimately the most important thing is the writing.  An agent won't represent a mediocre book, and even if he or she did, the book would never sell.  Make your book as good as it can be before approaching an agent (or an editor).  Polish it, get feedback from people you know and trust, and get used to talking about your book in a professional manner.  Have ready a one or two sentence description of your novel that shows you've been thinking about how to market the book.  For instance, my most recent book, THE SORCERERS' PLAGUE:  If Lucienne had asked me to pitch her the book, I would have said, "It's high fantasy -- the first book of a trilogy -- that places a medical thriller in a medieval setting."  One sentence.  I don't go into plot twists or character sketches, because if I take that long, I've lost her.  So again, write the best book you can, polish it with editorial help from trusted friends, and learn how to pitch it.

Along those lines, Lucienne, there are also a lot of writers in your "stable" of authors.  You represent several dozen authors, don't you?  I know this, and yet I've never felt that I'm being neglected by you.  But I think about the writing business from an individual perspective:  How do I improve my chances of success?  How do I further my career?  You have to think about these issues in a more inclusive way.  How do you balance the needs of so many writers?  And how is the view of the business from that vantage point different from the individual perspective?

Excellent answer, David! (See Part IV.)  Great questions too.  Success is all about continuing to strive for more—in your writing, in your sales goals—and never coasting along.  It's constantly thinking creatively, in the writing and the marketing, because more and more, authors are having to market themselves in addition to what the publishers can do for them.  And only you can be you.  As David said above, he's his own best salesman.

It's the same way for an agent. 

David, what promotions have you found to be the most useful?

I've found that many of the techniques you mention here work pretty well.  I have a few blogs going -- some personal, some group blogs with other writers -- and while none of them generates a huge amount of traffic, taken together they do seem to be attracting some attention.  I've noticed greater traffic at my web site and an uptick in the number of emails I get from readers of my books.  And the sales of my most recent release seem to have been pretty good, which is, of course, the ultimate test.

Bookstore signings (aside from those at my local bookstore and in shops specializing in speculative fiction) tend to be a poor use of my time.  The effort involved is rarely worth the payoff in terms of sales or interaction with readers.  On the other hand, I've found that conventions where I get to be on panels, writers' conferences, and talks and/or readings tend to generate a good deal of interest in my work.  Most writers enjoy talking about their work, and I'm no different.  I've learned over the years that I'm my own best salesman.  When people hear me speak about my work -- when they hear my passion for writing, my enthusiasm for the plotlines and characters I happen to be working on at the time, they tend to respond to this.

Recently I've done some online forums in which I answer questions from readers and potential readers.  That's been helpful as well.  Having a cool book cover and nice blurbs on the back of the book never hurts.  Neither does a good review.  But adding that personal touch, letting readers see the person behind the book, is invaluable.

The one other thing I'll add is that I like to go into bookstores and introduce myself to the store staff.  If I can get a bookseller excited about my work, that's going to translate into sales and good "buzz."  So I'll offer to sign stock, sometimes I'll bring in bookmarks or postcards with jacket art on them, I'll answer any questions the staff might have about me or my work.  It's a great way of getting just a bit more involved in the actual retailing of my books.  There are a lot of authors out there, and this is one more way of distinguishing myself from the rest.

Okay, David, we've put ourselves out there – you've written brilliant works and I, genius that I am, recognize your genius.  It's love at first sight.  Now, why is the author/agent relationship so important?  Sure, I get 15% of your earnings, but what do you get out of the whole deal?

You mean aside from the meals and bar drinks you buy me at conventions?  :)

I get three main things out of our relationship.  First, and perhaps most importantly, I get someone who will take care of the business end of my career.  Why is this important?  Because as a writer, my primary artistic relationship is with my editor, who also happens to be the person with whom book contracts need to be negotiated.  With an agent, I can remove myself from the business side of the writer-editor dynamic and concentrate fully on the artistic side.  In other words, having an agent allows me to keep my relationship with my editor cordial, even at times when the business side of things gets rancorous.

Second, a good agent -- and Lucienne is a very good agent -- has information about the publishing market that your average author probably doesn't have.  What kind of books are selling with different publishing houses?  What is a reasonable amount to expect for a book contract as a beginning writer, an experienced writer, a writer of epic fantasy versus a writer of urban fantasy?  Which houses are buying in a particular subgenre right now?  Which editors are good to work with on a particular type of project?  Which houses are on a firm financial footing and which are not?  I could go on, but I think you get the picture.  My business is writing books.  Lucienne's business is finding the right market for those books.  I could try to learn all the stuff she already knows, but it would take me years and it would detract from my writing.  Her vast knowledge of the field is easily worth that 15% fee.

And finally, Lucienne (and most other agents) have access to subagents who can sell subsidiary rights to my work, be it in the form of movie rights, gaming rights, foreign language rights, or anything else.  This is money that I couldn't earn any other way.  And at this point, foreign sales alone account for a solid chunk of my annual income.

There are other things I get out of the relationship, too.  Lucienne is an insightful reader, whose critiques have improved every one of my books that she's represented.  She gives me valuable career advice and at times just provides a sounding board for my professional anxieties and frustrations (not much fun for her, but invaluable for me).  Knowing the business as well as she does, she's able to suggest ways for me to promote my work and myself more effectively.  And, along the way, she's become a good friend.  It's hard to put a price on that.

Wanted: brilliant writer who behaves in a professional manner.  Must:
-write brilliantly, keep the pages turning and keep the reader guessing; originality a plus.
-hit deadlines
-communicate with the agent (i.e. let us know if you're going to be late on deadlines or you're thinking of going in a different direction, etc.)
-know when =not= to communicate, such as airing grievances with the publisher on blogs or websites
-take criticism well
-know enough about the business to make informed decisions and develop reasonable expectations
-be willing to sell promote
-must love dogs (okay, just threw this in to see if you were paying attention)

MMA (Middle-aged, Mid-list Author) seeking agent for business deals, subsidiary sales, and career advice.  Must be well-connected, energetic, and generous with time.  No book doctors or charlatans.  She/he should return calls and/or emails promptly and make me feel that my career matters.  She/he should also be completely honest with me about the quality of my work, about the state of my career, and about my prospects as we enter negotiations with publishers.  Payments of royalties and other income should be forwarded in a timely manner with all fee and expense deductions clearly enumerated.  Most importantly, she/he should handle business discussions with editors and others on the publishing end so that my relationship with these same people remains cordial and artistic, without any spillover of rancor or resentments.