That’s great, and I definitely think there is a need for agents here in Canada.

 I agree. When I started as an agent here, I found that the agents already in business weren’t representing much commercial fiction in any genre. I suspect this was largely because Canadian publishers don’t acquire genre fiction in the way American publishers do, although Canadian houses are certainly doing more now than they used to. I feel quite strongly about a Canadian agent—even one who sounds like a New Zealander—representing Canadian authors. I take a great deal of pride in it. So that set me off on a path to find and represent Canadian writers who may not be finding representation.

 So, I can assume you are still looking for clients—especially Canadian ones?

 Yes. I am growing my list carefully, but as quickly as I can. I’m very selective in what I take on, but I’m devoted to the authors I have.

While doing several of these interviews with editors and agents, I’ve observed that each agency seems to have its own personality. What sets The Harding Agency apart from the rest?

I’ve always read eclectically, so my list is also very eclectic. I get a tremendous amount of enjoyment from reading widely, and when I look at a manuscript, I don’t necessarily put it into a category. I read the work for itself and appreciate it for what it uniquely offers.

Because of your background, when you are marketing your client’s work do you also consider international markets, like Australia, New Zealand and the UK as well as Canada and the US?

Yes. I have a very international perspective about my work. I don’t tend to think about Canadian publishers first. Let’s face it, with SF/Fantasy you have to look elsewhere. I get a crazy amount of gratification in selling into other countries, for example, seeing a nice little auction going on in Spain for one of my author’s books. It’s just wonderful.

How many SF/Fantasy clients do you have?

At the moment, two—and that simply isn’t enough.  One is Canadian and one is American.

What advice would you suggest to Canadian authors, wishing to be published in the US?

It’s very hard not to sound trite when I say this, but write a very good book. That’s really what it’s all about. It’s not about being Canadian or not.  It’s about the writing.

Do you think authors with work containing a fair amount of Canadian content would do better to look elsewhere for a market than in the States?

I get different views on this. Some editors say it doesn’t matter as long as the author writes the kind of book that will sell in their market. I think where Canadian authors sometimes get into difficulty is that they tend to write slower paced, more introverted novels. That kind of book is more difficult to sell in the US. For example, when I was working as a bookseller it was relatively easy to sell Canadian novels to New Zealanders. I think this is because there is an empathy between the two cultures.

Do you accept unsolicited manuscripts, query letters or outlines? Is there a particular type of manuscript you are looking for?

My submission guidelines are on my website. All I ask is that people follow them when submitting. It makes it easier for me if people do that. And no, there isn’t a particular type of manuscript I’m looking for. I believe a writer produces what is essential to them, and it’s for me to maintain an open mind when reading their work.

What do you look for when reading a new manuscript? How do you evaluate it to see if it will be suitable for your agency to pitch to a publisher?

When I read a new manuscript, I look to see how absorbed I become in the material—and how quickly.  Sometimes I feel as though the words are lifting off the page and coming towards me. I am totally engaged. It may be beautifully crafted sentences, or it may be a compelling plot-line, but it’s utterly absorbing. Then, as I read more, I become increasingly excited thinking about which editors I want to show it to. That tells me this book is one I have to take on.

How would you pitch an unknown Canadian author to a US publisher? Is it a hard sell?

Maybe I’m an optimist, but I don’t think it’s a harder sell; I just believe in the writing.

What is the best way to go about finding an agent? What are some of the warning signals an author should be aware of when shopping around?

The best way to go about finding an agent—and I’m probably going to sound like everyone else when I say this—is to find a good fit. Does the agent represent the kind of writing you do? What reputation do they have in the industry? Then, approach them in a way that lets them know you have done your research. One of the warning signals for me is when a submission comes in and it doesn’t follow the guidelines on my website. It tells me right away that they haven’t taken the extra step to find out what I want to see. This may sound picky, and it’s not about agents wanting to feel special, it is about being professional. Writers want me to be professional about what I do, and I want to work with writers who are professional about what they do.

Desperate is the word, actually.

(Laugh) I know and it’s so hard for writers. I totally understand. It’s a very tight market, and I think it’s only going to become more so. I can’t see it becoming any easier, with the competition offered by other kinds of entertainment.

You asked about warning signals.  The minute an agent asks for payment of any kind is a warning. In fact, I wouldn’t call them an agent of any kind at that point; agents don’t do that.

What does an agent do? How long should an author allow an agent to keep a manuscript without showing results?

I work on the submission material with the author, including the author bio, so we are presenting the package of the author and his/her work in the best possible way. Then I look for the appropriate publisher, and the appropriate editor within that house.  After submitting, I follow up the submission and field offers—I love saying that in the plural. (Laugh) Then I negotiate the contract and help the author build a career.

How long an author should allow an agent to keep a manuscript without results depends on what the agent is doing with the manuscript. Are they still submitting it? Are they still excited about it. The author is entitled to know what’s being done. I try to maintain a high level of reporting to my authors when we have a submission out, because I know they’re anxious.

Do agents send out multiple submissions? How long should an editor be allowed to keep a manuscript before giving the editor a nudge or sending it elsewhere?

Do I do multiple submissions? Yes, and no. It depends on the strategy for a particular book. And how long an agent should allow an editor to keep a manuscript before sending it elsewhere depends on many factors. There’s no exact answer. Time of year plays an important part in how long the process can take. Book fairs, sales conferences, deadlines, it just depends.

Do you advise authors to look at smaller presses?

Yes, but it depends on the smaller press. Every once in a while I hear from authors about a small press disappearing without a trace with royalties owing. But most small presses work very hard with minimum resources to do their very best for their authors. I have a lot of respect for them.  

Who is buying SF/F? 

The usual suspects. (Laugh) But in the last few years we’ve seen more mainstream publishers who are willing to take on work that has a magical element to it.

What about cross genre books?

I love cross genre books. This may come back to my eclectic reading tastes, but I think cross genre is very exciting.  

What types of genre books are doing well at the moment?

Fantasy and some mainstream books with fantasy elements seem to be going well. Editors tells me that Science Fiction—especially hard SF is more of a challenge. But we are starting to see sci-fi cross genre books that have relationships that bring in more women readers. The Paranormal Romance is still strong, but they have to really be exceptional now to stand out. I keep reminding myself of a quote from one of the publishers of a major US house (and I wish I could remember the source), who said, “Anyone in this business who’s right more than fifty percent of the time is a genius.” I keep that in mind when I try to predict what will and won’t sell.  One of the comments I constantly hear is that an editor or agent didn’t expect a book to do as well as it has done. We are always being surprised.

Last question perhaps. Do you find it hard to be based in Vancouver and still be working with publishers in New York and elsewhere?

At the moment, it’s working very well. It does make for a long day though. I start early in the morning, so I can hook in with UK people before they finish their day; then New York and Toronto are next.  Australia I catch late afternoon at the start of their day.  One of the other things I find is that when I go to Toronto or New York, the editors are very good about making and keeping appointments with me. They know I’ve come a long way.

So in a sense you’re a novelty and they treat you differently than Joe Agent in the next block.

Yes, there is indeed a degree of interest because I am from Vancouver. And of course the moment they hear my NZ accent down the phone, they all know me—and I’m not at all insulted.

Thank you very much Sally. I’m sure our readers will be very interested in what you had to say. 

Note: Note: As of June 7, 2007, The Harding Agency and The Cooke Agency announced their merger under the name of The Cooke Agency. www.cookeagency.ca