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Pulled an All-Nighter
I wasn't sleepy at five this morning. It's ten a.m. and I am now. Strong coffee and an early night tonight I think.
But I ended up getting a lot of work done and I feel good about that!. Not writing, but day-job music agency work, which means I can give myself some time to write towards the end of the week if I can make inroads into my feeling-guilty-day-job pile.
The thing about being a musician's-agent is that there are certain parallels to being a literary agent. Part of my job is to gently turn people away from my door. I get more approaches from hopefuls than I can possibly deal with. A couple of weeks ago I'd had eight acts call me by lunchtime on Tuesday. It would be impossible to take on all of hem--or any of them, for that matter--even though they are mostly excellent. So what makes an approach from one musician stand out above the rest? Why do I sometimes say yes to an act even though I know, strictly speaking, that I need another act on my books like a fish needs an umbrella? Maybe if I could figure that out, I could apply it to my own literary agent search, make my 'package' memorable--and no, I don't mean perfumed pink paper and purple ink) and snag my agent of choice.
Unfortunately, more often than not, with musicians... it just depends what mood I'm in when a package lands on my doormat. I suspect it's like that with Literary agents too. However professional you are, there are some days when you'll be more receptive to certain ideas than others.
I'm sure I've turned down some winning acts... in fact I know I have. Right now it could be the Beatles' reunion tour knocking on my door and I'd have to day no because I'm just too damn busy.
So next time I get a negative from a literary agent I'll just remember it's a lottery.
But I ended up getting a lot of work done and I feel good about that!. Not writing, but day-job music agency work, which means I can give myself some time to write towards the end of the week if I can make inroads into my feeling-guilty-day-job pile.
The thing about being a musician's-agent is that there are certain parallels to being a literary agent. Part of my job is to gently turn people away from my door. I get more approaches from hopefuls than I can possibly deal with. A couple of weeks ago I'd had eight acts call me by lunchtime on Tuesday. It would be impossible to take on all of hem--or any of them, for that matter--even though they are mostly excellent. So what makes an approach from one musician stand out above the rest? Why do I sometimes say yes to an act even though I know, strictly speaking, that I need another act on my books like a fish needs an umbrella? Maybe if I could figure that out, I could apply it to my own literary agent search, make my 'package' memorable--and no, I don't mean perfumed pink paper and purple ink) and snag my agent of choice.
Unfortunately, more often than not, with musicians... it just depends what mood I'm in when a package lands on my doormat. I suspect it's like that with Literary agents too. However professional you are, there are some days when you'll be more receptive to certain ideas than others.
I'm sure I've turned down some winning acts... in fact I know I have. Right now it could be the Beatles' reunion tour knocking on my door and I'd have to day no because I'm just too damn busy.
So next time I get a negative from a literary agent I'll just remember it's a lottery.