WWR: How long have you been acquiring for the Creative Media Agency?
Lisa: I've been officially acquiring for about a year, but have been with Creative Media for longer than that. I started as an intern—reading through slush, etc.—and Paige and I got along so well, she asked me to come aboard officially. She and I have similar tastes in some ways; we both love romance and commercial genres, but I also acquire mainstream and literary fiction/non-fiction. I can be as romanced by lovely, poetic prose and theme as by romance itself.
WWR: Your bio on the Creative Media website says you're "a sucker for any book that simply 'does what it sets out to do'." Would you tell us what that means?
Lisa: While a love of basic efficacy in books may seem bland or lackluster, I have to say that because my tastes are so diverse, so open to "experiments" in plot and characterization, I'm often charmed by projects that are out-of-the-way or unconventional—as well as by good stories with strong hooks. I suppose what it means is that I'm open to any writer who really, truly knows what she's about, regardless of genre or form. I just love to read good books. That's really the bottom line!
WWR: What elements do you love to see in a book? What elements will turn you off a book you might otherwise be interested in representing?
Lisa: In romance I tend to look at the style and tone of the book first (I love unique voices and perspectives). But while I'm reading for technique, I'm also looking for strong intermediate and over-arching conflict on every page, a solid, exciting hook, and memorable characters. I adore books I can learn from. And I love sexy stuff! Dark and wild or light and fun—I say, the hotter the better!
As far as turn-offs, I have an aversion to bitchy heroines, characters who exclaim the word "damn" prodigiously (I see it a lot), and alpha males who won't let heroines be their emotional equals.
WWR: Are you looking for books to represent or authors? (By that, I mean, do you focus more on a single project or book, or are you looking for authors who already have several books ready?)
Lisa: I'm looking for writers who are in it for the long haul, who understand how a successful partnership will result in successful branding. When I pitch an author, I don't want to sell her book to an editor as a one-off deal—a project—I want to sell the author herself: that is, her unique personality, her interests, her ability, etc. In short, I want sell both the book and the promise of the author's future successes.
WWR: Do you take on clients based on the potential you see in their work, or do you stick with authors who are clearly ready for publication?
Lisa: A little of both. We're very hands-on at CMA. When we send out a book, we want to send out the best possible thing we can. We're not adverse to critique—in fact, we love doing it if it makes the work in question that much more saleable. But—we do want to see submissions come into our agency in the very best possible condition they can be in.
WWR: There aren't really classes you can take to teach you to become an agent (or are there?), so how do you gain the experience you need to effectively represent your clients?
Lisa: Some new agents have to start on their own, sort of trial by error until they get it right. I have had the distinct advantage of working at CMA, leaning about the many hats an agent wears by interning before actually becoming an acquiring agent. There are "how-to" books out there on agenting (including some "be your own agent" books), but I haven't read any that were helpful when it comes to the intimate nuances of the business. Really, learning first-hand from a pro has made all the difference.
WWR: Do you offer career guidance to your clients? How important do you think it is for your clients to have a clear idea of where they want to go with their writing in the future?
Lisa: I look at agenting not as offering writers only basic representation, but offering them knowledgeable career management. An idea of who you are and what you want from your career is absolutely essential for success. Know thyself. That's the first step for the serious writer.
WWR: Do you ever feel like there's a conflict between what readers want to read and what editors are acquiring, and have you ever found yourself turning down the representation of a book because of that?
Lisa: Editors are business people. They acquire what people are reading. They know the market. I wish I could say that I acquire books simply because I fall in love with them. But the cruel fact is that while reading is a warm, welcoming hobby for most Americans, it's a die-hard business for those of us on the inside. I do love every book (and author) that I take on...but when I'm sitting at my desk with two books that I love (one that's marketable, one that isn't), I'm going to offer for the book I can sell.
WWR: And finally, what do you like to read when you're not working?
Lisa: Amazon.com is still trying to figure me out on this question! Some days, they'll recommend romance to me, other days, a post-modernist satire. As a woman enamored with books, writers, and the industry, I love reading (and acquiring) non-fiction that offers new insight into the business of writing/publishing. When I'm exhausted, I read romance (love sexy, smart historicals!), and when I need a challenge, I read literary. I'm particularly interested in America's social and political history and (for some reason) the history of the Catskills. I also love general women's fiction. I guess I love it all!
WWR: Lisa, thanks so much for your time!
Lisa: Thank you for the interview!
